Gus Vanderhyde was born in Amsterdam where he was one of the first graduates to be awarded a Major in photography from the Academy of Art, Arnhem, Netherlands.
He arrived in Australia in 1960 and almost straight away was picked up by Geoff Digby at the Word Record Club who could see his outstanding talent.
During his time at WRC his output like many of the other designers was prolific, and he was encouraged to use his own photographs and also to work with Athol Shmith whenever possible.
“While employed by the World Record Club I had the opportunity, during an unexpected visit to my home country, to visit not only my old art school to give a talk to the students there but to visit the art studio at the headquarters of Philips in Eindhoven as well, where I hoped to pick up some freelance jacket design work during my stay in Holland. I had taken along samples of my own designs, and some of David Leonard’s and John Copeland’s work, to show. Once they saw what we were doing in Australia it almost created a riot because the few designers they had working there all wanted to migrate immediately to Melbourne and work for World Record Club. They had never heard of, nor seen, such a free and creative approach to sleeve design before. Philips at that time had very strict design rules which did not allow for much imagination. A few years later all that had changed, but at the time it clearly brought home to me once again what a unique hub of creativity and design opportunities this rather small studio in Australia really was” –
(Sourced from “It’s Another World Record”, by Geoff Hocking)
A selection of Australian juice labels, probably dating from the 1950s up to the 1970s. In this era many larger or regional towns had their own juice of soft drink producers – hence these labels were and still are reasonably prolific and easy to find. Most of these examples are from regional New South Wales, Australia.
This visually striking advertisement for “Gateway Papers” is part of a 6 page fold-out in the Penrose Annual 1956 in the back advertising section. These ads in the Penrose Annuals were used by the advertisers to showcase and highlight their impressive skills and use of cutting edge technology at the time. Often they were printed on special papers, or using new techniques. Fold outs, the use of cutouts and other interesting presentations were frequent.
This Advertisement was Litho printed in 4 colours. I love the use of transparency and overprinting to create the colours.
Paul Piech was an important mid 20th century graphic artist who is best known for the Lino prints, posters and books from his private press set up in 1959, the “Taurus Press” in the U.K.
In the Penrose Annual of 1976 is a beautifully illustrated, in depth article on the private press of Paul Piech written by Kenneth Hardacre. Hardacre writes:
“His books broke all the rules of setting, spacing and layout. They gave the impression of having been printed on any paper that came to hand…Their typefaces were often unusual and hardly ever suited to their texts. The very ink on the paper seems restless. Piech’s books make you feel uncomfortable and that is why they exist – their aim is to disturb. They all have a power that is to be found above all in the profusion of linocuts and woodcuts that pour through their pages. Paul Piech expresses his pity with a knife. He handles his medium with compelling force, until the lino itself seems to cry out, expressing his horror at man’s inhumanity to man”
(For the purposes of this Penrose article the images were screen printed onto brown, textured card – but most posters you will see by Piech have a white background – and he often used bright bold colours in his posters)
Paul Piech, “Peter Cooper” Poster (584 x 915mm)
The techniques used by Piech give an immediacy and urgency to his work, which suits the often political message of it. Harcare writes:
“Piech rarely uses type in his posters, their message lies as much in the urgency of the hand cut lettering as in the text itself – an urgency demonstrated in and even strengthened by the occasional mis-spellings. For Piech cuts his lettering very quickly, he blocks in areas, plans the lines, and counts off the characters; but there is no preliminary design of the letter shapes. He never cuts around a drawn letter – he creates the letter in the act of cutting. Thus his letters are alive as the faces he cuts.”