Sad to hear of the recent passing of Max Robinson (1934-2018) – An important and much admired Australian Graphic Designer, productive until the end. You can read a brief entry on his career highlights in the AGDA Hall of Fame HERE. Amongst his high profile work is the Australian $10 note (1993 > version).
Max also produced a number of designs for the world record club in its early years, including one of its now best known – the Beethoven Piano Concerto No. 4 cover below.
Below also are a few other treasures by Max Robinson for the World Record Club which I have managed to get hold of over the past few years.
Max Robinson for World Record Club
Max Robinson for World Record Club
One of the important Designers for The World Record Club was Lance Stirling (b 1928) who was trained as both a designer and painter. In his time with WRC, Stirling only produced 10 designs (as a freelancer) in the early years of the studio, but they were very important in their contribution to quickly establishing what became the WRC ‘style’. In 1962 lance was included in “International who’s who in Graphic Art” – Published in Switzerland, and in 1996 Lance Stirling inducted into the AGDA Hall of Fame.
Below are 4 album covers I have managed to get hold of designed by Lance Stirling, the remaining 6 seem to be hard to locate.
Lance Stirling Design, World Record Club
John Copeland ( b 1935 – ) only worked for the World Record Club for 4 years, but produced some of their most memorable covers.
In 1957-58 John studied the London School of Printing. His teachers included Tom Eckersley Derek Birdsall, Donald Smith and Australian Keith Cunningham.
In 1958 he joined the World Record Club when he returned to Australia. He worked there until 1962 after which he taught for many years at the South Australian School of Art, and as a freelance designer – his set of stamp designs for Australia Post in 1973 is another fine example of his work.
Copeland’s designs often featured bold flat areas of colour and black outlining of shapes, and at other times beautiful and highly decorative use of delicate line patterns.
The Prokofieff album cover below Is I think at the same time a beautifully delicate and simple design, achieved while using the bold simple shapes of piano keys.
More here: https://www.agda.com.au/inspiration/hall-of-fame/john-copeland/
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)