S. G. Reid’s 1976 poster Queensland, the Sunshine State of Australia presents the state as a vivid assembly of climates, landscapes and pleasures. Rather than relying on a single panoramic view, Reid arranges four distinct scenes beneath the emphatic red word “QUEENSLAND” and a radiant yellow sun. Pineapples, a quiet coastal outlook, dense tropical vegetation and a sugar-cane field collectively suggest abundance and escape, while the strong contrasts of yellow, green and blue give the design its immediate, sunlit energy.

Made as a work of tourism promotion, the poster turns Queensland’s geographical variety into a concise visual argument for travel. Its imagery encompasses both the holiday coast and the productive landscape, presenting the state not simply as a beach destination but as a region of tropical agriculture, rainforest and expansive scenery. The claim “THE SUNSHINE STATE OF AUSTRALIA” establishes the central promise, while the concluding slogan, “THE STATE OF HOLIDAY VARIETY”, explains the collage itself: each compartment offers a different version of Queensland, united by warmth, colour and outdoor experience.

A closer look

At the top, the lettering forms a firm graphic header. Its red capitals stand out against the lighter ground, while the stylised sun below sends broad yellow rays into the surrounding space. The smaller tagline is positioned beneath this emblem, creating a clear sequence from place name to regional identity. It is an economical piece of visual branding: the state is named, illuminated and characterised before the eye reaches the landscape scenes.

The upper pair of pictures establishes a contrast between immediacy and distance. On the left, two ripe pineapples fill their dark setting, their patterned skins and spiky leaves rendered with unusually tactile clarity. On the right, the view opens dramatically. Seated figures occupy rocks in the foreground, looking across blue water towards boats and a tropical shore. Gentle ripples catch the light, while pale clouds and a softly shifting sky give the scene an airy spaciousness. The figures are small enough to leave the landscape dominant, yet their presence makes the prospect feel accessible rather than remote.

Below, the imagery becomes greener and more enclosed. The lower-left scene moves into dense vegetation, where layered leaves and dappled light create a deep, shaded interior. Beside it, rows of sugar cane lead towards a mountain range articulated in receding tones. This movement from textured foreground growth to distant peaks lends the lower half a surprising sense of depth. The bottom slogan then gathers these contrasting environments into a single promotional message, its bold lettering acting as both caption and conclusion.

Context and significance

Queensland’s identity has long been shaped by the meeting of coastline, tropical and subtropical environments, and agricultural regions. Reid’s design compresses that breadth into an easily read sequence of motifs. The pineapples and cane refer to cultivated abundance; the jungle evokes luxuriant vegetation; the beach view supplies leisure, openness and maritime appeal. Significantly, the poster does not select one defining landmark. Its subject is variety itself.

The collage format also reflects a persuasive strand of twentieth-century travel advertising in which several experiences could be offered at once, supported by direct typography and memorable regional slogans. Here, photographic richness is disciplined by a simple rectangular grid and a tightly controlled hierarchy of text. The result is both a portrait of Queensland in the 1970s tourist imagination and a deft example of how graphic design could transform geography into aspiration.

Choosing the right size and finish

Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.

If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.

The model in the listing images is holding the 36x24in (90x60cm) version of this art print.

Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.

Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.

Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.

Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.

Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.

This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.