Used as a visual aid in classrooms at Ballarat School of Mines Early media technology used by the histroical school of Mines in Ballarat Brass Lantern Slide projector, used for glass slidesof maximum 8x8 picture size. Projector has original power cord and phillips projection globe as well as 2 sets of lenses. Name plate on side door with manufacters identity " Radiguet & Massiot: Constructeurs, 13 et 15 Bould des Filles du Calvatre. Paris".projector, ballarat school of mines, paris, glass slides, radiguet & massiot, theatre, photography, lantren slide

Judith NEUWILLER (later Judith AMBrOSE) Judith Neuwiller graduated with a Bachelor of Art (Visual Art), and Graduate Diploma of Visual Arts at the Gippsland Centre of Art and Design in 1987, and a Post Graduate Diploma of Fine Art. Victorian College of the Arts in 1988. Painted timber sculpture.gippsland campus, churchill, judith neuwiller, alumni, sculpture, gcad, gippsland centre of art and design

8-page A4 size brochure issued by Road Construction Authority reporting on the proposed extension of the Eastern Freeway between Doncaster and Ringwood. Topics include Community Consultation, Initial Four Lane Development, Estimated Capital Costs, Traffic Effects, Public Transport, Landscape Creek and Visual Aspects, Pedestrian/Bicycle Access, Noise, Air Quality, Lighting, Construction Impacts.

Slazenger advertisement featuring image, name and record of Fred Perry and depicting fanned out visual arrangment of 13 racquets and their specs. Text in bottom right corner: '1937/TENNIS/RACKETS/BY/SLAZENGER'. Text in top right corner: 'THE CHOICE OF THE CHAMPION!'. paper ad mounted under plastic and backed with sheet metal and patterned paper. Materials: Ink, Paper, Metal, Plastictennis

Brightly designed record of posters, pamphlets, vintage books, film promos and comicsnon-fictionDocuments the ephemera used in the USA to warn against the threat of Communismcommunism, propaganda, posters, magazines, comics, vintage, pulp fiction

A visual record of the activities experienced by Junior Legatees at the Legacy beachside camp.A record of a camp that Legacy regularly ran for junior legatees.A VHS video of Somers Camp in 2002 in cardboard cover.Cover. TEAC,white print, ASX,3 hours, Lifetime Warranty printed in white red highlight, E- 180, video cassette, super high definition in yellow print, SP. 3 hours, VHS LP. 6 hours, PAL SECAM. Video Cassette. Teac insert this side into recorder do not touch the tape inside, VHS, ASX. Label, TEAC, ASX, Legacy Somers Camp January 2002, mono, bilingual, pcm, date, stereo, hi-fi, bs. Label. TEAC, Legacy Somers Camp January 2002, VHS, pal secam. somers camp, junior legatee outing

First visual record of blazer worn by committee member in the 1940's Black woolen blazer with magpie embroidery on front pocketInsigna: Merbeinmerbein, sports, football

Henry Moritz lectured in the Visual Arts School at the Ballarat College of Advanced EducationCopy of a cartoon by Ballarat College of Advanced Education Design Lecturer Henry Moritz. The cartoon was created for the farwell of Mrs C. henry moritz, cartoon

John SAULTRY ( - c1910) John Saultry studied Visual Art at the University of Ballarat. Framed monoprint on paperart, artwork, john saultry, monoprint, alumni, printmaking, human movement collection

John SAULTRY ( - c1910) John Saultry studied Visual Art at the University of Ballarat. Framed abstract paintingart, artwork, john saultry, alumni

Used by Warrant Officer Class One Greg Westhead while he served in Bosnia. Refer to Cat No. 1496.7, 910.2, 7465.Cartoon image of a hand holding a detonator and a blast on the front cover. Drawing is mainly black and white, but a small amount of brown is present. All text on front is white except for title. Back cover is blank. About 35 pages long, detailing how to work with explosives. Inside many cartoon images providing visual aids to the instructions. Rectangle shaped book of medium size.Front cover in black: "BREACH OBSTACLES WITH EXPLOSIVES" . Front cover on detonator: "BLASTING MACHINE" . Front cover, bottom right: "GTA 5-11-16 FEBRUARY 1981 TO BE USED WITH ARTEP TASK # 7-3". book, guide, cartoons, explosives, greg westhead

The Hype 'zine (magazine" accompanied a projection project of the same title, projected onto the Ballarat Town Hall, Sturt Street, every night between 1 and 11 October 2015. Student names: Callum Bennier, Renee Bevan, Maddie Durie, Ben Hall, Callum Jenkins, Shannon Johnstone, Mel Negri, Brad O'Loughlin, Jess Powell, Jake Richardson, Chenae Smith, James Stuart, Elaine Tso, Laura Wright. Acknowledgments on final page. Lecturers and supporters: Alistair Heighway, Ben Mangan, Chrissie Smith, Debbie Hill, Travis Price, Jennifer Jones-O'Neil, Jill Orr, Jimmy Pasakos, John McDonald, Justin Weyers, Luke Keys, Paul Mah, Peter Gaulke, Peter Pilven, Phillip Berry, Roberta Crisci-Richardson. "A further thank you to the guidance and contribution to our final year: Ben Mangan, Peter Gaulke, Phillip Berry." Sponsors listed on final page and inside back cover.Promotional catalogue created by Federation University, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2015. 36pp full colour text pages and 4pp saddle-stitched cover, Uncoated stock. Cover of this version includes three unprinted circular stickers, and two printed stickers (one silver featuring word "wow?" and a fluorescent orange saying "real fake").university of ballarat, federation university, graphic design, multimedia, bachelor, degree, camp street campus, arts academy, callum bennier, renee bevan, maddie durie, ben hall, callum jenkins, shannon johnstone, mel negri, brad o'loughlin, jess powell, jake richardson, chenae smith, james stuart, elaine tso, laura wright., alistair heighway, ben mangan, chrissie smith, debbie hill, travis price, jennifer jones-o'neil, jill orr, jimmy pasakos, john mcdonald, justin weyers, luke keys, paul mah, peter gaulke, peter pilven, phillip berry, roberta crisci-richardson.

Ewen Ross was lecturing in Visual Art at Horsham TAFE when these works were undertaken. Various examples of artwork undertaken by TAFE student at Horsham. Many of them relate to exercises relating to the Elements and Principles of Design. .1) An exercise in the Elements and Principles of Design by David McGennesken .2) Banksia by Walsh .3) Portraits in Colour by Erica Hein .4) Scaling (Owl) by David McGennesken .5) Subjective Colour by David McGennesken .6) Texture by Michael Rudolph .7) An exercise in the Elements and Principles of Design by Michael Rudolph .8) Shape by Michael Rudolph .9) Shape by David McGennesken .10) Texture by David McGennesken .11) Design Value by David McGennesken .12) An exercise in the Elements and Principles of Design by Michael Rudolph .13) Texture by Erica Hein .14) Design by Erica Hein .15) Design by Erica Hein .16) Tonal .17) Cross Hatching by Erica Hein .18) An exercise in the Elements and Principles of Design .19) Shape by Kris Young .20) Tone by Michael Rudolph .21) Colour by Michael Rudolph .22) texture by Michael Gromm .23) Cross Hatching by Michael Gromm .24) Cross Hatching by Nicholas Stevens .25) Birds Eye .26) a and B Relief Print .27) Colour .28) Still life relief Printtafe, visual arts, alumni, horsham, wimmera campus, elements of design, principles of design, ewen ross, nicholas stevens, erica heim, michael gromm, michael rudolph, david mcgenneskin

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

The abacus was used at primary school to assist children with mathematics. It had the advantage of being visual and tactile.Used at Bogong Primary School.Grey plastic frame with 10 horizontal rods each holding 10 beads. The beads are red and black with each colour increasing or decreasing in number to show the sum of ten.Embossed "Invicta / Made in England"abacus, education, school, mathematics, bogong primary school

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘japanned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, imported marble, colonial architecture, victorian building materials

Closed Captioning for Australian Television a Discussion Paper prepared by the Australian Centre for Visual Television April 1980Cream Cover with black spiral binding, 26cmHx21cmW

A visual record of Junior Legatees enjoying a beachside holiday at Somers Camp. The tape has not been viewed.A record of Melbourne Legacy holding camps for the junior legatees in their care.A VHS video tape about Somers Camp in 2001, in a cardboard cover.Cover, TDK, SC, SHARP&CLEAR, label A SUMMERS DAY AT SOMERS Legacy Holiday Camp Jan 2001. Cover rear, SC SHARP&CLEAR, TDK, VHS. Label x 2. A SUMMERS DAY AT SOMERS Legacy Holiday Camp Jan 2001.somers camp, junior legatee outing

Architectural model of the proposed Heidelberg Golf Club clubhouse, made c1997 as a visual aid for the members of the club.Colour photograph.heidelberg golf club, architectural models, clubhouse redevelopment 1998

Business card for a local audio visual installer, Richard Waters Electronics, at 57 Buena Vista Drive Montmorency.Business card, white card with black and red text.richard waters electronics, buena vista drive montmornecy

Pencil notes reflect potential visual heights of replacement buildings. Barber shop is now Fletchers Real Estate.Black and white photographeltham, barber, fletchers real estate, main road, tattersalls, lyon bros ford, shopping centre