Part-Time Teachers In Technical and Further Education, Volume Two - Detailed Report on Findings and Recommendations by Gillian Shadwick (Institute of Technical and Adult Teacher Education within the Sydney College of Advanced Education). Published by the Sydney College of Advanced Education and funded by the TAFE Council of the Commonwealth Tertiary Education Commission, June 1986. The steering committee included Greg Woodburne, Dr Rod McDonald, Gary Hilton, Ian Hamilton, Warwick Goodsir, Ray Jolliffe, Sue Hatherley, and Rex Hewitt. The aims of the study were: "1. To provide profile(s) of the part-time TAFE teachers; 2. To determine the extent of the part-time teacher contribution to TAFE's educational provision. 3. To determine the nature of the part-time teacher contribution to TAFE's provision. 4. To identify initial and on-going staff development and teacher-training needs. 5. To describe the superviser: part-time teacher relationship. 6. To identify sources of part-time teacher job satisfaction and job dissatisfaction. 7. To recommend future directions for the contribution of part-time teachers to educational provision within TAFE." These are discussed throughout the report. ISBN 0-86398-035-XBook concerning Part-Time Teachers in Technical and Further Education, a Detailed Report on Findings and Recommendations. 249 Pages. Includes two questionnaires for teachers. Bound with plastic spine, covers made of thicker, textured paper. Sections and appendixes marked with yellow paper.part-time teachers in technical and further education, volume 2, detailed report, gillian shadwick, institute of technical and adult teacher education, 1986, greg woodburne, dr rod mcdonald, gary hilton, ian hamilton, warwick goodsir, ray jolliffe, sue hatherley, rex hewitt, questionnaire, tafe, part-time teachers, teaching

Denis Cordner was born at Diamond Creek in 1924. He described himself as 'an industrial chemist and spare-time footballer'. The Cordner family were Greensborough locals, several being local doctors.Copy of article made 04/04/2017, 1 page.Originally published in Australian Dictionary of Biography, vol. 17, Melbourne University Press, 2007denis cordner

+Additional Keywords: Reading from Left to Right: Back row boys: 1. Alan Carter, 2. ??, 3. Maurice Henry, 4. Peter Van Ketwich, 5. Douglas Hume, 6. ??, 7. John Callam, 8. ??, 9. ??, 10. ??, 11. Peter Gluth, 12. ??, 13. Geoff Edwards, 14. Len Armfield, 15. Ray Davidson".(incorrect list)Written on backing sheet, "Ringwood High School. 1956?" No children are identified.Paper list with photographs reads, "High School - Bedford Rd. Ringwood. Photo Pupils Form 1C. Reading from Left to Right. Back row boys: 1. ?, 2. Keith Anderson, 3. Peter Zaff, 4. Jim Ord, 5. ?, 6. ?, 7. ?, 8. Bernard Whitney, 9. ?, 10. ?, 11. ? 12, ?. Boys sitting front: Robert Crutchfield, 2. ?, 3. ?, 4. ?, 5. John Smart, 6. Ronald Crutchfield. Girls standing: 1. ?, 2. Norma Walsh, 3. ?, 4. ?, 5. ?, 6. ?, 7. Sandra Davenport, 8. Margaret Williams, 9. Margaret Norwood, 10. ?. Girls sitting: 1. Kathleen Lower, 2. Valma McLean, 3. Sandra Tindall, 4. Gilliam Morris, 5. Esma Bradley, 6. Jill Pump, 7. Judy Byrne, 8. Shirley Kofeod, 9. Marlene Mangels, 10. ?, 11. Myrna Cooper, 12. Elizabeth Hinchcliffe.

A Paul Hamlyn Learning Bookpaul hamlyn, pet, guinea pigs

Axemen who took part in the Big Chop Graeme Wright Gary Kennedy Lawrence O'Toole and Joe Gillian at the Football Ground Bruthen VictoriaBlack and white photograph showing Axemen who took part in the Big Chop Graeme Wright Gary Kennedy Lawrence O'Toole and Joe Gillian at the Football Ground Bruthen Victoriasports, events, woodchops

BookStudy commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.regionalism, cultural industraies, equity, professional recognition, indigenous women, multiculturalism

My work has always involved textiles. I began my art practice in the darkrooms of photography, but I often came back to textiles to expose my images on, with either cyanotype or daguerreotype processes. I love way textiles can be manipulated so quickly and how each piece of fabric can have a different feel and weight. I prefer to use old materials with an inherent history that I can repurpose and reinterpret, usually linen, cotton, silk and other natural fibers. My work has increasingly become about texture, an overload of visual complexity and the introduction of hard materials into the soft sculpture medium. Almost anything can be stitched into a piece and so far the inclusion of brass, bronze and copper as small components of the finished work has opened the boundaries of where my practice can go. I use stitches and beads and other things to ‘draw’ and make patterns on each work; I love the detail and the investment in each slow stitch it takes to reveal the final piece.Wangaratta Art Gallery CollectionA black, golden, white, and silver handsewn protection totem encased in a glass dome case.gillian bencke, textile

There are notes taken by Sue Barnett about the family from discussions with Gill Bell. 122p, illustrations, index, contains recipes, personal memories and photographs of the Craig family, many of whom were residents of Surrey Hills and connected with the Surrey Hills Methodist Church.122p, illustrations, index, contains recipes, personal memories and photographs of the Craig family, many of whom were residents of Surrey Hills and connected with the Surrey Hills Methodist Church.craig family, cooking, cook books, (ms) gillian bell

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Collograph Printart, artwork, gillian hehir

Black and brown soft cover. Front cover has three small photos of war time activities with a background of a photo of six men walking away from the camera along a snow covered terrace. Author - BEN EVANS. 94 pages.Written on first page " Donated by Gillian Dearon". books-military-history, korea

Set of 2 Black and White photographs of the replica Horse Tram 253 at the TMSV Bylands site. .1 - cleaning the tram - missing the end canopies .2 - Interior of the tram Notes on the rear of the tram note the work of the builder - Newton & Gillian Williams of Mildura and Alan Sutcliffe. Dated 2/12/1979. Photo Numbers 180-32 and 180-33Has the Keith Kings photo stamp on the rear, with extensive details of the photograph.trams, tramways, replica, cross bench tram, horse tram, tmsv, bylands, tram 253

“This old farmhouse on the east of Ridge Road, has now disappeared. A particularly fine spell of clear frosty June days, prompted a number of early morning "frost" paintings in Mernda and districts. The painting owes something to tonal impressionism. At the time I had been elected a member of the "20 Melbourne Painters", (a rather conservative body of tonal artists) from which I later resigned. However, the importance of tonal values and the decisive balance of light and dark tones cannot be dismissed in painting. By painting into the light, the tonal qualities of a picture can often be more decisively understood and expressed. In this instance the sparkle of white paper and the deeper tones of the massed foliage contribute to the light effect. Such paintings are made for one's own enjoyment and are a spontaneous reaction to an effect that moves one to do something about it.” John BorrackPart of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrack '79. Winter. Yan Yean.yan yean

“Like "Red Gums, Hunters Lane", this painting is a deliberate attempt to infuse some new qualities into my work of that period, particularly in the painting of local subject matter. The heightened chroma and simplification of forms accentuated by a more rhythmic quality, endow the picture with a decorative characteristic which places it outside the category of the picturesque. Such colour harmonies, despite the heightened intensities, particularly in the road, do nevertheless exist, and it is the artist's prerogative to select and emphasize these certain qualities in his quest for expression. Unlike oil painting, watercolour and gouache can be unforgiving media, and once a commitment is made to the initial marks and washes on the paper, one must employ a certain deftness of touch to develop the work and retain the initial freshness. Some technical planning before painting is essential.” John BorrackPart of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrackmernda

“A nature painting commenced on site and completed in the studio. More of a morass lying to the west of Yan Yean Reservoir in Dunnets Road, this intriguing site has nevertheless all the primeval qualities associated with swamps in general. The rhythmic movements of the old red gums dominate the surrounding bush with the tranquility of the water from recent rains. Painted directly onto a saturated sheet of rough paper, the large masses of foliage and integrated sky areas determine the tonal and colour key of the painting, while the strong horizontality of the lower water area stabilizes the design and contrasts with the vertical and oblique rhythms of tree trunks. The white of trunks and branches have largely been achieved by the lifting of colour with a stiff wet brush although slight touches of bodycolour are added for a few critical accents. Such a subject and its execution demands a sound concept and plan before any painting is commenced as the wayward nature of the medium demands great control. The painting must be bold and decisive. Sometimes the qualities of the medium should be allowed to take over in its wateriness and its soft and hard edge properties.” John BorrackPart of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrackyan yean

“A nature painting commenced on site and completed in the studio. More of a morass lying to the west of Yan Yean Reservoir in Dunnets Road, this intriguing site has nevertheless all the primeval qualities associated with swamps in general. The rhythmic movements of the old red gums dominate the surrounding bush with the tranquility of the water from recent rains. Painted directly onto a saturated sheet of rough paper, the large masses of foliage and integrated sky areas determine the tonal and colour key of the painting, while the strong horizontality of the lower water area stabilizes the design and contrasts with the vertical and oblique rhythms of tree trunks. The white of trunks and branches have largely been achieved by the lifting of colour with a stiff wet brush although slight touches of bodycolour are added for a few critical accents. Such a subject and its execution demands a sound concept and plan before any painting is commenced as the wayward nature of the medium demands great control. The painting must be bold and decisive. Sometimes the qualities of the medium should be allowed to take over in its wateriness and its soft and hard edge properties.” John BorrackPart of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrackmernda