Albert E. Dorling was the Instructor in Printing at the Ballarat Technical Art School in 1933. The art school was a division of the Ballarat School of Mines. The objectives of Typographical Instruction at the Ballarat Technical Art School was to develop an appreciation of art in printing; to create and foster a wholesome respect for books; to develop a justifiable pride in persona achievement; to broaden the educational and social outlook; to broaden the field of vocational choice; to prepare for effective entrance into the printing trade; to give mastery of many of the principles of design; to help in forming habits of accuracy, thoroughness, neatness and industry; to give opportunity to turn out a product of use, beauty and value; to cultivate appreciation of the value of co-operation and service; to aid in mastery of other school subjects,particularly English; to provide an appropriate instructional medium for pupils whose constructive instincts desire this method of expression; to provide experience which will show the practical application and value of academic subjects.Coloured soft covered book bound with a brown ribbon. It is a book of specimens of work by the students attending the Typography Classes at the Ballarat Technical Art School under the instruction of Albert Dorling. Illustrations include: Ariel [sic] View from Art School by Fred Longhurst, 1932 Other work includes Bickart's Diamond Shop, Lydiard Street Methodist Choir, South Street Competitions, Allambee Guest House, Buninyong Lodge, Ballarat Journalists' Association, Thornton Studios, Harry Davies, Harry Brown & Co., Nautilus Corsets, Toti dal Monte, Symmons Flower Shop, Ritz Club, Ballarat Symphony Orchestra, Ladies' Art Associationtypography, printing, ballarat school of mines, ballarat technical art school, bickart's diamond shop, lydiard street methodist choir, south street competitions, allambee guest house, buninyong lodge, ballarat journalists' association, thornton studios, harry davies, harry brown & co., nautilus corsets, toti dal monte, symmons flower shop, ritz club, ballarat symphony orchestra, ladies' art association, typography, ballarat school of mines, ballarat technical art school, printing, albert dorling

Black and white image of the letter B as used in Wither's History of Ballarat.b, typography, letterpress

Paperback book with a photographic image of a honey bee against a pale background with simple black and yellow typography. Bound in black cloth-covered boards with gilt lettering on the spine. Cream-coloured pages with black printed text throughout. No illustrations in the main text.

This sheet shows a preparatory lettering sketch that focusses upon the individual essence of each letterform. In the complete version, the point of essence is filled with black. This interest in the reductive follows a lineage of similar typographic experiments going back to the Bauhaus' Herbert Bayer (1900-1985) and the French typographer AM Cassandre (1901-1968). Stephen Banham, 2017 Hand lettering Alphabet on boardtypography, graphic design, bauhaus, typographers

This letter discusses royalties, size, layout, and typography for Melbourne University Press's publication of Boyd's 'The Puzzle of Architecture'.Blue paper, typewritten

Paperback booklet. 50 Easy and Interesting Ways for Serving Apples and Pears Author: Various Contributors Publisher: Australian Apple and Pear Board Date: 1938-1946 Further Information: Highly decorated art deco typography and anthropomorphic advertising art of the 1940s period to the front cover. The spine has a Library label with an inscription.non-fictionThis is a promotional recipe booklet for home cooks the contents lists various recipes using apples and pears in an effort to promote their use in the home kitchen. There are notes for the beginner in cookery, such as peeling thinly and baking apples in a slow oven. The oven settings are for electric ovens, and the page tags suggest apple sandwiches with nuts or chocolate. This publication points to a wartime-era Australian publication from 1939 to 1946.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, 50 easy and interesting ways for serving apples and pears

256 p. : red cover, section of original dust jacket pasted to front cover. Title and author's name handwritten in black ink on spine. fictionleila s. mackinlay, fiction

Instruction document - A4 - four fold document printed on card paper, centre folded with foldouts - titled "Yarra Trams Visual Identity Standards Summary", giving the corporate graphic standards, how the logos or motifs appear, their use, colours how to use, alternative logos, what cannot be used, fonts or typography, pantone tear off colour samples. Has corporate locations and contact details. Two copies held.trams, tramways, yarra trams, stationery, logos

Period characteristics: Missing letters - the exclusion of 'J' and 'U' was standard in Latin Alphabet typography and carried heavily into educational samplers through the 19th century. Horizontally arranged bands of letters and text separated by geometric borders was a simpler band composition in older educational templates.Traditional child's sampler on coarse ecru linen embroidered in a variety of coloured stitches. Two alphabets, the larger embroidered in eyelet stitch. Lower band has a tree flanked by peacocks.Elizabeth Lees her work in 1795 sampler, england, childs

The Structure and Silence of the Cognitariat is a reading group analysing the Cognitariat, the new digital multitude whose immaterial labour services the knowledge and content that drives our world. A Green version of the iconic Clenched Fist sits atop a typographic rendering of The Means of Production. Each of the four works comprising Emily Floyd’s suite of prints All Day Workshops is a proposal for a workshop exploring ideas of social freedom, co-operative learning and open communication. These large-scale posters combine stylised illustrations with the artist’s geometric typography. Each work in All Day Workshops extends Floyd’s investigation into learning and play as a form of expanded sculpture. In 2012, to celebrate the Australian Print Workshop 30th anniversary six Australian artists including Emily Floyd were commissioned to create a suite of works for a series of exhibitions under the title ‘Catalyst’. Floyd’s works are three colour plate lithographs, printed from three photo-litho plates. Printed at the Australian Print Workshop in an edition of 20 plus proofs in collaboration with APW Senior Printer Martin King and assisted by APW Trainee Printer Eliza Turnbull.stonnington contemporary art collection, printmaking, lithograph, geometric, typography, emily floyd, work on paper, labour

Period characteristics: Missing letters - the exclusion of 'J' and 'U' was standard in Latin Alphabet typography and carried heavily into educational samplers through the 19th century. Horizontally arranged bands of letters and text separated by geometric borders was a simpler band composition in older educational templates. Strawberry and floral borders dividing the rows are classic motifs popularized in English needlework.Traditional child's sampler on ecru linen embroidered with faded pale blue, green, and red threads. Narrow borders, worked in a variety of stitches, separates the alphabet, numbers and initials. Strawberry and carnation borders and an interesting geometric band in red and green.sampler, england, childs

Social Insects hypothesizes a sculpture workshop based on the text "The formation of spatial patterns in social insects: from simple behaviours to complex structures." The black and yellow graphic in the poster pairs honeycomb structure with Peter the Elder Bruegel’s Sixteenth Century Beekeepers. Each of the four works comprising Emily Floyd’s suite of prints All Day Workshops is a proposal for a workshop exploring ideas of social freedom, co-operative learning and open communication. These large-scale posters combine stylised illustrations with the artist’s geometric typography. Each work in All Day Workshops extends Floyd’s investigation into learning and play as a form of expanded sculpture. In 2012, to celebrate the Australian Print Workshop 30th anniversary six Australian artists including Emily Floyd were commissioned to create a suite of works for a series of exhibitions under the title ‘Catalyst’. Floyd’s works are three colour plate lithographs, printed from three photo-litho plates. Printed at the Australian Print Workshop in an edition of 20 plus proofs in collaboration with APW Senior Printer Martin King and assisted by APW Trainee Printer Eliza Turnbull.stonnington contemporary art collection, printmaking, lithograph, geometric, typography, emily floyd, work on paper, bees, beekeeper

Herrnhutt Commune imagines a study group devoted to Australia’s first commune. Founded in 1852 and located near Hamilton in Victoria, the commune was run as an intentional community until the end of the nineteenth century. The orange and yellow graphic shows a woman harvesting carrots and pays homage to the daily communal practices of cultivating, preserving and cooking on the commune. Each of the four works comprising Emily Floyd’s suite of prints All Day Workshops is a proposal for a workshop exploring ideas of social freedom, co-operative learning and open communication. These large-scale posters combine stylised illustrations with the artist’s geometric typography. Each work in All Day Workshops extends Floyd’s investigation into learning and play as a form of expanded sculpture. In 2012, to celebrate the Australian Print Workshop 30th anniversary six Australian artists including Emily Floyd were commissioned to create a suite of works for a series of exhibitions under the title ‘Catalyst’. Floyd’s works are three colour plate lithographs, printed from three photo-litho plates. Printed at the Australian Print Workshop in an edition of 20 plus proofs in collaboration with APW Senior Printer Martin King and assisted by APW Trainee Printer Eliza Turnbull. stonnington contemporary art collection, printmaking, lithograph, geometric, typography, emily floyd, social freedom, work on paper, herrnhut commune

Linux For Beginners proposes a 10.00am workshop introducing the free non-Microsoft computer operating system, Linux. The red and black graphic reworks Linux’s Penguin Mascot and shows the animal gazing down at The Kosmaj Spomenik, a utopian monument sited in the former Yugoslavia. Each of the four works comprising Emily Floyd’s suite of prints All Day Workshops is a proposal for a workshop exploring ideas of social freedom, co-operative learning and open communication. These large-scale posters combine stylised illustrations with the artist’s geometric typography. Each work in All Day Workshops extends Floyd’s investigation into learning and play as a form of expanded sculpture. In 2012, to celebrate the Australian Print Workshop 30th anniversary six Australian artists including Emily Floyd were commissioned to create a suite of works for a series of exhibitions under the title ‘Catalyst’. Floyd’s works are three colour plate lithographs, printed from three photo-litho plates. Printed at the Australian Print Workshop in an edition of 20 plus proofs in collaboration with APW Senior Printer Martin King and assisted by APW Trainee Printer Eliza Turnbull.stonnington contemporary art collection, printmaking, lithograph, geometric, typography, emily floyd, work on paper, linux, the kosmaj spomenik, yugoslavia

One of Australia’s most acclaimed printmakers, Grahame King originally trained as a commercial artist in the mid-1930s. The Design Archives holds a collection of embossed advertising showcards designed by King in the 1950s which reveal examples of graphic design and typography in post-war Melbourne. The showcards were used by iconic companies for advertising and promotion on shop counters and in window displays and were produced by Firestone Embossed Showcards. Megan Atkins, 2017 Sign shows centrifugal pumps, close coupled centrifugal pumps and self-oiling piston pumps.Printed text bottom left on verso, Firestone embossed showcards PTY. LTDshowcards, advertising, graphic design, commercial art, artist

Kristin McFARLANE An Australian artist who combines graphic design, glass, botanical specimens, photography, encaustic painting, print and typography to explore fragility, nature and beauty. Kristin studied graphic design followed by a Graduate Diploma and Master of Fine Arts in glass at Monash University, Melbourne. Since graduating in 2004 she has undertaken public and private commissions and exhibitions including works for the Royal Melbourne Hospital, Monash University and Her Majesty Queen Rania of Jordan. Kristin designed and created the trophies for the Australian of The Year Awards from 2005-2014. These glass panels celebrate the history of the Monash University site; its early days as Berwick showgrounds and Casey Arifield to its current use as a state of the art educational centre. Images sourced from: Berwick Nostalgia, Early days o Berwick and its surrounding ditricts, Beaconsfield, Upper Beaconsfield, Harkaway, Narre Warren North, Berwick Mechanics Institute and Free Library and Monassh University archives. Federation University Australia took on the Berwick campus after Monash departed from the campusmonash university, casey airfield, berwick showgrounds, federation university berwick campus, berwick, fused glass

This advertising card was designed by Slawa Horowitz-Duldig. It was printed by 'Frisch, Wein 1'. Slawa undertook a number of sculpture commissions after graduating from the Akademie der Bildenden Künste Wien (Viennese Academy of Art) where she studied under Professor Hans Bitterlich from 1925-1929. She also undertook design commissions such as this card for the Cosmetic Institute which sold beauty creams. Reminiscent of the work of Austrian painter, designer and ceramic artist Berthold Löffler, in Slawa’s card her stylish typography, colour and design unite to create a unique work.This is an example of Austrian graphic design work between the wars and is of historical and artistic significance. Grey card front with print of single tone line stylised drawing of woman with red lips holding flowers - inside printed inscription in grey and red highlights Back logo - Printer's name (Frisch, Wien, 1) and artist's name ( S Duldig) credited

The City of St Kilda was directly involved in fundraising for the Red Cross in both WWI and WWII. There was, for example, a Grand Patriotic and Red Cross Festival in October 1916, with proceeds going to the Patriotic and Red Cross funds. There was also a St Kilda Patriotic Carnival at Luna Park in 1917 to raise money for the Australian Comforts Fund and the Red Cross Fund. The typography, the relatively utilitarian wooden construction of the box and its poor condition indicate that it is likely to have been associated with that time. However, it may be connected with WWII. Shortly after the outbreak of WWII the City of St Kilda convened a meeting at St Kilda Town Hall concerning local patriotic activities and the formation of a St Kilda Branch of the Red Cross, and had an active Red Cross fundraising network throughout the war.Wooden box, plywood construction with paper label on top and front, printed in red. One side is hinged to allow opening. Back of box extends up to form a handle. On the top is a slot for coins. On the top, and on the front: City of St. Kilda. Appeal on behalf of the RED CROSS FUNDScity of st kilda, wwi fund-raising, st kilda red cross

Period characteristics: Missing letters - the exclusion of 'J' and 'U' was standard in Latin Alphabet typography and carried heavily into educational samplers through the 19th century. Horizontally arranged bands of letters and text separated by geometric borders was a simpler band composition in older educational templates. Crown motifs can serve several purposes: Loyalty to the Monarchy - allegiance to the reigning King or Queen was especially prominent in British, Scottish and Dutch traditional samplers. Religious devotion - spiritually crowns represented 'Crown of Life' or the 'Crown of Righteousness' mentioned in the Bible, signifying eternal reward, fidelity and spiritual virtue. Family hierarchy and status - different style of crowns and coronets symbolized specific ranks of nobility. They may be incorporated to represent family heritage. Linen marking practice - alphabet samplers were used to practice marking household linens. Small crowns alongside initials indicate the status or lineage belonging to the owner of the linens. Traditional Scottish child's sampler on ecru linen embroidered with green and red threads. Narrow borders, worked in a variety of stitches, separates the alphabet, numbers and initials. Cross stitch, eyelet and four sided stitch are used. Lower row of crowns and coronets and initials.Janet Ness Aged 11 1818sampler, england, childs

An Exposition of The Old and New Testament Vol 1 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionThe subject volume one is part of a six-volume set. It is a verse-by-verse or section-by-section commentary on the Bible, and the aim of the volumes is to explain the text of the Bible. In volume one, it concentrates on explaining Genesis through to Deuteronomy, with practical applications and theological reflections. Henry’s aim was to illuminate Scripture for lay readers and ministers, emphasising practical piety and sound doctrine. The work is characteristic for its devotional tone combined with doctrinal notes.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

An Exposition of The Old and New Testament Vol 2 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionVolume 2 of Matthew Henry’s An Exposition of the Old and New Testament covers the historical books of the Old Testament from Joshua through Esther, that is, Joshua, Judges, Ruth, 1–2 Samuel, 1–2 Kings, 1–2 Chronicles, Ezra, Nehemiah, and Esther. Henry says this volume spans Israel’s story “from their first settlement in the promised land” after Egypt and the wilderness to their restoration after Babylonian captivity. So the material moves from conquest and settlement to monarchy, division, decline, exile, and return. In practical terms, it is the section of his commentary focused on narrative history rather than law, prophecy or poetry.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

An Exposition of The Old and New Testament Vol 3 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionVolume 3 covers the wisdom and poetic books of the Old Testament: Job, Psalms, Proverbs, Ecclesiastes and Song of Solomon. This volume moves from Job’s suffering and vindication through the Psalms’ worship and lament, into Proverbs’ moral instruction, Ecclesiastes’ reflections on life’s vanity and Song of Solomon’s love poetry. In Henry’s arrangement, it is the part of the Old Testament devoted to reflection, praise, instruction and spiritual experience. That makes it very different in tone from Volume 2, which is mainly narrative history. It should be noted that in the nine-volume edition, Volume 3 is the section from Job to Song of Solomon. Some catalogues and later printings group Henry’s work differently, so the exact volume label can vary, but this volume’s content remains the same in the standard nine-volume arrangement.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

An Exposition of The Old and New Testament Vol 4 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionThe subject volume one is part of a six-volume set. It is a verse-by-verse or section-by-section commentary on the Bible, and the aim of the volumes is to explain the text of the Bible. Volume 4 covers the prophetic books of the Old Testament, from Isaiah through Malachi. This volume includes the major prophets and the twelve minor prophets: Isaiah, Jeremiah, Lamentations, Ezekiel, Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah and Malachi. It is the final Old Testament volume before the New Testament begins. That gives it a distinctive place because it gathers together the books that interpret Israel’s history from a prophetic point of view. In the standard sequence, Volume 4 closes the Old Testament section of Henry’s commentary. Some later editions and catalogues describe the work in shortened or reorganised forms, but the contents of Volume 4 remain the prophetic books from Isaiah to Malachi.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

An Exposition of The Old and New Testament Vol 5 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionThe subject volume one is part of a six-volume set. Volume 5 covers the New Testament Gospels: Matthew, Mark, Luke and John. This volume opens the New Testament section of Henry’s commentary and moves book by book through the four Gospels. In the standard six-volume arrangement, Volumes V and VI cover the New Testament, so Volume 5 is the first of those two. That gives it a major place in the work because it begins Henry’s exposition of the gospel narrative. In the six-volume edition, Volume 5 corresponds to Matthew through John. Some later printings and catalogues present the work in different forms, but the content of this volume remains the four Gospels in the standard six-volume sequence.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

An Exposition of The Old and New Testament Vol 6 Author: Matthew Henry Publisher: Bell and Bradfute, Dickson and M'Cleish Date: 1790 Further Information: Badly worn brown hardcover and spine. The spine has a Library label with an inscription. non-fictionThe subject volume one is part of a six-volume set. Volume 6 covers the remainder of the New Testament: Acts through Revelation. This volume begins with Acts and moves through the Epistles and Hebrews, then on to James, Peter, John, Jude and Revelation. In the standard six-volume arrangement, it is the second half of the New Testament section, following Volume 5’s Gospels. That gives it a broad scope, from the church’s beginning after Christ’s ascension to the closing prophetic book of the canon. In the six-volume edition, Volume 6 is the final volume and completes the work. It should be noted that later printings and catalogues may vary in their presentation, but the content of Volume 6 remains constant in the standard six-volume sequence.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, matthew henry, an exposition of the old and new testament vol 1, bell and bradfute, dickson and m'cleish

John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland. (http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html)Black and white Bookplate made with the etching process featuring a nude woman in a spherical frame. The figure 08 appears on the sphere.Signed lower centre [illegible]keith wingrove memorial trust, bookplate, australian bookplate design awards, john gartner, printmaking - etching, nude, life drawing

John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html)Etching showing a reclining nude woman holding the letter E in the foreground and a printmaker in the background. Signature bottom right hand cornerkeith wingrove memorial trust, bookplate, australian bookplate design awards, printmaking, nude