moveable TYPE studio

Our inaugural letterpress workshop at The Paint Factory in Yeronga was a resounding success, set against a backdrop that couldn’t have been more perfect. Just 15 minutes from Brisbane’s CBD, The Paint Factory provides an incredible environment for creatives, fostering collaboration and innovation within a vibrant community.

This workshop, held on a Sunday, was a true collaboration with the Brisbane Visual Arts Community (BVAC). BVAC is a dynamic collective of artists and art enthusiasts dedicated to nurturing creativity and artistic expression in Brisbane. With guilds specialising in various art forms—from painting and sculpture to textiles and ceramics—BVAC presents a rich tapestry of artistic talent. Our partnership with them offered their members a unique opportunity to delve into the traditional craft of letterpress printing, underscoring our shared commitment to enriching the local arts scene and providing valuable learning experiences.

The Moveable Type Studio residency at The Paint Factory has enabled us to engage closely with some of Australia’s most established artists. In recent years, both local and international visual artists have organically formed a community, making The Paint Factory their creative home. 

The artwork created on-site has been exhibited and sold nationally and internationally, with pieces featured in prestigious collections such as the Tate Modern (UK), the Art Institute of Chicago (US), the National Gallery of Canada, and the National Gallery of Australia. The unique atmosphere of The Paint Factory inspires artists to gather, discuss, and create, while also serving as a venue for educational initiatives that attract guests from around the globe. Additionally, it has become a sought-after filming location for projects like Netflix shows and music videos, and has hosted high-profile events, including Brisbane Fashion Week and the Brisbane Festival.

Within this vibrant space, renowned resident artists such as Gordon Hookey, Judy Watson, Richard Bell, Megan Cope, and the unforgettable Pope Alice (Luke Roberts) thrive. Our workshop not only allowed participants to learn the craft of letterpress but also to engage directly with some of Australia’s most esteemed artists.

Our letterpress workshop began with the perfect blend of coffee and conversation as a diverse group of creatives gathered around the composing table. I felt like a student myself as participants shared their fascinating stories. Among the group were senior academic directors, master paper and fibre specialists, and skilled basket makers, and incredible stories were shared, including that of a parish priest whose printing collection was housed in his clergy rooms. This eclectic mix, united by a passion for print and a curiosity for the printed word created an enriching atmosphere.


We kicked off the workshop by introducing the fundamental concept of “type high,” a crucial measurement in letterpress printing. Participants quickly immersed themselves in the tools of the trade—reglets, quoins, chases, and pica rules. Laughter and lively banter filled the room as everyone explored the Moveable Type Studio’s collection of authentic artifacts. Our discussion about type high prompted a deeper dive into international printing standards, including the 0.918-inch English and American standards and the variations in French and Italian gauges. This technical insight became essential as we prepared our compositions for printing, emphasising the multicultural history embedded within each type block—a meaningful foundation for our letterpress journey.

Next, participants embarked on the hands-on portion of the workshop by selecting a small collection of type sorts from the Moveable Type Studio collection. Armed with a type high gauge, we measured each sort, compared heights, and discussed the intricacies of printing types. This collaborative discussion guided us in selecting our final group of types as we moved on to locking up our first chase.

With reglets, furniture, and quoins at the ready, we collectively learned the essentials of lock-up—a crucial step for ensuring that the type stays firmly in place. Since we had a larger collaborative project in mind, I introduced an alternative setup using magnets on the bed of our FAG 405 proof press. This innovation allowed us to pull a preliminary proof and examine the impact of varying type heights firsthand. As participants inked up their types and tested the press, their confidence grew, and soon everyone was pulling proofs, excited for what lay ahead.

As the morning session progressed, ink was shared, and stories exchanged. We paused for a brief break, enjoying some food and each other’s company. Conversations flowed from travels in Iran to the art of painting with paper pulp. In a delightful surprise, I discovered that one of the participants was the academic director at the university where I’m currently employed! The warm Brisbane summer weather provided the perfect backdrop for laughter and inspiration before we dove into the main project of the workshop.

When we reconvened, we introduced participants to the focus of the day—a collaborative project inspired by resident artist Gordon Hookey. An Aboriginal artist renowned for his work in painting, photography, and sculpture, Gordon weaves a strong First Nations narrative into his art. Earlier in the week, he welcomed the Movable Type Studio team into his studio, a space filled with inspiration—paintings covering the walls and ceiling, vibrant with his unique commentary on culture and identity. Gordon shared a lettering piece he started during his residency at the Museum of Brisbane, where he collected words and reflections from visitors exploring a poster exhibition drawn from his personal collection.

Seeing Gordon’s work and his commitment to using lettering as a storytelling medium sparked an exciting idea. He expressed his intention for these powerful words and phrases to be shared, inviting other artists to incorporate them into their creations. From this vision, a collaboration in letters was born. Just days after our studio visit, Gordon shared his lettering files with us, and we began crafting a plan to integrate his work into our letterpress project.

Over the past 10 months, we had been working closely with The Edge, the makers space at the State Library of Queensland, where we experimented with creating relief printing plates using their laser engraver. This collaboration with Gordon presented the perfect opportunity to merge analogue lettering with modern laser-cut plates, aligning with his vision of sharing these impactful words. Energised by Gordon’s powerful voice and the potential of our collaboration, we prepared to incorporate his words into the next stages of our letterpress journey.

Our workshop project centred around bringing Gordon’s words to life. Each participant selected a single word from his design, setting it by hand in type, all with the shared vision of merging these words into a cohesive final composition. This process required not only technical skill but also patience and collaboration. Participants quickly recognised the challenge of uniting type from various origins—French, Italian, English, and American blocks—into one harmonious layout. There was no shortcut to sizing up fonts, adjusting kerning, or fine-tuning the tracking for each word. The group often found themselves rethinking their choices to create the strongest possible collaborative piece.

This exercise evolved into a masterclass in teamwork, communication, and diplomacy. Over the next hour and a half, participants reflected on their earlier work with type, using their knowledge to prepare each word for proofing. Our goal was to create a “collage of sorts,” where each proofed word would serve as the foundation for our collaborative lockup. Amid spirited debates, occasional arm-wrestles over creative choices, and shared laughter, we made our final selections and began the intricate process of locking up our combined type composition, setting everything in place for the ultimate test—printing this collective masterpiece.

With our collaborative lockup secured, we turned to selecting paper, only to discover that our initial choice lacked the right surface quality for our intended outcome. Fortunately, with papermakers and fibre artists in attendance, a lively discussion ensued, leading us to unearth a fifty-year-old stash of newsprint. This yellowed, moisture-depleted paper had everyone on the edge of their seats as we set up for our initial proofs. The group soon agreed that simple black ink on the creamy, vintage stock struck the perfect balance.

Then, Clint couldn’t resist sharing an inking technique from English typography master Alan Kitching, known for his expressive ink application directly onto wood type. With a palette of reds, yellows, and blacks, participants created prints that pulsed with the vibrancy of each chosen word, bringing Gordon’s powerful language to life with bold energy.

As the workshop drew to a close, we reflected on the day’s lessons, the rich conversations, and the friendships formed around the composing table. For many, this introduction to letterpress opened the door to future projects, as several participants eagerly planned to book one-on-one press time in our open studio. The Movable Type Studio offers open studio hire for those who have completed a workshop and passed our safety induction, making it the perfect next step for our budding letterpress enthusiasts. With plans laid and ink-stained fingers as souvenirs, we wrapped up, looking forward to seeing these new typographers return to bring their own creations to life.

At The Paint Factory, a vibrant creative community thrives, where collaboration, culture, and craftsmanship converge. Our workshop with Gordon Hookey—a celebrated Aboriginal artist whose work infuses First Nations voices into bold, contemporary forms—brought together a diverse group of makers and storytellers, each contributing to a shared narrative. 

Here, traditional and modern print practices meet in a process that honours kinesthetic learning: a hands-on experience where participants slow down, engage deeply and feel the textures of ink and paper in real-time. In a world increasingly reliant on digital networks, this analog approach reminds us of the value of presence, of learning through doing, and of connecting with others face-to-face. It’s a space for reflection, creativity, and collaboration, fostering not only artistic skills but also meaningful connections among people dedicated to the art of making.

Ok here’s how the story goes. The Clint Harvey letterpress journey started in a dusty old 1920s small goods warehouse on Agnes Street, Fortitude Valley. The place was affectionately called The Bacon Factory – not because we made bacon, but because that’s what it once was. For eight years, this gritty little gem was home to my letterpress journey. It had character—creaky floors, cracks in the walls and a basement that would scare the shit out of your mother. The smell of ink and grease, and plenty of quirks that made it perfect for a print studio. It was here that the wheels started turning, where my plans for sharing letterpress with community began to take shape. But as with everything in the inner city, developers came sniffing around, and boom, the building got sold. And we were out on our asses on the street.

Next stop: Eagle Farm. A 1940s bearing factory that once cranked out head gaskets for the Ford Motor Company. It was further out, a lot bigger but a shit load more expensive but we had 450 square meters of letterpress heaven. And let me tell you, it was pure bliss. The smell of ink mixing with motor oil from the old machines. We had dreams bigger than the space—hoping universities and institutions would see the value of these vintage presses and come knocking. But no, they were too glued to their screens and online classrooms to give a shit about real-world printing.

But we pushed on. We threw open the doors to the public and invited everyone in—hairdressers, architects, gardeners, the people who actually keep the world spinning. Workshops ran late into the evenings and even on the Sabbath. People connected through ink and sweat, making real things with their hands. Then BAM—COVID hit. Workshops were wiped out, but the bills sure as hell didn’t stop. Rent kept coming in hot.

We scrambled. The dream was shrinking, so we downsized. I threw half the studio into two 40-foot containers and leased a shoebox-sized space in the  Eagle Farm building. There we were—battered but still standing. We pivoted to online workshops, cranked up the music, drank some whisky, and carried on, refusing to let this thing die. It was a fight—a bloody good one—but still, it wasn’t enough. We were hanging by a thread.

It was time to rethink everything. Cue a Zoom call with a ragtag group of loyal supporters, some letterpress royalty, and a wild idea: a mobile studio. What the hell, right? We launched a GoFundMe campaign, and within 30 days, we had enough to make it happen. A 40-foot shipping container transformed into a letterpress studio on wheels.

Three years later, in 2024, we launched SPAM. “WTF,” a number of my close friends said, We launched this prototype mobile letterpress studio at the Atypi Typography Conference in Brisbane. The design community embraced us with open arms, and that’s when we knew we were onto something.

Now, we’ve got a new name Moveable Type Studio and a new chapter at The Paint Factory. This isn’t just some artsy fartsy joint. It’s raw. It’s real. It’s a community of creators who get their hands dirty. The building itself carries the legacy of Taubmans, a paint powerhouse. That history, of creating something solid and lasting, flows through these walls.  

The folks behind The Paint Factory aren’t your typical developers in suits—they get it. They believe in creativity, they back the makers, and they understand that sometimes, the world needs people a little mad enough to push back against the norm.

Because here’s the thing: in a world that’s constantly speeding up, maybe the real revolution is to slow the fuck down. Open your eyes. Feel the ink on your hands. Smell the damn paint. Touch the world around you, because that’s where the magic happens. We’ve survived because we’ve stuck to that belief, and now, at The Paint Factory, we’ve found a place where creativity and madness go hand in hand.

This isn’t the end of the journey—it’s just the next  step up the mountain.

How Movable Type Studio encourages Hands-On Creativity

In an age where digital tools and virtual environments dominate, design education has largely shifted to screen-based learning. While technology offers unparalleled convenience and accessibility, it often sidelines the tactile, hands-on methods that foster deeper understanding and creativity. At Movable Type Studio, we aim to reintroduce the power of kinaesthetic learning, offering a space where design enthusiasts and creative makers can connect with materials physically. Through our mobile letterpress studio, we provide opportunities to actively engage with design elements and principles in a way that digital platforms often cannot.

What is Kinaesthetic Learning?
Kinaesthetic learning emphasises learning by doing. Rather than relying solely on visual or auditory instruction, kinaesthetic learners process information by interacting with it physically. This learning style is particularly beneficial in creative fields like design, where abstract ideas—such as composition, balance, and contrast—can be challenging to grasp through passive methods alone. Manipulating objects, experimenting with layouts, and engaging in the physical process of making are essential for truly understanding the nuances of design.

The Digital Dilemma: Loss of Physicality in Design
As design has moved increasingly online, the immersive, tactile aspect of experimenting and learning has diminished. Digital platforms emphasise clicking, dragging, and simulating environments rather than experiencing them. While this approach has its benefits, particularly in making education more widely accessible, it leaves little room for kinaesthetic learners to engage in the understanding of design elements and principles fully.

The result? Creatives may miss out on key aspects of their process, especially when it comes to understanding design elements like hierarchy, typography, and spatial relationships. For instance, moving text and images on a screen can’t compare to the physical experience of arranging type by hand or adjusting ink and pressure in a printing press. The decline of hands-on experimentation risks eroding crucial problem-solving skills, craftsmanship, and a fundamental appreciation of materiality in design.

Reviving Hands-On Learning Through Letterpress

At Movable Type Studio, we bring back the essence of tactile learning by providing a hands-on approach to design through letterpress printing. This historic craft is more than a nostalgic nod to the past—it’s an active, kinaesthetic experience that grounds makersin the physicality of design. Letterpress allows users to see design principles like alignment, contrast, and repetition come to life in real-time, as they feel the weight of type blocks, adjust ink distribution, and engage with the mechanical process of printing.

Our workshops introduce participants to these core elements in an embodied way. When they handle the lead type, adjust the printing press, or experiment with ink consistency, they are physically connecting with design principles. Balance is no longer an abstract concept—it’s something they can feel as they align type within a frame. Contrast is something they can see in the way ink interacts with the paper.

The Physicality of Design Principles in Action
Design elements such as line, shape, texture, and space are vital for visual communication, but experiencing these concepts in a physical way provides a more profound learning experience. When particapants at our workshops work with tangible materials—whether they’re setting type, arranging compositions, or exploring the sensory aspects of ink on paper—they gain a visceral understanding of these principles.

For example:

• Contrast is evident in the tactile difference between inked and uninked surfaces or between bold type and delicate paper.
• Alignment becomes a mechanical process as much as a visual one, with students learning to ensure that blocks of type sit flush, both visually and physically.
• Hierarchy is no longer an abstract concept but something shaped by the physical arrangement of elements on a page, with weight and pressure playing a role in visual emphasis.
  
  This process goes beyond understanding; it develops problem-solving skills, critical thinking, and a deep appreciation for the craft of visual design. These kinaesthetic experiences strengthen creative thinking, allowing designers to work more intuitively with materials while also honing their conceptual abilities.

Connecting with Creatives Across the Country
Our vision for the Movable Type Studio is to take this unique approach on the road, connecting with creatives and design students around the country. Each stop offers a chance for participants to explore physicality in design, reinvigorating their understanding of key principles in a way that is often neglected in today’s digital classrooms. From urban design studios to regional creative hubs, our goal is to provide workshops that elevate and expand participants’ grasp of visual communication through hands-on practice.

By engaging with letterpress, participants strengthen their ability to make informed design decisions with a focus on experimentation and materiality. They leave with an expanded toolkit—one that goes beyond software proficiency to include an intimate understanding of how physical materials shape design.

Conclusion: Bridging the Gap Between Digital and Physical Design
In a world increasingly driven by digital tools, kinaesthetic learning reminds us that the best design practices are often rooted in physical interaction. Movable Type Studio is not only preserving the craft of letterpress but also reigniting the importance of learning by doing in visual communication. Our workshops provide particapants with the opportunity to physically interact with design principles, reinforcing the connection between their hands and their creative minds.

As we travel the country, we look forward to fostering deeper connections between creativity and physicality, inspiring a new generation of creatives who understand the power of hands-on learning.

For more information on upcoming workshops, stay tuned to the Movable Type Studio blog.

The Atypi conference in Brisbane marked a significant milestone for our mobile letterpress project (formerly known as SPAM). This event saw the debut of our mobile printmaking container/studio, which hosted the inaugural series of workshops. The success of this launch has set the stage for an exciting future, including a comprehensive overhaul of the project, thanks to the invaluable support of our project advisor, Robert Heather.

Robert brings a wealth of experience to our team, having made substantial contributions to the Australian art sector. His extensive background includes roles as an arts fundraiser, manager, curator, and producer, working in art galleries, libraries, and museums across Queensland, Victoria, and New South Wales. As the inaugural Director of Artspace Mackay, he founded the Libris Awards for Artists’ Books in the early 2000s. His tenure at the State Library of Victoria saw him managing artistic, literary, and heritage exhibitions for a decade. At the New England Regional Art Museum, he launched the regular Wimble’s Wayzgoose events and associated residencies at the Museum of Printing in Armidale. Additionally, Robert is a board member of the Print Council of Australia and has developed numerous exhibition tours, public programs, and conferences.

With Robert’s guidance, our project has not only undergone a name change but also a strategic shift in focus. The newly titled Movable Type Studio is poised to now bring the art and craft of letterpress printmaking to regional communities across Queensland. This transition signifies more than just a name change; it represents our commitment to fostering education, communication and engagement with our artform through organising outreach programs into communities around Australia.

The success of our inaugural workshops at the Atypi conference in Brisbane highlighted the immense potential of the Movable Type project and we will continue to participate in similar events around South East Queensland.  Participants were not only introduced to the creative intricacies of letterpress printing but were also inspired by the rich history and contemporary relevance of this craft. The positive feedback and enthusiastic participation underscored the importance of continuing our outreach efforts.

Looking ahead, the planning for our inaugural 2025 road trip is already in full swing. We plan to travel the container into central and northern Queensland and are seeking funding support to visit venues in Rockhampton, Toowoomba and Mackay. These locations offer unique opportunities to connect with diverse audiences, share the art of letterpress, and celebrate Queensland’s cultural heritage.

As we refine the operations of the Moveable Type Studio and fine-tune our programs, we are excited about the possibilities that lie ahead. Our mission is to make the art of letterpress printmaking accessible to everyone, regardless of their location. By engaging with rural and remote communities, we hope to inspire a new generation of artists, designers and printmakers, fostering a deeper appreciation for this timeless craft.

The debut of the SPAM container at the Atypi conference was just the beginning. With Robert’s expertise and the continued support of our community, we are confident that the Moveable Type Studio will become a beacon of creativity and collaboration, bringing the joy of letterpress to every corner of Queensland. Stay tuned for more updates as we embark on this exciting journey!

The recent ATypI Brisbane conference marked a milestone for typography enthusiasts across the globe. With a lineup boasting nearly 70 speakers and an array of workshops, the event was a celebration of the art and craft of type design. Held at the Brisbane Convention and Exhibition Centre from April 16 to 20, 2024, it was the first time the conference graced Australian shores, demonstrating the growing reach of the global type community.

One memorable moment from the conference was the captivating presentation Bovine Pyroglyphics by Dzintra Menesis and Dr. Melissa Silk. The presentation explored the history of the 1872 Brands Act in Australia, which mandated branding for livestock ownership. It discussed how this necessity led to the creation of unique cattle brands with unconventional letter shapes, defying traditional typography rules. Queensland Brand Designs emerged as a result, blending cultural crafting with colonial necessity. The presentation contextualised the significance of these brands and their reinterpretation in the digital age, showcased in the Branding Irons and Blockchains workshop hosted buy your truly and assisted by my good friend and international type designer Troy Leinster.

Amidst the multitude of sessions and workshops, the debut of the Moveable Type container was a highlight not just for me but also for friends and colleagues who have supported the project over the years. Tucked away in the conference program, the SPAM workshops provided a special chance to immerse oneself in the traditional craft of letterpress printing while delving into the rich cultural and historical tapestry of handset typography.

Our letterpress container workshop series kicked off with an exploration of colonial Australia’s cattle industry and its unexpected influence on typography. Joined by Troy, Dzintria Menesis and Dr Melissa Silk the “Branding Irons and Blockchains” workshop delved into the origins of Queensland Brand Designs font and the typographic system from the Australian brands act. The workshop consisted of printing type experiments from the custom woodtype font that Troy had designed specifically for the workshop. This prototype typeface that we cut and produced at the Edge makers space at the State Library of Queensland highlighted the optical adjustments required when rotating letterforms for brand designs.

Another highlight for me was the “Matarongo Project” presented by fellow countryman, New Zealand-type designer Chris Sowersby. Collaborating with Dr. Johnson Witehira, Sowersby showcased a typeface family grounded in indigenous research, offering insights into Māori engagement with letterforms and the development of a modern digital typeface rooted in traditional crafts.

Outside the formal presentations, attendees had the opportunity to network and engage in hands-on printing sessions. A standout session was the Friday night print session hosted at the Container, where international guests joined local designers to print Wayne Thompson’s Chromatic woodtype font. This gathering exemplified the spirit of collaboration and knowledge sharing that permeated the conference.

In addition to the conference activities, the container opened its doors to four  introductory wood type letterpress workshops, providing the community with access to traditional printing techniques. Participants explored the power of the press while infusing their creations with the cheeky nature of Australian slang, fostering an atmosphere of creativity and camaraderie.

The workshop series culminated in a final Woodtype workshop on Friday, the 26th of April; With our initial SPAM project ideas dating back 3 years, it was a special moment to be able to share the project with the community. and see the project become a reality. Accommodating ten participants within the container, this immersive experience offered a glimpse into the revival of letterpress printing for regional and remote Australia. With a focus on community engagement and education, the container will bring the art and history of letterpress printing to new audiences across the country.

As the conference concluded and the container was packed down, SPAM looked ahead to future destinations, eager to continue sharing the power of the press with communities far and wide. With a commitment to preserving and promoting traditional printmaking techniques, SPAM embodies the spirit of innovation and collaboration that defines the global typography community.

As we reflect on this inaugural outing of the container, it’s clear that we’ve laid a solid foundation for what’s to come. The enthusiasm and passion for letterpress printing that we’ve witnessed during this journey have been truly inspiring. As we embark on our mission to travel the country, spreading the love for letterpress far and wide, our path forward looks promising. With each workshop and event, we’re forging connections, igniting creativity, and fostering a vibrant community of type enthusiasts. 

As I sit down to pen this blog post and enjoy a beer, I find myself filled with a profound sense of gratitude and reflection. The journey of the project has been nothing short of extraordinary, and I am humbled by the incredible support and encouragement we have received along the way.

First and foremost, I want to extend my sincerest thanks to Dzintra Menesis from the Museum of Printing in Armidale. Dzintra’s unwavering support and belief in the SPAM Project have been a guiding light throughout this endeavour. Her passion for the art of printing and her willingness to push this project over the line has been truly invaluable. Dzintras’ belief and enthusiastic encouragement played such a pivotal role in shaping the SPAM Project into what it is today. Thank you Zin for being such an integral part of this journey.

I also want to express my gratitude to Barnaby Florance for his support and muscle in helping us move items into place with only weeks before the launch. Barnaby’s willingness to roll up the sleeves and dive into the nitty-gritty details was a testament to hisfriendship and his commitment to our cause. It also helps that Barnaby’s mum is one of the most recognised letterpress practitioners in the country, and I am sure she would have kicked his ass if he didn’t get involved in our project. 

And last but certainly not least, I want to extend a heartfelt thank you to my family for their ongoing support and encouragement to my crazy idea to pack all this scrap metal into a shipping container. As my brother calmly stated its a 40′ Tacklebox full of upper and lowercase sinkers.

As we look back on the journey of the SPAM Project, I am filled with a sense of pride and accomplishment. With the support of others, we have embarked on a mission to bring the craft of letterpress printing to communities far and wide, and I am excited to see where this journey takes us next. To all who have supported us along the way, a big fat thank you. Your contributions have made a king size impact, and I am forever grateful.

Here’s to the next chapter of the SPAM Project and the countless adventures that lie ahead. With your continued support, I have no doubt that we will continue to make waves in the world of letterpress printing. To all involved to date thank you for believing in our vision and for being a part of this incredible journey.

The day we had all been eagerly awaiting was finally on the horizon. The SPAM container, a custom 40-foot sanctuary for our beloved letterpress equipment and type material, was about to make its debut at the Atypi International Typography conference. The journey to this point was nothing short of an epic tale of , resilience, and a whole lot of grit!

The Genesis of the SPAM Container

The idea was born from a necessity for mobility and preservation—a way to transport our extensive collection of typography tools and presses without compromising their integrity. The vision was clear, but the execution was going to be a monumental task. As we inched closer to the conference, the pressure mounted. Our workshop schedule was published with just a couple of weeks to spare, turning our dream into an impending reality.

Challenges Along the Way

The weeks leading up to the move were fraught with challenges. Continuous rain and poor weather conditions made the task of transferring tons of heritage equipment into the container all the more difficult. If it hadn’t been for the tireless support of family, friends, and the typography community, the SPAM container might have remained just a lofty idea.

Working inside the container was no easy feat. We spent several dirty days freeing up the moving parts of the presses and bringing them back into commission. Every screw turned and each piece moved brought us closer to our goal, fueled by sheer determination and copious amounts of coffee.

The Day of the Move

Finally, moving day arrived, greeted by the familiar gloom of grey skies. Rick, with his 18-wheeler, pulled up as the tangible excitement mixed with nervous anticipation among the team. As the crane prepared to lift the hefty container, one question loomed large: Would the structural integrity hold? We held our breaths, watching intently as our months of hard work and planning were literally hanging in the balance.

The Moment of Truth

With a steady hum, the crane hoisted the SPAM container into the air, and slowly but surely, it was placed onto the truck bed. it was a success! The integrity of the container was uncompromised, and the presses inside were safe and sound. It was a moment of triumph, a testament to the resilience and teamwork of everyone involved.

Looking Ahead

As the Rick’s truck rolled out, en route to theQUT Creative Industries Precinctand inbound to the  Atypi Typography conference, the reality sank in. The SPAM container was more than just a project; it was a moving testament to the art of typography and a symbol of our passion and perseverance. The workshops planned for the conference would now be able to showcase this art in a whole new light.

The anticipation of the SPAM container’s first journey might have been fraught with challenges, but it was also filled with moments of collaboration and victory. As we look forward to sharing our love for typography with fellow enthusiasts around the world, we can’t help but feel excited about the possibilities that lie ahead.

For those attending the Atypi conference, the SPAM container awaits. Get ready to roll up your sleeves and dive into the world of letterpress printing, where every letter and every press tells a story. We can’t wait to see you there!

As the digital age continues to advance, it’s easy to overlook the enduring charm and relevance of traditional printing techniques. Letterpress, a method dating back centuries, is not just a relic of the past; it’s a vibrant and integral part of contemporary graphic design and typography.

Contrary to common misconception, letterpress has not faded into obscurity. Rather, it has evolved into a specialty within the print industry, offering a unique blend of tradition and innovation. In today’s design landscape, there are two main branches of letterpress: traditional and contemporary.

Traditional letterpress involves the use of classic materials such as wood and lead type. This approach pays homage to the rich history of printing while maintaining the craftsmanship and authenticity that define the art form. On the other hand, contemporary letterpress utilises digital plates such as photopolymer, leveraging modern technology to push the boundaries of what’s possible in typographicdesign.

At its core, letterpress is about more than just ink on paper; it’s about the meticulous arrangement of letters and design elements. This focus on craftsmanship makes letterpress an invaluable educational tool for emerging designers and typographers. Through hands-on experience with letterpress, creatives gain a deeper understanding of typography, composition, and design principles.

Over the years, our letterpress classes have attracted a diverse range of participants, from design students eager to hone their skills to experienced professionals seeking a break from digital technology. Additionally, artists are drawn to letterpress for its ability to elevate their creations into tangible works of art.

In our letterpress journey, we’ve curated a collection of equipment that spans generations, from a 19th-century Columbian iron-hand press to modern machines such as the 1970 Heidelberg platen. Each press has its own unique capabilities, allowing us to tailor our approach to the specific needs of each workshop project.

One of the most remarkable aspects of working with letterpress is the pace at which it operates. Unlike the instant gratification of digital design, letterpress forces designers to slow down and truly observe their work. This deliberate process encourages thoughtful decision-making and fosters a deeper connection to the craft.

Letterpress may be rooted in tradition, but its relevance in modern graphic design is undeniable. Whether you’re a seasoned professional or a budding designer, embracing letterpress opens up a world of creative possibilities and educational opportunities. So the next time you embark on a design project, consider incorporating the timeless art of letterpress into your toolkit—you won’t be disappointed.

SPAM Specialty Printing Activation Module

Mobile Letterpress Shipping Container Project: Nurturing Communities Using Print Histories

We are delighted to announce the launch of our mobile letterpress studio with theinaugural workshop series, to be hosted at the QUT Kelvin Grove Creative Industries precinct in April. These workshops will run from the SPAM container studio and represent an exciting opportunity for the design and broader community to engage with the historical process of letterpress printing, facilitated by industry designers Clint Harvey and Dzintra Menesis.

The SPAM Project is a ground-breaking initiative that aims to bridge the gap between modern technology and traditional printing methods. These hands-on typography workshops will provide participants with an introduction to letterpress printing and traditional typesetting, using both wood and metal type. Through practical exercises and discussions, attendees will delve into the language of typography, explore the anatomy of letterforms, and learn about the myriad of typographic terminologies essential for making informed design choices.

At the heart of the SPAM Project (Specialty Printing Activation Module) is the one of a kind mobile letterpress studio. Housed within a custom-built 40-foot shipping container, this mobile printmaking studio features authentic 19th-century printing presses and typography archives. The project is a reincarnation of the former Bacon Factory and maintains strong ties to the Museum of Printing at the New England Regional Art Museum (NERAM), the project goal is to bring the art and history of letterpress printing to communities across Australia.

Australia’s harsh environment and vast geographical expanse have resulted in a scarcity of letterpress resources and an under-appreciation for the craft. The SPAM Project seeks to address this by offering hands-on exposure to letterpress printmaking, particularly in regional and remote areas where the tradition of letterpress once thrived. Through community outreach and visual arts workshops, SPAM aims to reignite interest in local storytelling through the printed word.  

As we journey to celebrate the rich tapestry of letterpress across Australia, we recently turned our focus to the small country town of Walcha and its local newspaper history. While the Walcha News has since ceased operation, the dormant Miehle press stands as a testament to a bygone era of print journalism. It represents an invaluable piece of Australia’s printing heritage, awaiting a new chapter that hopefully sees it preserved for future generations to appreciate. This tale is just one of many that underscore the importance of letterpress in the Australian narrative. For more stories of letterpress lore from around the country, we invite you to visit our blog at www.spam-project.com. Here, we delve into the challenges, triumphs, and enduring legacy of letterpress printmaking across Australia’s diverse landscape.

The SPAM Project has garnered significant support from the creative community, worldwide, including numerous backers that helped fund the initial stages of the project with a successful gofundme campaign. With the completion of the mobile printmaking container, we are now poised to bring the art and history of letterpress printing to educational centers, public libraries, schools, and cultural events nationwide.

Join us on this journey as we invite communities to collaboratively share their stories through the timeless medium of letterpress printing. Together, we can ignite a passion for graphic design, literature, and the rich heritage of printed communication.

We invite you to join us in selecting from a diverse array of workshops offered throughout the month of April. Each workshop in our series promises an immersive experience into the fascinating world of typography, allowing participants to engage with historic printing presses and learn the intricate techniques of traditional typesetting. Whether you’re a seasoned designer seeking to expand your skillset or a curious newcomer eager to discover the magic of letterpress, there’s a workshop tailored just for you. Embrace the opportunity to delve into this centuries-old craft and unleash your creativity in an environment rich with heritage and innovation.

See workshop details schedule at www.spam-project.com/journal/or
ticketing available at eventbrite.com.au

Exciting news for design nerds and creative minds: The world of letterpress printing, a craft blending centuries of tradition with modern design application, is hitting the road! The SPAM Project, our innovative mobile letterpress studio, is debuting with a series of workshops for the AtypI International Typography Conference at the QUT Kelvin Grove Creative Industries Precinct this April.

Workshop details and tickets, find us on Eventbrite. Spam_intro_to_letterpress.eventbrite.com.au
Spam_letterpress_posters.eventbrite.com.au
Monotype_printmaking.eventbrite.com.au

Highlight Event: Student Day on Sunday, 21st April. It’s a day specially designed for those eager to dive deep into the art and craft of letterpress printing, guided by Clint Harvey and a selection of special guests.

This isn’t just another workshop series. It’s an opportunity to get hands-on with traditional and contemporary letterpress techniques, explore the nuances of typography, and understand how this age-old art form influences modern graphic design. Whether you’re looking to enrich your design practice or simply keen to try something new, these workshops offer a rich, educational experience.

At the heart of the SPAM Project is our bespoke 40-foot shipping container studio, equipped with an impressive collection of 19th-century presses and a curated typography archive. This project connects the dots between historical printmaking and contemporary design, making the tactile magic of letterpress accessible to a wider audience.

Why letterpress? In an era dominated by digital screens, letterpress offers a refreshing pause, inviting designers to engage with the physicality of their craft. It’s a testament to the enduring relevance of letterpress in storytelling, brand identity, and the broader design landscape.

The SPAM Project is more than a series of workshops; it’s an initiative aimed at revitalising interest in letterpress across Australia, especially in regions where this craft has been underappreciated. Through community engagement and educational outreach, we’re on a mission to share the rich legacy and limitless potential of letterpress printing.

Join us on this journey? Discover the power of the press in design. Reserve your spot for our April workshops, including the not-to-be-missed Student Day on 21st April, at the QUT Creative Industries Precinct.

For workshop details and tickets, find us on Eventbrite. Spam_intro_to_letterpress.eventbrite.com.au
Spam_letterpress_posters.eventbrite.com.au
Monotype_printmaking.eventbrite.com.au

A visit to the Penrith Printing Museum has been way overdue.

A long time in the making:

For over 10 of years, I have meant to step foot into the Penrith Printing Museum, as Australia’s most established and supported collection of Australian print culture it has been remiss of me to have let it so long to travel the 1200km to pay tribute to the people the equipment and the deep-rooted passion that has gone into the establishment of this collection. With the close of 2023 upon us I finally got to tick this one off my bucket list.

As we walked into the Penrith Printing Museum, we could see the linotype machine being used, and in the back of the room, there was Ralph on the Columbian press setting a book that would be used to describe the museum’s collection. This unique little project was hand-set in readiness to be proofed on the Columbian. As I looked closer at Ralphs’s setup, I could see that they were not using a traditional tympan setup and that they had constructed a custom setup that held the sheets of the type by small springs. On discussion Ralph advised that they had been experimenting with this setup and process for over a year.

 George was walking around the space offering guidance and help to both gentlemen in different ways. George saw out the final days of the trade as he transitioned into offset. Georges’s love for letterpress is truly evident as George lives in Lithgow and travels an hour and a half to get to the Penrith Printing Museum 3 days a week. Yet again, evidence that once the ink is in the blood, it is there for life.

The Penrith Museum has the original Whardale cylinder press from the Nepean Times. This press is where it all started some 20 years ago when the museum was gifted the press, and the museum was slowly constructed around this beautiful old lady. George fired up the Wharfdale as if it was an inkjet printer, and calmy ran a few sheets just to impress us on how remarkable it is to have this piece of equipment in operational use.

The Wharfdale cylinder press holds a significant place in the history of printing technology, particularly in the context of small regional newspapers in Australia. Introduced in the mid-19th century, the Wharfdale press revolutionised the printing industry with its efficiency and reliability. Its cylindrical design allowed for continuous and faster printing, making it a workhorse for small newspapers that required consistent and cost-effective production. The Wharfdale was used at the Dorrigio Gazette before the introduction of the Heidelberg press that now resides as part of the collection at Penrith. The original press from the Dorrigo Gazette  resides on display outside the local Dorrigo Museum in northern New South Wales.

Recently, the Penrith Museum achieved a remarkable feat, not only preserving a piece of Australian printing legacy but also transporting it back to the bustling city of Sydney.

The Don Dorrigo Gazette, a stalwart in the NSW mid-north coastal town of Dorrigo since the 1910s, sadly ceased operations after more than a century of service. The culprit being the inexorable march of the digital age and the rise of social media as the new form of reporting news, false news it may be.

Yet, the story takes a hopeful turn,  the Heidelberg cylinder press, which once breathed life into the Gazette’s pages, found a new home at the Penrith Printing Museum.

This wasn’t just a relocation; it was a mission fuelled by passion, dedication, and community support. The Penrith Printing Museum successfully raised the necessary funds to make this ambitious endeavour a reality. Through a crowdfunding campaign, enthusiasts, history lovers, and supporters from far and wide came together to contribute to the cause.

Andy McCourt, with the backing of Wide Format Online, played a pivotal role in spearheading the fundraising efforts. The goal was clear: secure $5,000 to cover the costs of decommissioning, freight, and relocation for the iconic 1939 Heidelberg cylinder letterpress machine. The response was overwhelming, highlighting the collective commitment to preserving Australia’s printing heritage

“These passionate volunteers, called upon the community to join hands in preserving this iconic piece of printing history, the community responded with enthusiasm, helping to exceed the fundraising goal,” McCourt shared.

The success of the campaign not only ensured the safe journey of the Heidelberg Press from Dorrigo to Penrith but also emphasised the importance of collective action in safeguarding cultural treasures. The press, with its storied history dating back to its arrival in Australia in 1954, now stands as a symbol of resilience and continuity.

As the Heidelberg Press settles into its new home at the Penrith Printing Museum, the victory is shared by all who contributed. The museum continues its tradition of not only showcasing historical artifacts but actively participating in their preservation.

The journey from the quiet town of Dorrigo to the bustling city of Sydney is more than just a physical relocation—it’s a triumph of community spirit, a celebration of history, and a testament to the enduring legacy of print. Visit the Penrith Printing Museum to witness this piece of living history and join in the celebration of a successful campaign that brought the Heidelberg Press back to Sydney, where it rightfully belongs.

The Penrith Printing Museum is a living Australian cultural icon in the form of Australian print culture, I could write a thesis about the collection and the wonderful work that is taking place inside the walls of this humble building.

However, there is a darker side to our visit, yet again the nature of the volunteers all being in their later years does mean that this knowledge and energy directed towards the preservation of letterpress is threatened, as the years roll on, we will surely lack the skills experience and knowledge of these fine tradespersons. Further thought on how the small network of local historical villages and regional print museums can come together to share resources and support as we progress into the years ahead. With no national print museum to fly the flag, it has been the strength and the fight of these volunteers across the country that keep the light shining on the print culture that Has made this country what it Is.

Typo is an outstanding feat by today’s standard; to produce an eight to twelve page, detailed, comprehensive, virtually error free, journal, essentially single-handedly every month; Robert Coupland Harding was a workaholic.

As I stepped into the reading room of the Mitchell Library in New South Wales, my mind brimmed with anticipation. My mission was clear – to delve into the fascinating typographic history of the New South Wales Government Printing Office. Little did I know that this journey of research would lead me to an unexpected treasure – the once-forgotten typographic journal, Typo, by the enigmatic Robert Coupland Harding.

The Mitchell Library, with its vast collection of historical texts and documents, seemed like the perfect place to unearth the secrets of New South Wales’ printing legacy. As I sifted through manuscripts and century-old printing artefacts, I stumbled upon a box that seemed to be nondescript at first glance. But little did I know that within its unassuming confines lay a gem that would electrify my desire for the narrative of typographic history.

Typo, the brainchild of Robert Coupland Harding, captured my attention from the moment I laid eyes on its pages. This forgotten masterpiece was more than just a typographical journal; it was a testament to Harding’s technical brilliance and artistic vision. Within its covers, I found a world of aesthetics and knowledge, coupled with clear instructions for practical printers – a true treasure of the nineteenth-century typographic world.

Pages of pure brilliance: Within the delicate pages, Harding’s influence on the international typographic community became apparent. His network extended far beyond the shores of New Zealand, reaching countries as distant as France, Germany, America, Japan, and Russia. Typo’s significance as a global communication network was undeniable, bridging the gap between distant lands and erasing the boundaries of the imperial “center” and periphery.

Typo, published monthly as a literacy review and typographic journal between 1887 and 1897 single handedly by Robert Coupland Harding.

As I delved deeper into Harding’s life and legacy, I discovered a man whose passion for printing was only matched by his commitment to social activism and cultural engagement. A man ahead of his time, Harding’s endeavours extended beyond the realm of printing, touching the lives of many through his involvement in various organisations and pursuits.

Typo, published between 1887 and 1897, was an iconic landmark in New Zealand’s printing and publishing history. Although revered in its time, the journal was eventually forgotten, until now. Thanks to a three-year research project funded by the Marsden Fund of the Royal Society of New Zealand, Typo has been rediscovered in its entirety. This digital edition now makes it widely accessible, shedding light on Harding’s unparalleled contributions to the typographic world.

Typo was not just another typographical journal of the 19th century; it stood out for its attention to visual aesthetics. Under the series of articles titled “Design in Typography,” Harding made significant and astute contributions to the global dialogue about aesthetics, offering clear and concise instructions for practical printers. His dedication to the visual display set Typo apart from its peers, making it a truly remarkable publication.

The Life and Legacy of Robert Coupland Harding: Born in Wellington in 1849, Robert Coupland Harding hailed from a family with a rich printing heritage. His father, Thomas Bennick Harding, was a skilled printer and bookbinder who migrated from London to New Zealand. Robert’s journey into the printing world started at a young age, apprenticing with a local printing house. As he honed his skills, he embarked on various ventures, including enlisting in the Napier Rifle Volunteers during the Maori wars and advocating for Maori rights.

Beyond his printing prowess, Harding was actively engaged in social activism and cultural pursuits. He held positions in various organizations, from temperance societies to philosophical societies, and even ventured into politics with the New Zealand Alliance temperance party. Additionally, Harding’s passion for printing extended to creating his own typographic identity, evident in his series of local directories called “Harding’s Almanac.”

The Significance of Typo: Typo marked a turning point in Harding’s career, where his world both narrowed and broadened. While he left mundane printing tasks to others, he established a thriving business that exchanged trade information globally. His network expanded to countries far beyond New Zealand’s borders, making him an influential player on the international market.

Robert Coupland Harding, The Book Borders, 1877. Digitised by Sai Promsri and Letitia Lam.

The Decline of Typo and Harding’s later life: Despite the accolades and recognition within the printing industry, Typo faced challenges and declined in publication frequency. Harding moved to Wellington in 1890, attempting to revive his business, but the economic downturn thwarted his efforts. Nevertheless, he remained a prominent figure in Wellington, working at the Government Printing Office and contributing to cultural and bibliophilic pursuits.

Coupland Harding died in Wellington on 16 December 1916, survived by his wife, Sophia Sarah Blackmore, whom he had married at Nelson on 15 March 1883, and two daughters and two sons. For all the recognition his achievements received internationally, and his extensive correspondence, he had lived a curiously private life and was something of a melancholic. He was burdened by family anxieties, suffered misfortune in business and had to endure persistent illness. But he was visions ahead of his time, and his aesthetic sensibility and intelligence had a moral dimension which kept him proud in the confidence and independence of his judgement and in his sense of social purpose. It is further testimony to his insight that on the very threshold of the twentieth century he could see printing and typography ‘threatened by the camera, the etching fluid, and by the (at present) harmless and inoffensive “typewriter”, in the keyboard of which lies the germ of something much greater in the future.’

Conclusion: Robert Coupland Harding’s life and work deserve to be celebrated and remembered. Typo, his masterwork, remains an invaluable resource for understanding the nineteenth-century typographical world and its global connections. Through this rediscovery, we can give Robert Coupland Harding the recognition he rightly deserves, positioning him as one of New Zealand’s most accomplished typographers and printers. His impact on the world of visible language and the legacy of Typo will continue to inspire and captivate generations to come.