moveable TYPE studio

The Nanango Fallen Soldier Monument. The memorial was unveiled by Major General Sir T.W. Glasgow on the 29 January 1920.

 A chill rural town located about 150 km north-west of central Brisbane. This place has some serious history.

First off, Nanango got its name from the Nanango pastoral run way back in 1842. Apparently, it comes from an Aboriginal word, either connected to an elder or referring to a waterhole.

Back in the day, Nanango was at a junction of tracks leading from Brisbane to the Darling Downs and the Burnett Valley.  In the late 1840s, Jacob Goode decided to open up an inn right there at the junction. 

Fast forward to 1861, and boom! The town was surveyed, and the first lots were sold the next year. A gold rush happened in the mid-1860s, just south of the town, attracting loads of people to this shiny new place. And they didn’t stop there; a school popped up in 1866, and more lots were surveyed and sold in 1870. 

By 1877, farm selections were in full swing, marking the start of closer-settlement, which continued until 1904 when the last of the Nanango estate was resumed.  A local government division named Barambah (later becoming Nanango Shire) came into play in 1879.

Around the turn of the century, the Nanango News hit the streets in 1899, I haven’t yet been able to locate the exact location of where the first newspaper was printed.  However one of the locales told me that the local newspaper was once printed from within the walls of the Palace Hotel on Drayton Street.

Palace Hotel, Nanango, Qld. The Palace is one of the three remaining pubs in Nanango – during the early days there were over 40 licences.

A small hospital opened its doors in 1898.  the best was yet to come! In the next decade, the town saw rapid growth with dairying becoming a thing, and they even set up a local agriculture, pastoral, and mining society in 1900. 

In 1903, the Australian handbook gave Nanango some serious recognition. They built a butter factory in 1906, which later became the town’s first source of electric power. 

Nanango Butter Factory Building is a heritage-listed factory at George Street, Nanango, South Burnett Region, Queensland, Australia.

And not to forget, they had their fair share of churches too! Catholic and Presbyterian churches were already there before 1900, but they added Anglican, Methodist, and enlarged Catholic churches later on, providing a solid religious infrastructure for the town.

Jumping to 1911, the railway got extended from Kingaroy, bringing even more people to Nanango. The population was around 1500 at that time and stayed that way for the next 65 years. Nanango was definitely holding its own!

Then came the 1960s, and the Queensland government had some big electricity generation plans. With nearby coal deposits and water from the Burnett headwaters, Nanango became a hotspot for a new power station. So, in 1986, they opened the Tarong coal-fired power station after six years of construction. The town’s population doubled between 1976 and 1986, and they were making some serious upgrades to their civic infrastructure. 

ALEXANDER’S GARAGE In 1936 Frank Butt established Butt’s Garage in Henry Street. The original premises contained the garage and a residence (that later turned into offices & a spare parts department).

Nanango had a couple of setbacks like the closure of the railway line in 1964 and the dairy factory in 1985. But Nanango stayed strong . Nowadays, you’ll find a solid shopping area with local businesses, sporting facilities, schools, a hospital, and some impressive heritage sites like the courthouse and the historical society housed in a Queenslander house designed by Robin Dods. 

My visit to Nanango left me with a sense of nostalgia and appreciation for the charm of a sleepy small country town showing its age. The historical buildings, the kick-ass cemetery, and the overall typographic vernacular showcased the rich heritage of rural towns. Walking through the streets felt like stepping back in time, and every corner revealed a glimpse of its storied past. For anyone interested in exploring the authentic character and architectural legacy of our rural communities, Nanango is a must-visit destination. Its unpretentious allure and historical significance make it a hidden gem that deserves to be cherished and preserved for generations to come.

Nanango is the 4th oldest town in Queensland and consequently has a number of quite early graves. Prior to gazettal of the Nanango Cemetery Reserve the older older cemetery adjacent to MHPL 355 and 356 on the Nanango Gold Field was used (1862-1876)

Stop the presses! Bob Read has left the building, but his spirit and passion lives on. In 1933, Robert Read was born, and little did the world know the incredible journey he would embark upon. Bob was a rebel in his youth, a letterpress tradesman in his prime, and a true gentleman and teacher of life. He revived the art of letterpress in Australia, infusing it with contemporary flair and inspiring a new generation of designer printers. 

Bob was a remarkable individual whose impact on our lives and the community cannot be overstated. His friendship was a true blessing, and over the past 15 years, I had the privilege of witnessing his passion, his creativity, and his unwavering belief in the potential of others.

I vividly remember my first encounter with Bob, as he gracefully operated the Thompson Press at the Caboolture Historical Village, his experience evident in every movement. Despite my initial hesitation, Bob warmly greeted me and willingly shared his wealth of knowledge. He made the ludlow slug in my hand come alive, turning a simple inquiry into an unforgettable hands-on learning experience. 

Bob was always eager to share, always ready to dive in and get his hands dirty. Beyond the craft of letterpress, he imparted life lessons of resilience, patience, and friendship. Bob became not just a mentor, but a guiding light on my journey of personal growth.

During my apprenticeship of sorts, I witnessed the depth of Bob’s generosity as he mentored other aspiring designers, like Alisha ????, who established her own successful letterpress business. Bob’s face would light up with pride as he spoke of her accomplishments, a testament to his dedication as a teacher. 

When the Caboolture Historical Village faced the risk of losing its valuable collection, Bob and Ken sprang into action, ensuring these treasures found a new home at Design College Australia. The typography classroom became a sanctuary where Bob’s craft could be shared with the next generation of creative minds.

One cherished memory stands out among the adventures and shared stories—the discovery of an 1880 Wharfdale cylinder press. Bob’s eyes sparkled as he explained its significance and its role in the Australian letterpress landscape. Together, we restored the press, reviving its rollers and repacking its rails. It was a labor of love that reinvigorated not only the press itself but also the spirit of this 80-year-old pressman.  And when the day finally came for Bob to demonstrate a makeready and run our first sheets on the press, his joy was palpable.

Amidst all the shared beers and tales, there’s one chapter that brings a smile to my face—the stories of the Graphics Arts Club in Sydney during the 1950s and 60s. This vibrant hub served as a haven for Bob and his fellow letterpress professionals. Tucked away on Clarence Street, it provided a space where friendships flourished and craftsmanship thrived. After long days of meticulous printing work, the club’s members would gather at the bar, raising a glass or two before and after their shifts. In those moments of camaraderie, Bob and his colleagues found solace, exchanged ideas, and celebrated their shared passion. The Graphics Arts Club became a cherished part of Bob’s career, where the freedom to relax and bond with fellow printers was embraced.

Apprenticeship of Sorts: My journey with Bob began when he was a young 75-year-old, a spirited youngster with an insatiable dream. He introduced many of us to the captivating world of letterpress, sharing his extensive knowledge and expertise with unwavering enthusiasm. But it was Bob’s ability to empower those around him, to install a newfound belief in oneself, that truly set him apart.

Bob was an embodiment of determination and curiosity. He always had a new project on the go, continually pushing the boundaries of what was possible. Whether it was rebuilding an 1880 Warfdale cylinder press or creating printing rollers out of gummy bears, Bob’s ingenuity knew no bounds. His adventurous spirit inspired us all to embrace our own passions and explore uncharted territories.

Beyond his technical expertise and creativity, it was Bob’s warm and generous spirit that touched our lives. He had an uncanny ability to make everyone feel valued and appreciated, creating a supportive and nurturing environment in which growth flourished. Bob’s belief in our abilities fuelled our own self-confidence and encouraged us to pursue our dreams.

With over 70 years of experience as a pressman, Bob became a living legend, willing to share his wealth of knowledge with anyone who showed an interest. Bob’s passion for letterpress was not just about sharing his wisdom; it was an inherent curiosity and desire to learn that made him an inspiration to everyone around him.

Bob and the Heidelberg Platen: The Heidelberg platen press was Bob’s weapon of choice, and he had spent over 50 years mastering its intricacies. The Heidelberg is classic letterpress machine known for its ruggedness , and Bob had undoubtedly mastered its operation. He could tweak the paper feed and adjust the inking system with such finesse that it seemed like second nature to him. But more than just his technical expertise, Bob’s genuine enthusiasm for the press was infectious, and he was always eager to share tips and tricks with other aspiring printers.

Bob Meets Mark Pei: Enter Mark Pei, a street artist with a passion for creativity and an eye for the darker side of life. Intrigued by the magic of letterpress, Mark stumbled into Bob’s workshop one day, and their serendipitous meeting sparked an unexpected exchange of knowledge . Bob sensed Mark’s genuine interest and welcomed him with open arms. What started as a chance encounter quickly turned into a collaboration that would enrich both of their lives.

Sharing and Learning: A Two-Way Street: As Bob generously shared his expertise on the Heidelberg platen, Mark reciprocated by introducing Bob to the world of wood block carving. Like a seasoned apprentice, Bob embraced this new challenge with the vigour of a twenty-year-old. Carving blocks, he immersed himself in the intricate details of this art form, absorbing every piece of knowledge Mark had to offer. The experience was a testament to Bob’s boundless appetite for learning, proving that age is no barrier to pursuing new passions.

Bob’s Printing Legacy: Bob’s love and ambitions for the craft of letterpress were truly inspiring to everyone who had the privilege of knowing him. He wasn’t just a craftsman; he was a storyteller, capturing moments and emotions on paper through his prints. Bob’s humble nature and willingness to share his knowledge made him a cherished figure within the printing community and beyond. Countless printers, young and old, benefited from his guidance, and his legacy will continue to shape the future of letterpress.

Conclusion: Bob’s journey through the world of letterpress was one of hard work and from a trade perspective it evolved into a place of sharing, and inspiring others to pursue their passions. With over 70 years of printing experience, his expertise in the craft was unmatched, but it was his humility, curiosity, and love for the craft that left a lasting impression on those who knew him. Through his encounter with the younger generation Bob discovered yet another aspect of printmaking to explore, proving that the thirst for knowledge knows no age. As we celebrate Bob’s remarkable life and the impact he had on the letterpress community, let us remember his words of wisdom: “Ink runs in my veins,” for it is the passion that drives true craftsmanship.

To say that Bob Read will be missed is an understatement. We will forever cherish the memories we shared, the laughter we enjoyed, and the lessons he imparted. The legacy Bob leaves behind is one of inspiration, empowerment, and the belief that each of us possesses the capacity to achieve greatness.

Bob, we extend our deepest gratitude for everything you have shared with us and the countless others whose lives you touched. Your guidance and friendship have shaped not just myself but many others in immeasurable ways. We find solace in knowing that your spirit will forever live on within us.

In a world dominated by technology and artificial intelligence, it is easy to overlook the significance of our physical surroundings and the cultural heritage that defines our communities. Small country towns, with their unique typographic vernacular, are home to a treasure trove of stories, history, and human connections. As design students and enthusiasts, stepping out of the classroom and immersing ourselves in these rural communities can provide a fresh perspective and a vital counterbalance to the rise of AI and the machine.I urge you to  explore the importance of embracing rural typographic heritage, supporting local businesses, and preserving the soul of our country.

The Fading Glory of Small Country Towns: Over the years, the digital revolution has reshaped the way we conduct business and interact with the world. Online platforms and e-commerce have enabled global connections, but they have also posed challenges for small, local businesses in rural areas. As these businesses struggle to adapt to the changing landscape, we witness the gradual decay of the charming townscapes that once thrived on human connections and local craftsmanship.

Embracing the Rural Typographic Vernacular: The rural typographic vernacular is a visual language that speaks volumes about the history and culture of a community. Hand-painted signs, weathered facades, and timeless letterforms on buildings tell stories of local trades, family-run businesses, and the values that have bound these towns together for generations. Engaging with this typographic heritage allows us to understand the essence of humanist interactions and fosters a sense of community that is often lost in the digital world.

Supporting Local Businesses: Preserving the character of small country towns is not just about aesthetics; it also means supporting the local businesses that have stood the test of time. These businesses are the backbone of rural economies, and their survival relies on the support of the communities they serve. By actively patronising these establishments, we contribute to their economic resilience and help preserve the cultural significance they bring to our lives.

Celebrating Craftsmanship and Artistry: The typographic treasures found in small country towns are not just random scribbles; they are the result of skilled craftsmanship and artistic expression. Each sign and facade represents the effort, talent, and passion of individuals who have contributed to the cultural tapestry of the community. By celebrating these art forms, we promote creativity and encourage others to value the unique heritage of each place they visit.

Preserving for Future Generations: As we embrace the possibilities offered by AI and technology, we must remember that preserving our cultural heritage is equally important. The typographic vernacular of small country towns is a testament to the human touch, the connection between people and place, and the sense of belonging that goes beyond the digital realm. By actively engaging with and preserving these typographic treasures, we ensure that future generations can also experience the beauty and authenticity of these communities.

Conclusion: Getting design students out of the classroom and into small rural towns to observe and experience the typographic vernacular is an essential step towards balancing the rise of AI and the machine. It allows us to reconnect with the humanist interactions, cultural heritage, and local businesses that form the heart of our country. By celebrating the typographic treasures of these towns, we can inspire others to appreciate the beauty of our shared past and ensure that it continues to shape our collective future. So, let’s step outside, explore, and celebrate the essence of small country towns while preserving their soul for generations to come. 

In the realm of printing, innovation and progress have always been driving forces, propelling newspapers forward into new realms of efficiency and quality. The Walcha News, a small-town publication with a rich history [link to earlier post], experienced a significant milestone in 1972 when they bid farewell to their original Wharfdale cylinder letterpress machine and welcomed a technological marvel from across the seas—the Robert Miehle press. This transformative change marked a leap forward for the newspaper and opened up new possibilities in the realm of printing.

Originating from the forward-thinking brain of Robert Miehle, a pressman from Chicago, USA, the Miehle press revolutionised the printing industry with an improvement to the Two-Revolution principle. Patented in 1884, Miehle’s crank-like device, attached to the side of the continuously rotating bed driving gear, addressed challenges faced by earlier machines. The innovative mechanism eliminated excessive vibration, noise, and the risk of cylinders moving out of sequence with the bed racks. Maintenance became less of a burden, and much higher printing speeds could be achieved without sacrificing quality.

To truly understand the significance of the Miehle press, we must delve into the history of the Two-Revolution principle itself. Originally invented and patented by Scottish inventor David Napier in 1830, this principle utilised an impression cylinder with a circumference equal to the length of the type bed. The result was a press with a lower profile, offering distinct advantages to operators. At the end of the printing stroke, the cylinder would lift slightly, allowing the forme (the set text) to return underneath it. One notable advantage of the Two-Revolution press was that the printed sheet was delivered face-up from the impression cylinder, eliminating the problem of slurring or marking on the printed paper, caused by take-off cylinders.

The Miehle press quickly gained popularity worldwide thanks to its simple yet rugged construction. Known for its reliability and durability, many of these presses remained operational well into the latter half of the 20th century, a testament to their quality craftsmanship and engineering.

In 1972, the Walcha News eagerly embraced this new era of printing technology.  Their original enormous Wharfdale cylinder letterpress machine made way for a second-hand Miehle press, one that had previously served the Sydney Technical College, further attesting to its esteemed reputation. The arrival of the Miehle press marked a significant turning point for the newspaper, propelling them into the realm of modern printing methods and streamlining their production process.

The transition from the Wharfdale to the Miehle press represented more than just a change in machinery; it symbolised a commitment to progress and a dedication to providing readers with a higher standard of print quality. The Walcha News embraced the technological advancements that the Miehle press offered, enabling them to meet the demands of an evolving industry while upholding their commitment to delivering timely and accurate news to the community.

The presence of the Miehle press in the Walcha News enabled the newspaper to continue its mission of preserving the town’s stories, with enhanced efficiency and a refined level of print quality. It exemplified the publication’s commitment to adaptability and progress. It served as a reminder that while technology may change and evolve, the dedication to providing quality journalism remains at the core of every community newspaper.

While the Walcha News may no longer be in operation, the Miehle press remains a silent witness to the newspaper’s impactful journey. The press sits dormant in the printing room, awaiting its next chapter in life. It has the potential to become a valuable piece of Australian print history, whether as part of a museum collection, a centrepiece in a tour showcasing the evolution of printing technology, or even as a tool for contemporary artists seeking to infuse their work with the essence of tradition.

This dormant press represents an opportunity for individuals or organisations to secure a tangible piece of Australian printing history. Its presence serves as a reminder that while the world of journalism may undergo significant transformations, the dedication to providing quality news and storytelling remains timeless. It stands as a testament to the enduring spirit of community newspapers, where innovation and heritage intertwine, and as a reminder that the core values of journalism transcend the passage of time.

It’s a sad day indeed when we bid farewell to these metal community heroes. They may not have had the glitz and glamour of the big city papers, but wow, did they serve a purpose! These regional newspapers were more than just ink on paper. They were the lifeblood of the communities, the heartbeat of our towns. They knew every nook and cranny, every resident’s name, and every juicy piece of gossip that made the rounds at the local pub. They were like the nosy neighbour you couldn’t help but love.

One of the biggest casualties of their demise is the loss of printed obituaries. Gone are the days when you could open up the paper and discover that old Mrs. Jenkins finally kicked the bucket at the ripe age of 102, or when you could shed a tear for poor old Mr. Thompson who couldn’t resist that last donut. Now, we’re left to rely on Facebook and Twitter for our morbid curiosity fix. It just doesn’t have the same personal touch.

And let’s not forget about court reporting. Small regional newspapers were like the Sherlock Holmes of our communities. They were the ones who brought locals all the sordid details of Mr. Johnson’s embarrassing shoplifting incident or Mrs. Anderson’s scandalous affair with the town mayor. It was like having a front-row seat to a real-life soap opera, and we loved every minute of it! But now, with the rise of the dotcom mafia, we’re left with filtered news feeds and biased algorithms deciding what’s important and what’s not. Talk about a missed opportunity for some serious courtroom drama!

So let’s raise a glass to those small regional newspapers of yesteryear. They may be gone, but they’ll forever hold a special place in our hearts. And let’s support the journalists who continue to keep the spirit of community reporting alive. 

Preserving these remarkable pieces of machinery requires collective effort and support from the letterpress and typographic community. If you find yourself intrigued by the stories we’ve uncovered and have the means or resources to contribute, we urge you to reach out to Dzintra Menesis or Clint Harvey. By contacting us, you can express your interest and willingness to assist in the preservation of these iconic relics.

It is through the dedication and passion of individuals and organisations that we can ensure the legacy of letterpress printing lives on. By safeguarding these symbols of Australian printing heritage, we pay homage to the traditions of the past while inspiring future generations of printers and typographers.

Contact Clint Harvey if you are interested or able to assist with preserving this piece of Australian print history.

A mobile printmaking studio housing authentic 19th century printing presses and typography archives will once again see the craft of letterpress printing return to the regions of Australia. From within a custom built 40’ shipping container the SPAM (Specialty Printing Activation Module) Project offers community outreach visual arts workshops to regional and remote Queensland.

The project was initiated in late 2021 with a successful kickstarter and crowd sourcing campaign that secured the 40”shipping container. The container fabrication of the container has been recently completed with the mobile mobile design and printmaking space intending to be fully functional by mid of 2022. The project has gained momentum with the support of Clint Harvey and the Bacon Factory who has gifted original letterpress equipment and a number of authentic FT Wimble items that will allow the project to facilitate workshops and printmaking activities while traveling to regional and remote locations.

It’s all about taking letterpress to the people the SPAM project will allow letterpress equipment and world class letterpress practitioners to travel to any location in Australia that can be accessed by a truck and shipping container.
For many residents in regional and remote areas of Australia, this will be the first time that they’ve will have access to a letterpress studio offering community classes and  and visual arts workshops.

The mobile printmaking studio will offer community demonstrations and workshops on the history of printing, the art of letterpress and its relevance to graphic design in a digital world. 

The SPAM  project will expose community to printmaking and will work with them to share their community’s stories via the printed word. The project will bring the art and history of letterpress printing to educational centres, public libraries, schools and cultural events, street fairs, and festivals ― where lovers of graphic design, books, arts & crafts, and the written word, can enjoy this old and venerable printmaking technique in a new and modern way.

SPAM will offer the community an understanding of traditional printmaking basics that will change the way the public will look at books & printed material forever. Demonstrations and workshops will be modified to suit groups of any size or age; from a 30 minute in-classroom event for 1st graders with short attention spans to an all-day or week long workshops designed specifically for serious artists and printmakers. For those who wish to extend their art practices combining letterpress, photography and bookmaking further, the mobile workshop will offer membership access to the studio as it resides in rural and remote locations for a number of months before moving onto the next exciting location.