moveable TYPE studio

25–27 July 2025 – Dzintra Menesis

Just weeks after our residency in Mackay, Moveable Type Studio (MTS) rolled into Rockhampton for the annual River Festival, a shift from gallery calm to festival buzz. Parked behind Customs House and the Rockhampton Museum of Art, our 40-foot shipping container studio became an unexpected site of discovery and dialogue. Some festival-goers stumbled upon us with curiosity; others sought us out with intention. Either way, the engagement was immediate and electric.

Rolling into Rockhampton from Mackay, five hours on the road—the nerves were already high. Advance Rockhampton (the local council), had lined up something pretty wild: the Moveable Type Studio was going to be craned into place. Not just shifted, not inched along with a forklift—craned. That’s the kind of big, gutsy move that only a council with balls as big as a Brahman bull would sign off on.

When the container finally pulled up in the alley behind the Rockhampton Museum of Art, the show began. Two 12-ton Franna cranes moved in like a pair of heavy metal ballet dancers, swinging quietly into position. It was crane ballet—slow, precise, and just a little terrifying—as they lifted the black beast off the truck and swung it neatly into its tight corner. We were anxious, we were excited, and the container itself was about to start a whole new chapter in its journey, tucked right up alongside the Museum of Art.

Hands in Ink, Minds in Motion

Inside the container, Clint Harvey, Mattew Lyten, Matteo Calisti and I led hands-on encounters that blended traditional handset letterpress with contemporary practice. From free daily demonstrations to our ever-popular “Ink & Drink” sessions, participants rolled ink, set type, and operated proof presses, rediscovering the visceral joy of making something with their hands.

For graphic designers and print enthusiasts, the Moveable Type Studio offered a rare chance to step away from screens and into the physical world of type. The smell of ink, the weight of wood type, the mechanical rhythm of the press; these sensations stood in stark contrast to the instant gratification of digital design. In an age of AI and automation, the studio reminded people that creativity is also about slowness, touch, and connection.

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A Space for Generations

Parents and children moved fluidly between play, learning, and memory. What began as casual curiosity often grew into thoughtful conversations about history, craft, and community legacy. The studio became a space where generations met through ink and paper, where kids discovered the “language” of print and adults remembered its role in shaping culture.

This multigenerational engagement was one of the most powerful aspects of our time in Rockhampton. Families weren’t just watching,  they were participating. Children rolled ink with wide-eyed wonder while parents reflected on the printed forms that shaped their own childhoods. It was a shared experience, not a commodity. Visitors weren’t there to buy, they came to connect.

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Anchored in Local Legacy

Our time in Rockhampton deepened our connection to the region’s rich print heritage. We were fortunate to meet with Derek Lamb, whose imprint The Officina Athelstane and exhibition Man of Letters at the Rockhampton Museum of Art showcased works printed on an 1887 Alexandra press. His broadsides, books, and typographic posters, rooted in local history and laced with joyful satire, offered a living bridge between tradition and contemporary commentary.

We also spent time with City Printing Works, a fourth-generation family-run print shop that’s still very much part of Rockhampton’s daily enterprise. It’s not just a legacy,  it’s a living, working business. They’re printing everything from business cards and brochures to safety tags for local industries, schools, and creatives. The presses are still rolling, the team still knows their craft, and the place hums with quiet purpose.

Their archive is a tactile time capsule: type, woodblocks, and vintage letterpress machinery that’s not just for show, but still in use. You can feel the continuity,  the same tools used decades ago are still helping people get their message out today. Being there during the Rockhampton River Festival felt like plugging into something enduring. It reminded us that print isn’t just history,  it’s still here, still useful, still connecting people.

Keep the Presses Rolling

With Rockhampton River Festival wrapped and the container doors latched, the team wound down over a quiet brewski at the Oxford Hotel, though locals just call it the Ox. It was the perfect full stop before the next chapter.

Next stop: Ipswich. The container rolls into the Queensland Museum Railway Workshops for a four-week residency, where the journey continues, digging deeper into heritage, culture, and the stories we carry forward through print.

Rockhampton reminded us that letterpress isn’t just a nostalgic craft, it’s a living, breathing practice. From the hum of City Printing Works to laughter echoing through our container studio, the festival affirmed that print still has the power to connect, disrupt, and delight.

As Moveable Type Studio continues its tour, we carry these stories with us, inked impressions of community, curiosity, and creative exchange. Whether you’re an educator, artist, funder, or simply someone drawn to the smell of ink and the rhythm of the press, we invite you to stay connected.

Follow our journey across regional Queensland and beyond,
reach out if you see a collaboration waiting to happen,
and reflect on the value of tactile creativity in a fast-moving world.

There’s something about the road, about packing up a 40-foot container full of type, ink, and possibility, and rolling it into towns where creativity waits just beneath the surface. From Mackay to Rockhampton, Moveable Type Studio didn’t just bring letterpress to the people, we brought a spark. This is a story of connection, community, and the kind of art that leaves ink on your fingers and warmth in your chest.

Clint Harvey – August 2025

In July 2025, Moveable Type Studio (MTS) launched its first regional Queensland tour, made possible by the Flying Arts Alliance, the Regional Arts Fund, and our generous host, Artspace Mackay. This inaugural residency marked a milestone in our mission to bring the tactile, historic, and community-building practice of letterpress printing to regional and remote audiences.

Our arrival in Mackay aligned perfectly with two major book arts events, the Libris Awards and the ABBE (Artist Book Conference and Book Fair). Artspace Mackay was buzzing with national and local creative energy, and the freshly refurbished MTS container, repainted, reimagined, and ready, was primed to engage both seasoned book artists and curious newcomers.

I am grateful to have studied design during an era where the craft was deeply respected. The absence of instant digital creations allowed for the development of unique, emotionally resonant pieces. Thank you to Clint of  Moveable Type Studio for sharing his expertise with our region.
Jody Lee Euler – Redhotblue Creative Agency

Getting the Beast Ready

In the lead-up to the residency, we transformed the MTS container at The Paint Factory in Yeronga (Brisbane). Gone was the weathered purple paint, replaced with a sleek matte black finish that gave the container a bold new presence. This wasn’t just a facelift; it was a statement, breathing new life into something industrial and aged, making it relevant again.

To amplify its personality, we collaborated with Brisbane-based sign painter Jason, whose fluoro, fruit-shop-inspired signage added wit, colour, and charm. These hand-painted signs traveled inside the container and were reassembled on-site, ensuring MTS radiated the same playful energy that defines the printmaking experience.

Rolling into Mackay

On a cool Monday evening, the container was loaded onto a semi-trailer side-loader and began its journey north. Twelve hours and countless bumps later, it arrived at Artspace Mackay. I (Clint), along with Dzintra and Robert Heather, flew in late Tuesday night, buzzing with anticipation. Even the taxi ride from the airport sparked recognition, local residents had already heard about the workshops and were excited. MTS was already making waves.

By 4:30am Wednesday, I was pacing the carpark of Artspace Mackay, nerves high. The container arrived battle-scarred but structurally sound. Our original plan to install it on the grass near the gallery was thwarted by wet ground, so with the guidance (and understandable anxiety) of Artspace Director Tracy Heathwood, we repositioned to a more stable spot in the carpark. With a bit of charm and quick action, we made it work.

Print, Pour, and Play

Friday night marked our public opening with the signature “Ink & Drink” event. Around 30–40 guests, many in town for ABBE and the Libris Awards, joined us for casual printing, conversation, and drinks. We showcased traditional wood type and laser-engraved relief plates designed by Ron Monier and produced at The Edge Makerspace, State Library of Queensland.

The energy was electric. Dzintra and I sang and danced (figuratively and occasionally literally) as guests pulled prints, got inky fingers, and reconnected with the physicality of type. It wasn’t just a demo, it was a celebration of curiosity and participation.

Workshops and Awards Night

Saturday was packed with public workshops. We ran three sessions for a diverse crowd—families, regional makers, and curious passersby. A standout moment came from a Fancy Kransky sausage maker from Bowen, who saw parallels between his craft and ours: both require care, patience, and a love for the handmade.

Later, Sean from Primal Coffee Mackay dropped by, pulled a few proofs, and shared insights on slowing down, whether roasting beans or setting type. These conversations affirmed why MTS travels: to connect practices, affirm values, and make art accessible.

That evening, we attended the Libris Awards opening. With 150 attendees, it was a celebration of artists’ books from across Australia. The gallery was stunning, the works inspiring, and the speeches heartfelt. Artspace Director Tracy Heathwood honoured Robert Heather, whose legacy, founding Printbank Mackay and the Libris Awards, added deep resonance to our presence.

Hands in the Ink

Sunday shifted to structured, three-hour workshops. We hosted two sessions with eight participants each, diving into both traditional and contemporary letterpress techniques.

Using magnets on the bed of our FAG 405 Swiss proof press, we bypassed chases for faster setup while maintaining tactile engagement. Participants worked with wood type and Ron Monier’s laser-engraved collage plates, producing limited-edition prints and gaining a deeper appreciation for the process.

Legacy Meets Letterpress

Our final day in Mackay was devoted to a special workshop with Printbank Mackay, the artist collective founded by Robert Heather 19 years ago. With generous support from Traci Lietzke—former president and a driving force behind the group—we welcomed eight members for a full-day poster-making session. Most were seasoned relief printers, but for many, this was their first encounter with movable type.

Together, we explored the fundamentals: type measurement, font families, and collaborative layout strategies (a.k.a. ‘design via committee’). Working with a rich mix of Italian, French, and American wood type, the group designed and printed two-colour posters using layered overprinting techniques. The make-ready process was meticulous and hands-on, but the results—12 limited-edition prints—spoke volumes. Each piece was a testament to shared effort, creative curiosity, and a deepening appreciation for the legacy of letterpress.

When the Hinges Give Way

Just as we caught our breath, the container reminded us of its wild side. After four days of heavy use, the fold-down door hinges gave out. Tuesday became a scramble to find a welder. An on-site fix failed, so we secured the door and arranged repairs in Rockhampton before our next stop: the Rockhampton River Festival.

This studio isn’t just a space, it’s a 40-foot beast that travels, weathers the road, and occasionally bites back. But the reward? Unforgettable engagement, powerful conversations, and deep connections with regional creatives.

What Mackay Gave Us

Mackay gave us everything we hoped for: visibility, impact, dialogue, and collaboration. The community embraced MTS with warmth and curiosity. Artspace Mackay welcomed us wholeheartedly. And the legacy of Robert Heather added rich layers of meaning.

MTS is about slowing down, honouring the process, and making space for creativity in communities often overlooked. Mackay proved that a shipping container full of type can create far more than prints, it creates connection.

A Night of Collage, Camaraderie, and Creative Ritual with Ron Monnier and Moveable Type Studio

Several weeks on, and the scent of ink still lingers. Held at The Paint Factory in Yeronga and hosted by Movable Type Studio, this wasn’t just a workshop. It was a gathering. A chance to slow down, make something with our hands, and connect with others through shared creativity.

Why We Do This

At Movable Type Studio, we believe in three things:

• That printmaking is a ritual—a way to reconnect with the physical world.

• That manual craft helps us recover from the overload of screens and digital noise.

• That community matters, and creativity is best when shared.

INK & DRINK brought all of this to life.

Collage as Conversation

The night began with a walk through our mobile studio—a converted shipping container filled with vintage presses, wood type, and the smell of ink. Then came Ron Monnier, who skipped the formalities and got straight to the good stuff: collage.

Ron’s style is raw and playful. He invited us to cut, paste, and rearrange the world as we saw fit. No rules, just scissors, glue, and imagination. Twenty brave folks joined in—artists, teachers, curious locals—and created surreal, funny, and strangely beautiful works. Heads where legs should be. Eyes on elbows. A joyful mess.

From Cut to Press

Behind the scenes, Ron’s collages had been turned into printing plates using laser engraving. This blend of old and new—handmade art turned into press-ready plates—let us print his designs using traditional letterpress methods.

Two presses ran side by side. One printed bold wood type that read “Go With The Flow.” The other carried Ron’s custom plate, inked and pressed with care. The results weren’t just prints—they were collaborative artefacts, each one shaped by the hands and ideas of everyone involved.

What It Means to Us

INK & DRINK is part of a bigger idea: creating events that feel personal and creative, but are also open and welcoming. Whether you’re an artist, a teacher, a parent, or just someone curious about ink and paper, there’s a place for you here.

We want to make printmaking accessible, repeatable, and meaningful—not just a technique, but a way to tell stories, build community, and keep old skills alive in new ways.

Looking Ahead

Next up, we’re heading north for our Central Queensland tour. We’ll be bringing the mobile studio to towns and communities across the region. If you’re nearby—whether you’re a school, a council, a local artist, or just someone who wants to see what it’s all about—get in touch. We’d love to meet you.

And if you’re someone who wants to collaborate, support, or help us grow this work, we’re open. Let’s build something together that’s bold, tactile, and rooted in place.

Because print still matters. And so does community.

In a world that often feels dominated by the speed of technology and the pursuit of perfection, Delphie Joy stands out as a refreshing beacon of creativity and spontaneity. 

Her philosophy of creative play encourages us here at the Moveable Type Studio to embrace imperfections, find joy in the process, and rediscover the unrestrained creativity we often leave behind in childhood. Her philosophy of creative play encourages us to embrace imperfections, find joy in the process, and rediscover the unrestrained creativity we often leave behind in childhood.

Challenging Perfectionism: A Pathway to Freedom

Perfectionism can stifle creativity, but Delphie Joy’s workshops offer a powerful antidote. With a multi-decade background in design, experience in creative mental health care, and the ever-evolving lessons of parenting four children, Delphie’s approach emphasizes that creativity isn’t about achieving flawlessness but about exploring, experimenting, and expressing. Her sessions encourage participants to let go of rigid expectations, make mistakes, take risks, and uncover unexpected beauty in their work.

The Magic of Handmade Tools

Delphie’s dedication to crafting her own tools is a testament to her philosophy of play and experimentation. From custom brushes to unconventional mark-making implements, she transforms ordinary materials into extraordinary tools. In her workshops, participants learn to make their own tools, fostering a deeper connection to the creative process and inviting a sense of curiosity and wonder.

Exploring New Tools at the Moveable Type Studio

At Moveable Type Studio, we embrace the art of custom tool creation through innovative techniques like laser-engraved woodblocks for letterpress plates. This fusion of modern technology with traditional methods empowers artists to take ownership of their tools and creative processes, pushing their creative boundaries further.

Workshops Designed to Inspire Play

Delphie Joy’s workshops are immersive experiences that offer participants “permission to play.” Whether you’re a seasoned artist or a beginner, her sessions welcome you with open arms. These workshops blend guided techniques with freeform exploration, fostering an environment where creativity flourishes. Delphie’s work celebrates joy, imperfection, and resilience, embracing the spontaneity of creative experimentation. Each piece is a reflection of her belief in art as a language for storytelling and self-discovery.

Join Us at The Paint Factory for Ink and Drink

We’re thrilled to announce that Delphie Joy will be sharing her creative play approach at our upcoming Ink and Drink event at The Paint Factory! This special evening will feature the Moveable Type Studio, where guests can experience Delphie’s inspiring methods firsthand. Through playful lettering, handmade tools, and design demonstrations, attendees will explore the joy of hands-on creativity while sipping on their favorite beverages in a vibrant, collaborative atmosphere.

Permission to Play Membership Group and Workshops

Delphie invites you to join the ‘Permission to Play’ membership group, where you can continue to explore creativity in a supportive community. Her in-person workshops offer a safe space to build your capacity to trust yourself and explore. Research shows that connecting in social spaces, exploring creativity, and holding compassion for our experiences significantly benefit our mental well-being.

Custom Lettering Work

Custom lettering is Delphie’s specialty! Her work, deeply rooted in gestural calligraphic marks and extensive creative play, reflects a profound understanding of creativity as a tool for connection and well-being. Each piece she creates is a celebration of individuality, spontaneity, and the beauty of the unexpected.

Don’t miss this chance to reconnect with your inner artist and discover the freedom of creative play. Whether you’re a curious beginner or an experienced designer, Delphie’s techniques combined with the joy of contemporary letterpress at the Moveable Type Studio are sure to leave you feeling inspired, refreshed, and ready to embrace the imperfect beauty of the creative process.

Mark your calendars and join us at The Paint Factory for an evening of creativity, connection, and, of course, plenty of play!

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.