The drawing-room portrait gallery of eminent personages : Principally from photographs by Mayall in Her Majesty's private collection, and from the studios of the most celebrated photographers in the Kingdom. Engraved on steel by D.J. Pound /

At head of title: Dedicated to Her Most Gracious Majesty the Queen.

Synopsis formularum medicarum, quibus utuntur medici in Generali Barcinonensi Nosocomio, quas studiosè selectas, propriâque experientia comprobatas, ita in unum concinnarunt doctores medici Bonaventura Milàns ..., Carolus Vincentius Rossell ...

Contiene: "Synopsis formularum chirurgicarum ... / quas concinnarunt Josephus Prats ... Carolus Serra". "Cathalogus medicaminum tum simplicium ... / exhibuit Hemeterius Olzina & Malet ..."

Græcæ grammaticæ Westmonasteriensis institutio compendiaria in usum juventutis civitatibus americanis studiosæ ...

Mode of access: Internet.

Institutiones ad fundamenta linguæ Hebrææ : in usum studiosæ juventutis /

Includes indexes.

Cornelii Schrevelii Lexicon manuale Graeco-Latinum : in studiosæ juventutis gratiam, cùm ab ipso autore, tùm ab aliis eruditis viris sæpè jam excusum.

Mode of access: Internet.

Who's who in commercial art and photography; a guide to artists, photographers, agents, studios, representatives and buyers of art in the graphics field.

Mode of access: Internet.

Mathematico-historica geographia : seu, Totius orbis habitabilis descriptio in usum studiosæ juventutis in Prussia literaturæ operam navantis /

Title vignette (printer's device)

Acoustics of small rooms intended for use as studios

The aims of the work reported in this thesis are: (1) To investigate the application of a Wave Analysis Approach in the study of the acoustics of small rooms where the conditions for a Geometrical Statistical Analysis are not valid.

Calle Ocho revived : artists studios commemorate the role of Cuban exiles (1960-1973) in the development of Calle Ocho

The purpose of this study was to learn about the historical development of Eight Street in order to use this information in the revitalization of this area with the new migration of artists. This study demonstrated a cyclical pattern prompted by the economical success of the immigrant group. The 1960 Cuban migration brought an era of life to Eight Street. As the Cubans became successful they left the area causing a decline. Presently the area is witnessing a migration of artists that may bring it new life. The thesis retrofits buildings in this area to create a series of artist studios. These studios are designed using elements of 1960 Cuban urbanity, an era of robust urban life for this street.

Tensions, transisitions and triumphs : examining the transitional experience of fashion students between school and university

Joining any new community involves transition and adaptation. Just as we learn to adapt to different cultures when we choose to live abroad, so students learn the language and culture of an academic community in order to succeed within that environment. At the same time however, students bring with them individual learning styles and expectations, influenced by their prior experiences of learning and of life more generally. Some have excelled at school; others have come to fashion seeking something in which to excel for the first time. Commencing a degree in fashion design brings students into contact with peers and lecturers who share their passion, providing them with a community of practice which can be both supportive and at the same time intimidating.----- In Queensland where university level study in fashion is such a new phenomenon, few applicants have any depth of training in design when they apply to study fashion. Unlike disciplines such as Dance or Visual Art, where lecturers can expect a good level of skill upon entry to a degree program, we have to look for the potential evidenced in an applicant’s portfolio, much of which is untutored work that they have generated themselves in preparation for application. This means that many first year fashion students at QUT whilst very passionate about the idea of fashion design are often very naïve about the practice of fashion design, with limited knowledge of the history or cultural context of fashion and few of the technical skills needed to translate their ideas into three dimensional products.----- For teachers engaging with first year students in the design studios, it is critical to be cognizant of this mix of different experiences, expectations and emotions in order to design curricula and assessment that stretch and engage students without unduly increasing their sense of frustration and anxiety. This paper examines a first year project designed to provide an introduction to design process and to learning within a creative discipline. The lessons learnt provide a valuable and transferable resource for lecturers in a variety of art and design disciplines.

A reflective model for colour studies learning

In a university context how should colour be taught in order to engage students? Entwistle states, ‘What we learn depends on how we learn, and why we have to learn it.’ Therefore, there is a need to address the accumulating evidence that highlights the effects of learning environments on the quality of student learning when considering colour education. It is necessary to embrace the contextual demands while ensuring that the student knowledge of colour and the joy of discovering its characteristics in practice are enhanced. Institutional policy is forcing educators to re-evaluate traditional studio’s effectiveness and the intensive 'hands-on' interactive approach that is embedded in such an approach. As curriculum development involves not only theory and project work, the classroom culture and physical environment also need to be addressed. The increase in student numbers impacting the number of academic staff/student ratio, availability of teaching support as well as increasing variety of student age, work commitments, learning styles and attitudes have called for positive changes to how we teach. The Queensland University of Technology’s restructure in 2005 was a great opportunity to re-evaluate and redesign the approach to teaching within the design units of Interior Design undergraduate program –including colour. The resultant approach “encapsulates a mode of delivery, studio structure, as well as the learning context in which students and staff interact to facilitate learning”1 with a potential “to be integrated into a range of Interior Design units as it provides an adaptive educational framework rather than a prescriptive set of rules”.