- Following 861
- Followers 5.2K
- Engagement 1%
- Avg likes 56
- Avg comments 1
About RMIT Design Archives
RMIT Design Archives (@rmitdesignarchives) is a College & university creator on Instagram, also filed under Education & Career. The account has 5,151 followers and 845 published posts. Recent posts average 56 likes and 1 comment, an engagement rate of 1%.
RMIT Design Archives belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. RMIT Design Archives follows 861 accounts, so the audience is roughly 6 times the size of the list followed. RMIT Design Archives is set up as an Instagram business account. Flinque files RMIT Design Archives under College & university, with Education & Career as a secondary category.
The Instagram bio for RMIT Design Archives runs to 16 words. The latest activity Flinque has on record for RMIT Design Archives dates from May 2026.
Story Highlights
Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.
845 Posts
Of the 10 most recent posts shown for RMIT Design Archives, 5 are single images, 4 are carousels and 1 is a video. No single format accounts for most of them. RMIT Design Archives has built a substantial archive of 845 posts. Against the audience, that is roughly 6.1 followers for each post published. RMIT Design Archives also keeps 8 story highlights on the profile. All 10 carry captions, averaging 194 words each. The captions are written mainly in English. Words that recur across them include image, melbourne, credit, australian and were. The captions tag #designarchives, #designhistory, #mdw, #melbournedesignweek and #typography.
Thank you to everyone who joined us for our event Spellbound in the Archives: The Jigsaw Factory and Troppo Print Studio, and a special thank you to our presenters Matt Feder and Sarah Murphy from Troppo Print Studio.
In this session Sarah and Matt led us on a deep dive into the design archives of the Jigsaw Factory and their impact on contemporary design, and publishing. The program forms part of Sarah and Matt’s ongoing research of archival collections of graphic design. Participants were given an inside look at the making of Troppo’s new limited-edition artist book, The Dictionary of Hand Screen Printing and the rich source material that informed it, especially The Dictionary of Magic ─ a lavishly illustrated large-format book containing games designed by the Jigsaw Factory.
We wrapped up the session by trying our hand at Letraset, a hands-on and engaging way to finish the event.
Thank you, Matt and Sarah!
Image credit:
Spellbound in the Archives: The Jigsaw Factory and Troppo Print Studio, RMIT Design Archives, May 18, 2026
#designarchives #jigsawfactory
In 1998, designer Stephen Banham (Letterbox) and architect/macromedia specialist Peter Hennessey (Drome Pty Ltd) created Typotronic – an electronic game that challenged kids to spot and build words from Melbourne’s iconic signage, from Pellegrini’s and Flinders Street Station to the American Donut van and Dinkum Pies.
After disappearing into digital oblivion, Typotronic is back. RMIT’s Born Digital Cultural Heritage Lab has brought the game to life again through digital emulation – complete with original sound effects (yes, including tram dings 🚋).
📍 See it in action
RMIT Design Archives Gallery Window
154 Victoria Street, Carlton
🗓️ Melbourne Design Week | 14–24 May
Presented by RMIT Design Archives and the RMIT Born Digital Cultural Heritage Lab. AusEaaSI is supported by the Australian Government through the ARC Linkage Infrastructure, Equipment and Facilities grants. Melbourne Design Week is an initiative of the Victorian Government through Creative Victoria.
Visit the #MDW website to find out more about this transformative project.
Image credit:
Game On! Typotronic Revisted in the RMIT Design Archives Window. Design by Stephen Banham. Image provided by Stephen Banham.
#MelbourneDesignWeek #NGV
Due to unforeseen circumstances, we regretfully have to cancel tomorrow's Melbourne Design Week event, Born Digital: the architectural archives of Bernard Joyce and William Nankivell.
We are sorry for any inconvenience or disappointment this may cause.
Please keep an eye on the RMIT Library Events page for other events in the RMIT Design Archives, and we look forward to seeing you at some time in the future.
Typotronic, a 1998 electronic game by Stephen Banham (Letterbox) and Peter Hennessey, has been rescued from digital oblivion by RMIT’s Born Digital Cultural Heritage lab.
Once again, players can explore Melbourne’s typographic landscape—from Pelligrini’s to the American Donut van—complete with original tram ‘dings’.
See and hear an emulation of the game being played in the RMIT Design Archives Gallery Window on Victoria Street during #MelbourneDesignWeek.
Presented by RMIT Design Archives and the RMIT Born Digital Cultural Heritage Lab. With thanks to Professor Sarah Teasley, Caroline Choong, Erik North, and Stephen Banham and Peter Hennessey.
AusEaaSI is supported by the Australian Government through the Australian Research Council’s Linkage Infrastructure, Equipment and Facilities grants: The Australian Emulation Network: Born Digital Cultural Collections Access & The Australian Emulation Network Phase 2 – Extending the Reach.
Melbourne Design Week is an initiative of the Victorian Government through Creative Victoria.
Date/s and Location: Melbourne Design Week 14 to 24 May
RMIT Design Archives Gallery window, 154 Victoria Street, Carlton.
#MDW #typography #digitalheritage
Maggie spoke about her work on Caroline Chisholm Terrace (1977-1979), an elderly citizens development financed by the Housing Commission of Victoria. Located at 402 Corrigan Road, Keysborough, the project extended Edmond & Corrigan’s partnership with the Parish of the Resurrection. In 1976 the Parish agreed to lease a parcel of land on its boundary to the Housing Commission Victoria on the condition that Edmond & Corrigan would be consulted on the design and landscaping of the housing, ensuring strong links with the existing parish buildings and landscaping.
Maggie conducted surveys and interviews with elderly residents which directly informed the design. Standard Ministry of Housing layouts and dimensions were modified to promote social contact between residents—for example kitchens oriented to the front and the inclusion of a communal BBQ area—an early instance of a collaboration between government architects and a private architectural practice.
The development comprised 27 affordable units (21 bed-sitting room units and 6 one-bedroom units, described as ‘Darby and Joan’ units in the documentation.) The landscaping was undertaking by Peter Avery of Environmental Involvement landscaping, to harmonise with the existing landscape on the adjacent church properties.
Good luck with your thesis research, everybody.
Image credit:
Maggie Edmond and Melbourne School of Design Students, 2026, RMIT Design Archives. Photographer Simone Rule.
#architecture #specialcollections #designarchives #DesignHistory #edmondcorrigan
The Kenyon House in Croydon, Victoria was the first architectural commission by Peter Corrigan in 1964, then a fourth-year architecture student at The University of Melbourne. The completion date is noted as November 1974. In 2021 the Maroondah Council confirmed a permanent heritage overlay for the property given its local aesthetic, rare, technical and associative significance.
This perspective of the residence was drawn by Brian Burr. Burr also studied at The University of Melbourne, completing his Bachelor of Architecture in 1964. Burr would go on to become an internationally recognised architectural illustrator being awarded the William J. Mitchell Chapter Prize in the 2016 Australian Achievement in Architecture Awards Australian Institute of Architects.
You can view the display of artefacts from the RMIT Design Archives collection on Level One of the RMIT University Library.
Image credit:
Perspective of Kenyon House, Croydon, architect, Peter Corrigan, illustrator, Brian Burr, Gift of Edmond & Corrigan,
#RMITLibrary #PeterCorrigan #rmitdesignarchives #rarebooks #specialcollections
An art director, designer, illustrator, calligrapher and photographer, in 1962 Maguire became one of the only six Australian’s included in the worldwide book ‘Who’s Who in Graphic Art.’ He was also a founding member of the Society of the Ambulant Cheese, whose members dominated Australian graphic design in the 1950s and 1960s, and was a long-time president of the Art Directors Club. He was also the first Australian to be elected to the International Centre for Typographic Arts. Eric Maguire was inducted into the Australian Graphic Design Association’s Hall of Fame in 1998.
Maggie is pictured with graphic designer and RDA volunteer Chelsey Connor. After completing a Bachelor of Media and Communication (Honours) Chelsey’s interest in design research was sparked and began a volunteer project with the RMIT Design Archives. She has been meticulously matching Eric Maguire’s Job book for 1953-1954 with the physical records. This work has given us a fascinating window into Maguire’s working process, his role as a designer, development of his ideas, the advertising agencies and clients he worked with as a freelance designer during this period.
Image credit:
Maggie Maguire and Chelsey Connor in the RMIT Design Archives with the Eric Maguire Collection.
#ericmaguire #designhistory #designarchives #communicationdesign #typographic
The Assessors─architects Percy Meldrum, Leighton Irwin and Eric Beilby─received 39 sets of drawings in response to the competition and awarded the first prize in 1949 to Melbourne architects Perrot, Osborne and O’Connor.
Despite the fanfare, plans to demolish the Western Market buildings were stalled until 1961. In 1964, the 24-level National Mutual Centre office tower, designed by Godfrey Spowers Hughes Mewton & Lobb with Leith & Bartlett, was completed on the site.
Romberg’s submission includes a 22-page report on the site, drawings and an interesting visualisation of the Collins Street view.
Image credit:
Print of 'Perspective View, Development of Western Market Site, Melbourne'", creator: Frederick Romberg. Donated through the Australian Government's Cultural Gifts Program in memory of Frederick Romberg and Robin Boyd
#DesignHistory #designarchives #australianarchitecture #ilovemelbourne
Susanne arrived in Australia from Austria in 1938, with her twin sister Liselotte, her mother Bertha, and father Richard Tandler. From 1944 until 1950 she studied art, including commercial art, at Melbourne Technical College (now RMIT University). Her sister Liselotte also studied at the Tech.
In 1947 Susanne joined the Prestige's Textile Design Studio, where she worked for the next eight years. The Studio’s art director, Gerhard Herbst was an innovative designer and teacher, who encouraged the team to express their individuality, draw on natural forms for inspiration, and explore new techniques, such as Phototex. Susanne initially designed textiles for neckties. The ties were given names such as Night Club, Long Island, Stork Club and Cross Roads. She worked alongside other young artists and designers, such as Stan Kotkowski, Shirley Hudson, Nancy Gooderham, and Pauline Gray.
Susanne and other members of the design team also acted as mannequins for the Studio, modelling fabrics and garments both in the studio and on location.
In 1953, Susanne married Raoul Copolov and continued to pursue her career as a designer. In 1955 she was awarded a joint first prize in the prestigious Leroy-Alcorsco textile design competition. Susanne’s design featured Australian flora and fauna: wattle and bush foliage, lyrebirds and kookaburras. After leaving Prestige, Susanne worked as a freelance designer and for the family business, Copolov’s Home Furnishers.
In her later years, Susanne became the family archivist preserving her father Richard Tandler’s archive of architecture and design drawings, photographs, furniture and objects.
Our sincere condolences to Susanne’s family. It was a life well lived.
Image credits:
Portrait of Susanne Copolov at home, 2018, courtesy Stephanie Bradford Photography; Photograph of Prestige designer Susanne Tandler with Prestige Fabric, c. 1947-1955, Gift of Gerhard Herbst,; Design for Leroy-Alcorso Winning Entry, 1955, designer, Susanne Tandler, sourced Woman’s Day, March 21, 1955, Gift of Susanne Copolov.
Image credit: Labels for Tarax Fruit Juice Cordial, design studio Brian Sadgrove & Associates, finished artist, Clarence Chai, Gift of Clarence Chai 2022.
#designarchives #typography #DesignHistory #tarax #communicationdesign
RMIT Design Archives's engagement
RMIT Design Archives's engagement rate on Instagram is 1%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 100 followers. Likes outnumber comments by roughly 56 to 1, with 56 likes and 1 comment on an average post, so most reactions are taps rather than replies.
Engagement rate
1%
- Avg likes
- 56
- Avg comments
- 1
- Interactions : followers
- 1 : 100
Lookalike Creators
A free account lists creators whose audiences behave like this one, ready to shortlist and compare side by side.
Age & Gender
Unlocking shows how this audience splits across age bands and gender, charted from follower data.
Audience Location
Unlocking reveals the countries and cities where the most active followers of this account are concentrated.
Primary Language
Unlocking shows the languages this audience uses most in comments, interactions and the content it consumes.
Audience Interests
Unlocking lists the topics and categories this audience follows and engages with most often across the platform.
Authenticity
Unlocking scores how genuine the audience is, flagging fake, inactive or bot followers found in engagement patterns.
Audience Quality Score
Unlocking gives one overall audience quality score combining authenticity, engagement, follower activity and audience relevance.
Brand Affinity
Unlocking names the brands this audience already follows, mentions or engages with across social platforms.
Content Strategy
Unlocking breaks down the content pillars, tone and visual style this creator uses, and which formats perform best.
Commercial Insights
Unlocking shows collaboration types, an estimated pricing tier and a brand safety risk read for sponsored campaigns.
Industry Fit
Unlocking rates how well this creator and audience align with specific industry verticals and brand categories.
Research RMIT Design Archives further
Flinque's free Instagram tools measure the figures shown for RMIT Design Archives, from followers to engagement, for any public account.
Frequently asked questions
These answers about RMIT Design Archives are generated from the Instagram profile data Flinque holds for the account.
Who is RMIT Design Archives?
RMIT Design Archives (@rmitdesignarchives) is a College & university creator on Instagram, also filed under Education & Career. RMIT Design Archives is set up as an Instagram business account. The Instagram bio for RMIT Design Archives runs to 16 words.
How many followers does RMIT Design Archives have?
RMIT Design Archives has 5,151 followers on Instagram (5.2K). RMIT Design Archives follows 861 accounts, so the audience is roughly 6 times the size of the list followed. RMIT Design Archives has built a substantial archive of 845 posts.
What is RMIT Design Archives's engagement rate?
RMIT Design Archives's engagement rate on Instagram is 1%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 100 followers. Likes outnumber comments by roughly 56 to 1, with 56 likes and 1 comment on an average post, so most reactions are taps rather than replies.
What does RMIT Design Archives post about on Instagram?
Flinque files RMIT Design Archives under College & university, with Education & Career as a secondary category. Of the 10 most recent posts shown for RMIT Design Archives, 5 are single images, 4 are carousels and 1 is a video. The 10 recent Instagram captions Flinque holds for RMIT Design Archives repeatedly use the words image, melbourne, credit, australian and were. RMIT Design Archives's captions carry hashtags such as #designarchives, #designhistory and #mdw. RMIT Design Archives writes those captions mainly in English. RMIT Design Archives keeps 8 story highlights, which open with a free Flinque account.
How do I contact RMIT Design Archives for a collaboration?
RMIT Design Archives's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist RMIT Design Archives and use Flinque's outreach tools wherever a contact route is on file.
Links
RMIT Design Archives's own Instagram profile is the one outbound link Flinque publishes for the account, and the bio link opens after signing up.
Public profile data sourced from Instagram. Flinque is not affiliated with RMIT Design Archives.