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"draftswoman" Definitions
  1. (North American English) (British English draughtswoman) a woman whose job is to draw detailed plans of machines, buildings, etc.
  2. (North American English) (British English draughtswoman) a woman who draws
  3. (North American English also drafter) a woman who writes official or legal documents
"draftswoman" Synonyms
architect builder designer draughtsman(UK) planner draftsman(US) draftsperson building consultant master builder draughtswoman(UK)

64 Sentences With "draftswoman"

How to use draftswoman in a sentence? Find typical usage patterns (collocations)/phrases/context for "draftswoman" and check conjugation/comparative form for "draftswoman". Mastering all the usages of "draftswoman" from sentence examples published by news publications.

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Her earliest works — mostly highly detailed drawings from the 22000s — reveal the hand of a precociously skilled draftswoman.
Instead, she became the first female draftswoman in her architecture firm and raised three kids in Santa Barbara.
Both of Automata's founders were originally architects working for Zaha Hadid Architects, the company created by renowned Iraqi-British draftswoman Zaha Hadid.
While in Fairbanks, she worked for the Bureau of Land Management as a draftswoman and took some mining classes at the University of Alaska.
Although Eva Hesse (21920-70) is best known for her sculptures and installations using latex, fiberglass and other unorthodox material, she was also an inventive painter and draftswoman.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,000 years of Judaica with modern and contemporary art, by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 225,2100 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,67803 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 137,24215 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,94003 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles modern and contemporary art, by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze — with 212,1945 years of Judaica.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought and refreshed display of its permanent collection, which intermingles modern and contemporary art, by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman, and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze — with 220,1886 years of Judaica.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles modern and contemporary art, by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze — with 222,2212 years of Judaica.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 284,2212 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 23,21960 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,260 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 63,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 373,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 35963,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,503 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,17173 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,93 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 2681,26000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 243,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,193 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 20,2212 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third-floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 313,000 years of Judaica with modern and contemporary art by Jews and gentiles alike — Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze.
Patricia Renee' Thomas (born 1995) is an American painter, draftswoman, and art educator based in Philadelphia.
Riggs began her architectural career in 1920, working in Susanville as a draftswoman and designer for architect Ralph D. Taylor. After working for Taylor for a few months, she moved to Santa Barbara and worked as a draftswoman for the noted Spanish Revival architect George Washington Smith. Smith and his wife were so taken by Riggs that she became somewhat of a surrogate daughter to the couple. She travelled with the Smith family on their architectural study trips to Mexico in 1922, and Europe in 1924. Also in 1924, Riggs was made partner in the firm, and given the title of chief draftswoman.
Pootoogook was the granddaughter of Pitseolak Ashoona a renowned graphic artist, the niece of printmaker Kananginak Pootoogook and the cousin of draftswoman Shuvinai Ashoona.
Kuney later worked as a draftswoman for the Clark County Transportation Department and volunteered her services to many community theater groups in the city.
After retiring from the stage, Kuney worked as a draftswoman for the Clark County Transportation Department. She later volunteered her time and advice to many community theater groups in Las Vegas.
Untitled (Prone Man, Two Trees) by Mary Frank Mary Frank (née Mary Lockspeiser; born 4 February 1933) is an English visual artist known primarily as a sculptor, painter, printmaker, draftswoman, and illustrator.
Anna Zemánková (23 August 1908 – 15 January 1986) was a self-taught Czech painter, draftswoman and pastel artist. Her work was featured in a group show at London’s Hayward Gallery in 1979, and eighteen of her pieces were shown at the Venice Biennale in 2013.
The main techniques used in drawing are line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a drafter, draftswoman, or draughtsman. Drawing can be used to create art used in cultural industries such as illustrations, comics and animation.
Anna Nordgren, from the Svenskt Porträttgalleri XX Feeding Lillian c. 1916 Anna Christina Nordgren (13 May 1847 - 10 September 1916 ) was a Swedish painter and draftswoman. She specialized in portraits and genre scenes. Her work is mostly a variation on the Academic style and she remained unimpressed by Impressionism.
Gesina ter Borch (15 November 1633 – 16 April 1690) was a Dutch Golden Age watercolorist and draftswoman, whose work mostly consists of watercolor paintings in albums. Most of her work captured her observations of family life, current events, and fashionable people. In addition to the visual arts, Gesina wrote love poetry.
After her husband's death in 1931, Campbell Renshaw worked as a draftswoman at the Small House Service Advisory until 1934. In 1938, she opened her own firm and began practicing in Connecticut, where she maintained a license. She also maintained licensure in New York and Virginia in the 1930s and later in Florida.
She had a child, Tanya, in 1930. The following year she started to work in the Aero Navigation Laboratory of the Air Force Academy as a draftswoman. Raskova became a famous aviator as both a pilot and a navigator for the Soviet Union in the 1930s. She was the first woman to become a navigator in the Soviet Air Force in 1933.
She completed a further apprenticeship as a commercial advertiser. After the fall of the Berlin Wall in the GDR, she worked in various sectors until 2008: as a draftswoman, interpreter, in a casting office and in film production. From 2008 to 2017, she managed the publishing house Kulturmaschinen as a publisher. She became member of the bundestag after the 2017 German federal election.
Aat Breu Hibma Aat (Adri) Breur-Hibma (28 December 1913 – 31 December 2002) was a Dutch draftswoman and painter. During World War II, she entered the Dutch resistance and ended up as a Nacht und Nebel prisoner in Ravensbrück. There she made poignant pencil drawings of fellow prisoners that are preserved at the Rijksmuseum in Amsterdam. She was recognised as Righteous Among the Nations in 1995.
In subsequent teenage years, she would quarrel with her father and would occasionally spend a few days at her mother's home after an argument. Acquaintances described her as a very shy and modest girl. Having completed her secondary education, she started work as a draftswoman at the Balkancar electrocar factory. She married an engineer named Vasil Ivanov and they had a son Milen together.
After this discovery, the site was shown to archaeologist and architectural draftswoman Tatiana Proskouriakoff, who was able to make a detailed reconstruction drawing of Structure I in 1943. This could not have been done nearly as accurately today, because the structures have deteriorated a large amount since Proskouriakoff’s work in the 1940s. Since its rediscovery, the site has been targeted by looters for pieces of its complex facades.
Annie Pootoogook was born on May 11, 1969, in Cape Dorset (now Kinngait), Canada. Pootoogook grew up in a family of artists all of whom worked out of the West Baffin Eskimo Co- operative, one of the first artist Co-ops established in the north in 1960. Her family worked in multiple mediums and styles and Pootoogook became interested in art at an early age. Her mother, Napachie Pootoogook, was a draftswoman and her father, Eegyvudluk Pootoogook, was a printmaker and stone sculptor.
In 1977, Angelika Unterlauf, a trained architectural draftswoman, made her debut as a speaker in the studios of the Aktuelle Kamera. However, she had already gained experience as a spokeswoman for radio since 1969, for example at the Notenbude, a rock music programme at the Stimme der DDR radio station. In 1985, she was voted "TV favourite of the year" by the readers of the GDR TV magazine FF dabei. Unterlauf joined the SED in 1987, retired in 1989.Angelika Unterlauf: Die 80er in der DDR.
Gatja Helgart Rothe (also known as G.H. Rothe; (née Helgart Riedel) (March 15, 1935 – August 3, 2007), was a German-American artist known for her printmaking, especially mezzotint. She was also a draftswoman and painter. After living and working in Europe, she briefly traveled through South America before moving to New York City in the 1970s and later, California. Her commercial success was primarily based on mezzotints and paintings commissioned and handled by galleries, dealers, and private collectors in the United States, Europe and Japan.
She was employed as a draftswoman with the American Army Engineering Office in North Rockhampton in the Second World War. She later worked with the Queensland Railways and designed Eagle Junction railway station. Other residential commissions by Mottram, included a two-storeyed block of flats in Scott Street at Kangaroo Point (Scott Street Flats), a Tudor Revival residence for Zina Cumbrae-Stewart overlooking the river, and a residence for Mrs Thurlby on the corner of Winchester and Hants Roads, Ascot (now demolished). Of all the buildings designed by early women architects in Queensland (i.e.
For two years, Cassell worked in her father's architecture firm, but left when he became involved in real estate development. In May 1951, she began working as an architectural engineer for the Naval Research Laboratory, until May 1961, when she started working as an engineering draftswoman with the Military Sea Life Command. Afterwards, she became a naval architect with the United States Naval Sea Systems Command between 1971 and 1982. She was a member of the Association of Women Architects (founded by Henrietta May Steinmesch), the Alpha Alpha Kappa chapter.
Her thesis was to be on the relationship between Palmyrene sculpture and the sculpture of the Roman near east. It was while studying there that Lehmann first suggested to Goell that she should explore Nemrud Dagh, the excavations of which were to become her life's work. Goell continued to study at the Institute for Fine Arts and at Columbia until 1945. During the Second World War, she also worked to contribute to the American war effort, working as a draftswoman for various engineering firms under contract to the US Navy, which interrupted her studies.
The anatomically correct papier-mache splint reduced the healing time while properly supporting the broken limb. The idea of using plaster of Paris was adopted and refined over the years and is still in use today by the medical profession. When she completed her studies, Acheson taught at a school in London and continued to live in that city until She was the first woman, in 1938, to be elected a fellow of the Royal British Society of Sculptors. Acheson retrained as a precision engineer and draftswoman during the Second World War to enable her to carry out further voluntary work.
Eva Lee Kuney Grover Feldman (April 24, 1934 – May 24, 2015) was an American child actress, dancer, and draftswoman. She appeared in her first film at the age of 18 months and performed in numerous uncredited film roles. Kuney's best known role and only screen credit was as six-year-old Trina, the adopted daughter of Cary Grant's and Irene Dunne's characters in Penny Serenade (1941). Turning to dance, Kuney worked as a contract player for film studios until the age of 18, when she accepted a temporary job in a stage show in Las Vegas and continued performing there.
Van Leer was born in Berkeley, California on the 13th of January in 1926 and one of three children. He was part of a prominent academic and military family; his father was a colonel and university president, his mother a Technologist and principal draftswoman in the Quartermaster general's research department. Van Leer attended Needham B. Broughton High School, studied at North Carolina State University and received a bachelor's degree in Mechanical Engineering from Duke University. He later obtained a Civil Engineering degree from Rensselaer Polytechnic Institute and a master's degree in Civil Engineering from Princeton University.
A native of Kansas City, Missouri, Angus moved to Philadelphia when young and grew up in that city. She studied at the University of the Arts and the Graphic Sketch Club there before taking a job with an advertising agency, which she lost due to the Great Depression. She then, in 1936, became involved with the Federal Art Project, beginning by painting sets for the Federal Theater Project and continuing by contributing to the Index of American Design. At the end of the project in 1942 she studied drafting, taking a position as a draftswoman at the Naval Air Medical Center in Philadelphia.
Later she worked with several unidentified architects in Cairns for about 10 months, then came south to Brisbane where she was employed from November 1925 to early 1929 as a Draftswoman in the Workers' Dwellings Branch of the State Advances Corporation. It has not been possible to identify any of the work produced by the Workers' Dwellings Branch as work by McCredie as government drawings of the period were rarely signed by their designers. It was during this time that she designed Uanda as a private commission. Nellie McCredie was concerned with improving the quality of life of the average Australian.
After graduating, she worked briefly for Dorman, Long and Company, contractors for the Sydney Harbour Bridge. In July 1925, she worked for Lawrence and Lourdain Architects in Cairns for four months, then came south to Brisbane where she was employed from November 1925 to early 1929 as a Draftswoman in the Workers' Dwellings Branch (WDB) of the State Advances Corporation. Due to the discovery of Nell's archive in 2013, it is now possible to identify the houses she designed while working for the WDB. She designed six known houses while working in this department, located in Brisbane inner city suburbs, Montville, and Cairns.
In 1934 the polarising impact of the new regime came close to home after her father expelled Nazis from the youth welfare office where he was working. War resumed in September 1939 and Ilse Reichel's schooling concluded in 1942. She took a job as a technical draftswoman in a large AEG industrial plant in Berlin. It was her first experience of factory work, and she was struck by the extent to which individual human needs - including those touching on family life - could lose out to the needs of the plant production schedule: that was something she would seek to address when later in her life she was entrusted with political office.
During this period, she worked as a postmistress at Raglan via Rockhampton till 1936. In partnership with her father, as A & E Mottram, she worked in Rockhampton in 1937 and later in Longreach 1938-1941. During this period, she played the role of foreman of works for her father in support for the first stage of construction of the Longreach Hospital (completed 1940). She was later employed as a draftswoman with the American Army Engineering Office in North Rockhampton in World War II. After the war, Mottram became the first woman architect to work with the Queensland Railways and designed the Eagle Junction railway station.
Waltraut Seitter (January 13, 1930 - November 15, 2007) was a German astronomer and became the first woman in Germany to hold an astronomy chair. Waltraut Carola Seitter was born in Zwickau in 1930, where her father worked as an engineer with the Horch automobile company. She went to school in Cologne, where she finished high school in 1949 (after jobs as tramway ticket collector, refugee aide, and draftswoman), and entered the university to study physics, mathematics, chemistry and astronomy. She continued her studies at Smith College in Northampton, Massachusetts with a grant from the Fulbright Program, obtained her Master of Arts in physics in 1955, and became astronomy instructor.
Wilke's sculptures were an innovative example of eroticism using a style that combined post-minimalism and feminist aesthetics. A consummate draftswoman, Wilke created numerous drawings, beginning in the early 1960s and continuing throughout her life. In a review of Wilke's drawings at Ronald Feldman Fine Arts in 2010, Thomas Micchelli wrote in The Brooklyn Rail: "at her core, she was a maker of things ... an artist whose sensuality and humor are matched by her formal acumen and tactile rigor." She performed live and videotaped performance art, beginning in 1974 with Hannah Wilke Super-t-Art, a live performance at the Kitchen, New York, which she also made into an iconic photographic work.
Upon leaving school in New Norfolk, she became an apprentice for a Hobart-based architect, A.T. Johnston while studying architecture in Hobart Technical College, which was affiliated with the Sydney Technical College. A year after finishing her apprenticeship, she worked for the Australian Newsprint Mills (ANM) Pty Ltd as an architectural draftswoman, and later after 15 months, when the ANM head architect left the company, she assumed full architectural responsibility of the New Norfolk “town-site” project which was a residential suburb for workers' families in New Norfolk where she personally designed at least 60 residential houses for ANM staff members. During her architectural teaching, she got her Diploma in Town and Country Planning from the University of Sydney where she worked and graduated in 1951. She retained her position as the head of the department until she retired in 1970.
Karola worked as one of only two women in the office of Mayer & Whittlesey, where she worked on high-rises like 240 Central Park South. In the United States, the couple was reunited with other émigrés like Theodor Adorno and Hermann Broch. After moving to Cambridge, MA, Karola was commissioned to design a modern house for Harry Slochower in Andover, NJ. She also worked as a draftswoman for Stone and Webster, one of the largest engineering firms in the US, unaware that they were also working on the facilities for the Manhattan Project. She also worked for Leland and Larsen in Boston, and organized a group to help support Polish architects after the war. In 1943 Karola’s parents, brother, and sister-in-law were murdered in Treblinka after being forced to live in the Warsaw Ghetto.
As a young mother in a war-ravaged country with a desperate shortage of working age males, Obuchoff's mother was able to benefit from education and other practical career support that would not have been available to German women of earlier generations, and later became the Operations Manager at Genthin's large sugar refinery. By the time she was old enough to attend secondary school, the education system had been reconfigured. Between 1950 and 1958 Obuchoff attended the Polytechnic Secondary School (Polytechnische Oberschule / POS) in Wernigerode and then, when the family relocated, moved on to the POS in Genthin. Between 1958 and 1962 she attended Genthin's well respected Extended Secondary School ("Erweiterte allgemeinbildende polytechnische Oberschule" / EOS) which was where, in 1962, she passed her School Final Exams (Abitur), opening the way to university level education. However, her immediate next step, in 1962/63, was a training in Magdeburg as a draftswoman for the construction sector.
In 1912, the Works department had a team of 21 draftsmen and one draftswoman under the supervision of the highly competent Thomas Pye as Deputy Government Architect. During the early 20th century, this team produced a substantial body of high quality work including the Land Administration Building, the former Queensland Government Savings Bank (later the Family Services Building), the George Street additions to the former Government Printing Office, Block A of the Rockhampton Technical College (1914) and Windsor State School (1915 to 1916). Many of the finest public buildings in Queensland were designed at this time. Of the school residences built between 1893 and 1914, 19 are extant, and of these, 16 were built to a standard design. After 1914, the standard designs changed and in the late 1920s two types were introduced that resembled the residence at Atherton in form and plan arrangement. The earlier standard residences (1893-1914) were low-set with simple hipped roofs, featuring a verandah along the front of the house with rooms stacked behind.

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