IDS Curriculum Handbook

Total Page:16

File Type:pdf, Size:1020Kb

IDS Curriculum Handbook Your guide to the IwB. An overview of values, pedagogy, curriculum, and the 2020-21 research 2020 focus — Future Ways of Living and Aging In Place. –21 S T U D E 0 N 2 T 0 2 H – A 9 N 1 D 0 B 2 O O K Interdisciplinary Design Strategy at the Luigi Ferrara Security Institute without Boundaries is a post- Dean, Centre of Arts, Design and 416-415-5000 Ext. 2773 Information Technology graduate program within the School of and Director of the IwB Studio Hours Design at George Brown College. 416-415-5000 Ext. 2165 Weekdays: 7:30 am–midnight [email protected] Weekends: 7:30 am–midnight Holidays: Closed www.institutewithoutboundaries.com Ana Rita Morais Chair, School of Design Mailing Address Copyright © 2020 George Brown 416-415-5000 Ext. 3334 Institute without Boundaries College [email protected] School of Design George Brown College Graeme Kondruss 3 Lower Jarvis Street, Room 260 Special Projects Manager, IwB Toronto, Ontario [email protected] Canada M5E 3Y5 Nazanin Homayounfar Address for Visitors and Couriers Academic Coordinator, IDS Institute without Boundaries 647-302-0735 School of Design [email protected] George Brown College Third Floor 3 Lower Jarvis Street Toronto, Ontario, M5E 3Y5 Student Services and Financial Aid Equity Statement 200 King Street East, Lower Level George Brown College values the talents and contributions of its Stu-view Account and Help Line students, staff and community partners www.stuview.georgebrown.ca/ and seeks to create a welcoming To re-set password: 416 415-2000, environment where equity, diversity and press 1 – 3 then 4 safety of all groups are fundamental. Language or activities which are No part of this work may be produced inconsistent with this philosophy violate or transmitted in any form or by any the College policy on the Prevention of means electronic or mechanical, Discrimination and Harassment and will including photocopying and recording, not be tolerated. The commitment and or by any information storage and cooperation of all students and staff are retrieval system without written required to maintain this environment. permission from the publisher–except Information and assistance are available for a brief quotation (not to exceed 200 through your Director, Student Affairs, words) in a review or professional work. the Student Association or the Human Rights Advisor. Note to Students Academic Departments at GBC will Student Responsibilities not retain historical copies of the Students should obtain a copy of program outlines. We urge you to retain the Student Handbook and refer to it this Program Outline for your future for additional information regarding reference. the grading system, withdrawals, exemptions, class assignments, Important Dates and Policies missed tests and exams, supplemental Visit www.georgebrown.ca/current_ privileges, and academic dishonesty. students/ for important policies, dates, Students are required to apply services and tools for all students at themselves diligently to the course George Brown College. of study, and to prepare class and homework assignments as given. Regular attendance is strongly advised. Past student performance shows a strong relationship between regular attendance and success. W L E O C M E > WE’RE EXCITED TO HAVE YOU JOIN THE IwB TEAM! This handbook is for you. It presents an overview of the IwB values, methods and past research projects, as well as the major project you will be undertaking during the 2020–21 academic year. We have also included key information on important dates and deadlines, the curriculum structure, and a list of suggested readings. This handbook will act as a guide to get you started and as a resource for you throughout the year. As a student of the IwB, you will participate in one of the most challenging and rewarding experiences of your life. You will be mentored by dedicated faculty and staff who will guide you throughout the year and beyond. At the IwB, we strive to create a meaningful, challenging and innovative learning experience, and to create projects that will have a long lasting impact on the world. You will learn about yourself, your peers, the world, design and collaboration. We can’t wait to see what you’ll accomplish! > TABLE OF CONTENTS Part 1: 08 Institute without Boundaries Our Vision, Approach and Methodologies About the IwB Educational Approach and Methodologies Program Outcomes Part 2: 20 IwB Research Past Research Themes: 2003–2018 2003–2005: Massive Change 2006–2009: World House 2009–2013: City Systems and MOVE Expo 2013–2018: Regional Ecologies Part 3: 32 Future Ways of Living Current Research Theme Future Ways of Living: Perspectives on Affordability Future Ways of Living: Ethical Smart Cities Future Ways of Living and Aging in Place Meet your 2020–21 Faculty The Class of 2020–21 Student Expectations and Studio Rules Part 4: 58 Curriculum Overview Curriculum Structure: Fall Semester Course Descriptions: Fall Semester Weekly Schedule: Fall Semester Curriculum Structure: Winter Semester Course Descriptions: Winter Semester Weekly Schedule: Winter Semester Reading List and IwB Resource Guide PART 1 8 Institute without Boundaries Institute without Boundaries Our Vision, Approach and Methodologies 2020–21 Student Handbook 9 About the Institute without Boundaries The IwB is a catalyst for design innovation. A place where creative minds come together and apply whole systems thinking to solve complex global challenges. Carmen Paz Alumni from World House Project Year 1 Institute without Boundaries 10 Institute without Boundaries Founded in 2003, the Institute without Boundaries social, political, economic, environmental, cultural and (IwB) is a Toronto-based studio that works toward technological forces shaping the 21st century and their collaborative design practice with the objectives of impact on human experiences. Through this program, social, ecological and economic innovation through you will conduct research, create comprehensive design research and strategy. proposals and present your work to key stakeholders. At the Institute, we see the designer as a problem solver Upon successfully graduating from the program, you with the ability to affect positive change for humanity. will also be able to enrol into the Master of Arts in The IwB is a place where students, teachers, industry Interdisciplinary Design Strategies at the Institute of Art, and community experts come together to solve complex Design and Technology, Dún Laoghaire (IADT). IADT global issues. Just as wicked problems span across is Ireland’s only institute of art, design and technology social, political, economic and environmental boundaries, with a specific focus on the creative, cultural and the new generation of designer must do the same— technological sectors. challenging 21st century paradigms. Through collaborative practices, the program provides As a student at the IwB, you will collaborate within an candidates with a systemic and in-depth knowledge interdisciplinary team to tackle a real-world challenge of integrated design strategies, critical awareness and within an overarching research project. Starting in advanced design methodologies to solve the most 2018, we have shifted our research focus from Regional pressing global challenges. Ecologies to Future Ways of Living - investigating the 2020–21 Student Handbook 11 VISION Collaborative design practice for a better world. MISSION Fostering collaboration between disciplines to create innovative local solutions to 21st century global challenges. 12 Institute without Boundaries VALUES OBJECTIVES Students, faculty, mentors and advisors share a • Promote a design methodology based on commitment to collaborate, conceptualize, create, test co-creation. and share. These are informed by the following values: • Deliver design-based education to foster an understanding of design as a capacity-building tool. • Innovation • Collaboration • Develop leading-edge projects that can serve as • Respect • Honesty curriculum challenges for students, faculty, industry- • Openness • Diligence mentors, and international partners. • Compassion • Fairness • Conduct design projects which act as a catalyst for global collaboration. • Diversity • Integrity • Create and exhibit design that provokes and • Curiosity • Creativity engages the public. • Support the evolution, growth and success of the students, alumni and mentors of the Institute to enhance their influence and visibility. OUR DESIGN PRINCIPLES At the Institute without Boundaries we believe design is a tool that can affect positive change. This ideology encourages values and design outcomes that are intelligent, ethical, sustainable, inclusive and universally accessible. INTELLIGENT ETHICAL SUSTAINABLE UNIVERSAL INCLUSIVE 2020–21 Student Handbook 13 Educational Approach and Methodologies EDUCATIONAL MODEL METHODOLOGIES The Institute has pioneered a post-graduate level The IwB is continually refining its working processes, curriculum using a design-based educational model and developing tools and frameworks for thinking that fosters learning across disciplines, integrating about and communicating design challenges. The specialised knowledge and breaking down geographic, following methodologies inform coursework and cultural and social barriers. The Institute offers students projects. the demands of a real project and the intellectual and creative rigour required to undertake it. 01 Design Research 02 Partnered Applied Learning At the IwB, students will learn through participation in 03
Recommended publications
  • Download Course Outlines
    Page | 1 Page | 2 Academic Programs Offered 1. BS Graphic Design 2. BS Textile Design 3. BS Fine Arts 4. BS Interior Design 5. MA Fine Arts 6. Diploma in Fashion Design 7. Diploma in Painting BS Graphic Design Eligibility: At least 45% marks in intermediate (FA/FSC) or equivalent, the candidate has to pass with 45% passing marks. Duration: 04 Year Program (08 Semesters) Degree Requirements: 139 Credit Hours Semester-1 Course Code Course Title Credit Hours URCE- 5101 Grammar 3(3+0) URCP- 5106 Pakistan Studies 2(2+0) GRAD-5101 Calligraphy-I 3(0+3) GRAD-5102 Basic Design-I 3(0+3) GRAD-5103 Drawing-I 3(0+3) URCI-5109 Introduction to Information & Communication 3(2+1) Technologies Semester-2 URCE- 5102 Language Comprehension & Presentation Skills 3(3+0) URCI- 5105 Islamic Studies 2(2+0) GRAD-5105 Calligraphy-II 3(0+3) GRAD-5106 Basic Design-II 3(0+3) URCM-5107 Mathematics (Geometry and Drafting) 3(3+0) GRAD-5107 Drawing-II 3(0+3) Semester-3 URCE- 5103 Academic Writing 3(3+0) GRAD-5108 History of Art 3(3+0) GRAD-5109 Drawing-III 3(0+3) GRAD-5110 Graphic Design-I 3(0+3) GRAD-5111 Photography-I 3(0+3) GRAD-5112 Communication Design 3(0+3) URCC-5110 Citizenship Education and Community Engagement 3(1+2) Semester-4 URCE- 5104 Introduction to English Literature 3(3+0) Page | 3 GRAD-5113 Fundamental of Typography 2(0+2) GRAD-5114 History of Graphic Design-I 3(3+0) GRAD-5115 Graphic Design-II 3(0+3) GRAD-5116 Photography-II 3(0+3) GRAD-5117 Techniques of Printing 2(1+1) Semester-5 GRAD-6118 History of Graphic Design-II 3(3+0) GRAD-6119 Graphic Design-III
    [Show full text]
  • Emilio Pucci: Revolutionizing Textile Design
    Emilio Pucci: Revolutionizing Textile Design Samara Cifelli Keywords: Emilio Pucci / Diane von Furstenberg / Suki Cheema / Nieves Lavi Abstract Emilio Pucci’s influence on American fashion design is undeniable, but his contribution ranges far beyond the runway. During the 1960s and '70s, Pucci explored and pushed the boundaries of textile design through both art and science. His contributions to color chemistry, graphic design and textile engineering laid the groundwork for American designers from Diane von Furstenberg to home goods innovators like Suki Cheema and Nieves Lavi to explore and create fabrics that owe their inspiration to the Italian “Prince of Prints.” Pucci and Pattern “The body of the woman moved the dress, the dress didn’t create the body of the woman” (Taschen 22). Emilio Pucci’s innovative and bold use of patterns pushed textile design, color chemistry and pattern/textile engineering in demanding steps forward in the 1960s and 1970s. The results of Pucci overseeing every detail of production are still influential in 21st century fashion. Famous for his innovative, colorful, and complex patterns, Pucci revolutionized textile design and how it is used to enhance, emphasize, and flatter the female body. Emilio Pucci’s clothing freed women’s bodies by using fabrics much lighter than those being used at the time but he also utilized his patterns to flatter the body. “There were few gathers, tucks, or pleats to hide anything, but the patterns themselves camouflaged, and the cut was ample” (Kennedy 7). Because Pucci had such a great grasp on the engineering aspect of textile design, he was able to utilize such information as textile placement for patterning.
    [Show full text]
  • Textile Design Entrepreneurship Portfolio Containing a Written Small Business Plan
    Sewing Construction & Textiles III EXAM INFORMATION DESCRIPTION Exam Number This course will provide students with apparel or interior 354 design opportunities using soft goods/textiles and Items construction/production skills which will focus on entrepreneurial opportunities and careers in design fields. 37 Experiences may include pattern design, apparel design and Points construction, fitting and alteration, and interior design projects. (Students can repeat the course for credit as they 48 work towards certification.) Student leadership and Prerequisites competitive events (FCCLA) may be an integral part of the course. SEWING CONSTRUCTION AND TEXTILES I & II; OR SPORT AND OUTDOOR DESIGN I & II EXAM BLUEPRINT Recommended Course Length STANDARD PERCENTAGE OF EXAM ONE SEMESTER 1- Careers 13% National Career Cluster 2- Technology 15% 3- Fabrics 44% ARTS, A/V TECHNOLOGY & 4- Entrepreneurial Options 29% COMMUNICATIONS HUMAN SERVICES Performance Standards INCLUDED (OPTIONAL) Certificate Available YES www.youscience.com Sewing Construction & Textiles III 354.2021 STANDARD 1 Students will analyze careers and explore the design industry. Objective 1 Research employment and entrepreneurial opportunities and preparation for interior and/or fashion design careers. 1. Interior Design Careers: a. Interior designer: make interior spaces functional, safe, and beautiful by determining space requirements and selecting decorative items, such as colors, lighting, and materials. b. Developer: plan, create, and present products for a specific market using knowledge of principles and elements of design, aesthetics, and technical skills. Work closely with design and technical teams. c. Graphic Designer: create visual concepts, by hand or using computer software, to communicate ideas that inspire, inform, or captivate consumers. They develop the overall layout and production design for advertisements, brochures, magazines, and corporate reports.
    [Show full text]
  • Parametric Design Thinking About Digital and Material Surface Patterns
    INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 6 & 7 SEPTEMBER 2018, DYSON SCHOOL OF DESIGN ENGINEERING, IMPERIAL COLLEGE, LONDON, UNITED KINGDOM PARAMETRIC DESIGN THINKING ABOUT DIGITAL AND MATERIAL SURFACE PATTERNS Wenche LYCHE, Arild BERG and Kristin ANDREASSEN OsloMet – Oslo Metropolitan University ABSTRACT There is a growing need in contemporary society to understand new and emerging relationships between technology and creativity. In practice-oriented areas of education such as design, many instructors have come to understand the importance of different learning styles and how students benefit when presentation of new material is varied to reach all students. The concept of parametric design thinking enabled by advanced computational processes has recently been identified as a relevant approach to design education. The present research further explores parametric design thinking through two case studies of design workshops in an educational context and how this approach can promote diversity. The first case (Robotised Clay Workshop) documents material exploration and creative and aesthetic possibilities in digitalised clay processes. The second case (Surface Patterns in Textiles: From Tradition to Digitalisation and Back) explores digitalised processes in hybrid textile design. The two case studies contribute to the exploration of parametric design thinking as an educational approach and discuss digitalisation and the relations of body, hand and mind in terms of the Vygotskyan ‘zone of proximal development’. This content was synthesised for a workshop on surface patterns for third-year bachelor design students. The paper identifies some potentials and pitfalls of this pedagogical approach and concludes that students’ awareness of conformity and diversity in the design process can be used as a starting point to explore digital surface patterns, offering students a new way of learning about function, aesthetics and product semantics through parametric design thinking.
    [Show full text]
  • Textile Design: a Suggested Program Guide
    DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching
    [Show full text]
  • Marypaul Yates
    MaryPaul Yates 23 Griswold Road, PO Box 647, Monterey, MA 01245 cell: 917.453.9466 email: [email protected] website: www.yatesdesign.net twitter: @yatesdesign1 Business savvy, creative, articulate design professional with over 20 years experience providing creative direction and strategic expertise to design-focused, product-based clients. Pioneer of innovative, untapped materials; trailblazer of new product areas and initial market entries. Active educator through college teaching, mentoring, authoring CEU programs and reference volumes. Recognized for contributions to design education while consistently delivering innovative, market-driven design solutions that increase revenues and build brand value. Expertise Creative Direction, Design, Color, Product Styling and Development • Create exciting, saleable products that establish competitive advantage and cement brand identity. • Achieve fertile collaborations between production and creative counterparts in line with manufacturers’ capabilities, limitations, and goals. • Shepherd new resource partnerships and manage enduring supplier relationships, both foreign and domestic. • Organize and motivate development teams to meet project requirements and deadlines. • Establish and manage development budgets. • Accomplish timely implementations through design, development, testing, receiving, and sampling Management, Marketing, and Sales • Manage select target accounts, call on key accounts for market research, new product launches, sales team training, and private-label/custom product development.
    [Show full text]
  • Fashion and Textile Design Using Emotion and Personality
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ZENODO Fashion and Textile Design Using Emotion and Personality Wendy Moody, Fashion Retail and Design, Department of Textiles and Paper, UMIST – UK Peter Kinderman, Department of Clinical Psychology, University of Liverpool – UK Abstract Good design should engage personality and emotion. Using appropriate psychological approaches to the measurement of both personality and emotion offers a humanitarian approach to design. From a design perspective this project explores the preliminary development of the traditional design process or formula, using psychological methods to inform the process. ‘By describing the individual’s standing on each of the five factors [of personality], we can provide a comprehensive sketch that summarises his or her emotional, interpersonal, experimental, attitudinal, and motivational style’, (Costa & McCrae, 1985). Emotion, once experienced, will create or enhance either a positive or negative mood affect (Watson & Tellegen, 1985). Mood affect has been strongly associated with personality. If the designer is more aware of their own personality and emotional self, by fusing emotion, mood, personality and an understanding of the self-concept in the design process it could help the designer offer an alternative and informed method of tailoring a product to an individual. Drawing upon data collected from a short project carried out by Level One students in fashion and textile design, and examples of the first author’s visualization work, we explore how fashion/textile design concepts reflect personality, how they capture emotion and mood, and how this information can be used to inform the design process or even be used to develop design and retail services.
    [Show full text]
  • The Design of an Augmented Typographic Experience for E-Marketing of Women Textile Fabrics
    479 Shaimaa Sadek &Nashwa Nagy The Design of an Augmented Typographic Experience for E-Marketing of Women Textile Fabrics Shimaa Salah Sadek Sedek Lecturer, Department of Advertising, Faculty of Applied Arts, Benha University, Egypt, [email protected] Nashwa Moustafa Nagy Lecturer, Department of Spinning, Weaving, and Knitting, Faculty of Applied Arts, Benha University, Egypt, [email protected] Abstract: Keywords: E-Marketing has a significant effect on the marketing efficiency of products and Augmented Reality, services. The success of effective e-marketing of textile fabric is based on the Typography, E-Marketing, effectiveness of the ideal recruitment of suitable advertising function of the textile Textile Fabrics, Women product to highlight its aesthetics, features, surface effects, and varied colors. Due Fabrics, Digital to the intensified competition among different advertising agencies, it is necessary Marketing to provide marketing and advertising solutions that can confront challenges and affect users' attitudes effectively towards products and services. Therefore, in this research, we resort to using augmented reality advertisement as an e-marketing effective function for women textile fabrics. The research problem is concluded in studying the contribution of Typographic Textile Fabrics Design on users’ acquisition of marketing positive attitudes towards augmented implementation. The research objective is to prepare and use an electronic application to market textile fabrics designed by using Typography. To answer questions of the research and achieve its objectives, follow the experimental methodological Research on designing an augmented reality program to market Typographic Textile Fabrics by preparing and designing an augmented electronic application to study its impacts on the category of users attitude, which requires preparing attitude measurement that include (number of phrases to measure the attitude of this category members towards Augmented Application used for e-marketing of Textile Fabrics.
    [Show full text]
  • Twelfth International Conference on Design Principles & Practices
    Twelfth International Conference on Design Principles & Practices “No Boundaries Design” ELISAVA Barcelona School of Design and Engineering | Barcelona, Spain | 5–7 March 2018 www.designprinciplesandpractices.com www.facebook.com/DesignPrinciplesAndPractices @designpap | #DPP18 Twelfth International Conference on Design Principles & Practices www.designprinciplesandpractices.com First published in 2018 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2018 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism, or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact [email protected]. Common Ground Research Networks may at times take pictures of plenary sessions, presentation rooms, and conference activities which may be used on Common Ground’s various social media sites or websites. By attending this conference, you consent and hereby grant permission to Common Ground to use pictures which may contain your appearance at this event. Dear Conference Attendees, Welcome to Barcelona! We hope you will enjoy the coming three days of debate, presentations, and plenaries that will bring together academics, professionals, researchers, and practitioners to explore the present and the future of design around the world. With this, the Twelfth Conference on Design Principles and Practices, we wanted to prompt some reflection on the traditional boundaries collapsing between people, things, ideas, and places in the face of new forces of technological, political, social, and cultural evolution. Often it seems that we are losing our awareness of what could be our future and our role and responsibility to participate in its building.
    [Show full text]
  • The Design Competition the Bradford Textile Society
    THE DESIGN COMPETITION 2020 - 2021 organised by THE BRADFORD TEXTILE SOCIETY THE BRADFORD TEXTILE SOCIETY DESIGN COMPETITION 2020 - 2021 SPONSORS OF THE DESIGN COMPETITION Bradford College The British Textile Designers’ Guild John Smedley Ltd The Campaign for Wool LAPA Charitable Trust The Clothworkers’ Company Luxury Fabrics Ltd Merchants of the Staple of England Charitable Trust Maison et Objets – Paris The Cotton Industry War Memorial Trust (CIWMT) Premiere Vision – Paris The Retail and Textile Company Prestigious Textiles Ltd The Textile Institute Schofield Sweeney The Woolmark Company The Association of Fashion and Textile Courses The Worshipful Company of Dyers Bradford Textile Society would like to thank all the Sponsors for their participation and generous support of the Design Competition. THE DESIGN COMPETITION 2020- 2021 CONTENTS Sponsors of the Design Competition Welcome …………………………………………………………………………………………………………………... Page 1, 2 Conditions of Entry ……………………………………………………………………………………………………….. Pages 3, 4 Categories of entry for:- Embroidery E1, P2, C1, U1, ….…..……………………… ……. Pages 5, 7, 12,14 Knit K1, K2, AW1 …………… ………………….. ……. Pages 6, 11 Print P1, P2, P3, P4………………………..……………. Pages 7, 8 Weave W1-F, W1-N, W2, P2, AW1 ……………………... Pages 7, 9, 10,11 Constructed Textiles using Wool AW1 …………………………………………. ……. Pages 11 Combined Textile Processes C1 ………………………………………………….. Page 12 Responsible Design F1 …………………………………………………... Page 13 Multi-Media Construction and/or new Technologies U1…………………...............................…………. Page 14 The
    [Show full text]
  • Textile Design
    Specific entry requirements It is recommended that you have grade 4 or above in an Art or relevant Technology subject. However, being open to experimentation and to trying new things, as well as having a creative outlook, an interest in fabrics, fashion, interiors or design and a willingness to work hard is highly valued. Progression skills and opportunities Textiles develops design and making skills and is good for entry onto any creative or Art & Design based degree course. We have students who are now theatre & costume designers, photographers, fashion designers, footwear designers, interior designers, fashion assistants and teachers. Students have gone on to study degrees at institutions including Central St Martins, Royal College of Art, London College of Fashion, Royal School of Needlework, UCA (Farnham, Epsom), UAL (Kingston, Camberwell), Manchester Metropolitan, Bournemouth, Falmouth, Brighton, Winchester and UWE (Bristol). How is the course assessed? There are 4 assessment objectives which assess how students: develop ideas in response to Textile Design - A Level contextual references, explore and select a variety of media, record observations, develop ideas and Head of Department: James Fraser-Murison produce final outcomes. This is formally assessed internally, and moderated externally at the end of Email: [email protected] two years. Fact File Assessment is 60% portfolio and 40% externally set assignment • Textile Design is about developing practical making skills to design exciting fabrics for fashion and interiors. We explore colour, pattern and texture by working with a wide variety of What topics will I be studying? techniques and processes from dyeing and screen printing to weave and stitch Portfolio Component: • Some students go on to study an Art & Design Foundation course before progressing to Work for this component requires students to research, explore and select appropriate techniques degree level.
    [Show full text]
  • Objectives and Outcomes: Textile Design Concentration-BS
    Objectives and Outcomes: Textile Design Concentration-BS These are the program objectives: 1. To promote an understanding of Fashion and Textile Design in relation to the needs of fashion, contractual furnishings, home textiles, and the business to business textile products. 2. To provide hands-on experience using a set of complex technologies found in industry today to build prototypical solutions to solve current needs. 3. To provide experience in responding to market opportunities with creative and innovative products that integrate a set of academic disciplines such as textile materials, design fundamentals, business fundamentals, sourcing, data mining of market information, and new developments in material science and engineering. 4. To create an educational environment that approximates the actual conditions in industry by building studios and workshops containing state-of-the-art systems, resources, technologies, and a community of creativity and innovation. 5. To develop strong multi-functional teamwork and communication skills using visual and verbal presentation assignments and interfaces with practitioners in the design community and the industry. Objective: To promote an understanding of Fashion and Textile Design in relation to the needs of fashion, contractual furnishings, home textiles, and the business to business textile products. a. Students will be able to locate, analyze, and synthesize market research data and apply that data to delineate the needs of specific markets. b. Students will be able to critically evaluate textile product design solutions in terms of needs of diverse textile end uses and communicate those evaluations using appropriate vocabulary, terminologies, and structural dimensions. Objective: To provide hands-on experience using a set of complex technologies found in industry today to build prototypical solutions to solve current needs.
    [Show full text]