FACULTY OF ARTS AND 64435,en.pdfFACULTY OF ARTS AND HUMANITIES DESIGN. 2 Design Fact File 030217 Faculty: Arts and Humanities Department: Fine and Applied Art ... presenting
Liverpool Hope University ranked 2nd in the UK for Teaching Quality The Sunday Times Good University Guide 2017LIVERPOOL HOPE UNIVERSITYFACULTY OF ARTS AND HUMANITIESDESIGN2Design Fact File030217Faculty:Arts and HumanitiesDepartment:Fine and Applied ArtCampus Location:Creative CampusEntry Requirements:The standard offer level is between 104 - 128 new UCAS points, including a minimum of two A/A2 Levels or equivalent. In addition, applicants will preferably have an Art Foundation (or equivalent) in an arts-related subject or an A Level (or equivalent) in an arts-related subject. All applicants will normally be required to attend an interview with their portfolio of work.UCAS Code: W200Duration: Three yearsYear of Entry: 2017Contact Hours: For details about time spent in lectures, seminars, tutorials, fieldwork, placement and self-study, please visit the Unistats website: http://unistats.direct.gov.uk/Fees: The current tuition fees (2016/17) for Liverpool Hope are 9,000 per year. Information about fees for 2017/18 will be posted on our website: www.hope.ac.uk.Additional Costs: 200 material allowance and 50 allowance for overseas study (provided by the University). Individual additional material costs as required using specialist materials. Optional study visits offered in the UK and Europe: cost as determined.Degree:BA Single HonoursYou may also be interested in... Art & Design History Fine ArtContact Details:Student Recruitment+44 (0) 151 291 3111 firstname.lastname@example.orgAt Liverpool Hope University, the BA Design course strives to develop individual visual possibilities and skills, emphasising the importance of Design and Art and Design History within contemporary society. It aims for autonomous engagement and professional practice within Design and related contemporary cultural industries offering a broad range of career possibilities. We live in a society in which most of what we see, use, or have contact with has been designed. Underpinned by a commitment to the tradition of the Designer-Maker, our course aims to balance practice and theory. An intimate knowledge of materials and processes is explicitly connected to an understanding of their history and contemporary theory alike. Students are taught in well-equipped specialist studios and workshops where you will have access to traditional and new technologies. The course encourages students to manipulate and experiment with a wide variety of materials and techniques in their first year, providing opportunities to gain a deeper understanding of material specialisms in ceramics, textiles and metals underpinned by new technologies in design. The course progresses towards the professional standards required for theory and practice-led research and culminating in a final collection of work.The blend of practical, theoretical, and professional study is important to successful personal development, future employment and/or further postgraduate research. This philosophy is based upon the development of mind, body and spirit through cultural, historical, practical and social activity implicit within the discipline and industry of Design. The subject imperatives are for positive cultural change, continuing professionalism and lifelong research and learning in an increasingly diverse society.Course IntroductionLevel C (Year One)Materials Foundations: a diagnostic introduction to the manipulation of materials and design potentials, the areas of Textiles, Metals and Ceramics alongside Printmaking are creatively explored. A variety of processes and equipment are introduced through a series of challenging and exciting projects Design Fundamentals: incorporating responding to briefs, drawing and digital technologies to aid students working process Themes and Issues in Art and Design History (Antiquity to 19th Century) Historical and Contemporary Practices: The study of Art and Design History is an integral part of the Design degree, providing students with a good underpinning to their practiceLevel I (Year Two)Explorations in studio practice: Subject specific specialism within either Textiles, Metals or Ceramics. The opportunity to engage in a live brief, i.e. NML , Walker art gallery project, Bluecoat display centre To develop an independent project and engage in specific research and development associated to the material areasWhat you will study4 Themes and Issues in Art and Design History (20th Century to present day) Design Lecture (Specialised topics informed by research of design historians) Professional Design Practice , preparing students for future opportunities and employment possibilities. Special Study PreparationLevel H (Year Three)Advanced and individual studio practice with an autonomous approach supported by one to one tutorials, group critiques and indicative assessment. Students direct the year by writing a self-directed project, focusing on key techniques and processes and developing these to an advanced standard. Final exhibition of practical work in Textiles, Metals or Ceramics Aesthetics and Critical Writing Advanced Professional Practice Advances Museum and Gallery theory Professional Aspirations Viva Presentation Research Project: Special Study5Employability and Career OpportunitiesThe main identifiable transferable attributes in a Design Graduate are: Communication skills: written and verbal presentations and criticism Dependability: punctuality with assignments and attendance Problem solving ability: adopting strategies to resolve problems normally of a visual nature Coping with pressure: displaying objectivity under adverse conditions e.g reacting well to criticism after investing time and effort in a piece of work Self-confidence: essential for a critical environment but to be balanced by self-criticism Self-management: keeping abreast of developments in the department and the delivery of projects and assignments Initiative: taking command in order to circumvent difficulties for themselves and others Drive and energy: attendance and self-directed study, pushing projects and assignments beyond a minimal level The ability to plan and generate work independently and flexibly in response to changing deadlines Flexibility: adapting to change according to prevailing circumstances outside their control Time management: co-ordination of a multitude of factors when, for example, presenting work for exhibition The skill to communicate ideas and information in visual, oral and written forms The ability to professionally present ideas and work to their audiencesTeam work: evidence in the working environment, fundraising, displaying and exhibiting group exhibitions.A Design graduate will be able to generate original ideas, concepts and solutions, to set and self-initiate projects having been taught by experienced professional artists, designers, theoreticians and historians. Live projects and work placements provide a valuable experience of working professionally and providing future contacts with future employers.Design offers graduates a diverse range of career pathways including designer-makers and related employment in buying, marketing, education, teaching and art therapy. There are further study options at Masters level available at Liverpool Hope, including the PGCE, an MA by Creative Practice, an MA in Art History and Curating and MA Museum and Heritage Studies .6 Liverpool Hope University is the first in the North West for student satisfaction with Teaching Well-equipped workshops and studios complement this hands-on experience of materials and processes. All tutors are research active practising artists/designers who exhibit widely on a national and international level and whose own practice informs the design and delivery of the curriculum. Work placements and live briefs help develop and sustain creative links to industry and other professions. Industry professionals deliver master classes as part of the curriculum.Why study this subject at Liverpool Hope? The use of computer aided design and manufacture as a valuable transferable skill within the contemporary workplace, utilising both PC and MAC technology. There is the opportunity for new graduates to exhibit their work within the magnificent surroundings of The Cornerstone building and students have the opportunity to engage with live design briefs associated to established venues such as the Walker Art Gallery and Bluecoat Display Centre. Induction week introduces the city of Liverpool as a primary resource and stimulus and this intensive period of gathering on-site visual information provides a rich resource for students across practice and theory.7Graduate ProfilesByron Jones, BA Design Graduate 2014Coming from more of a fine art background this course opened my eyes to new possibilities. Allowing experimentation within a wide variety of materials early on in the course and with the tutors guidance and assistance you are able to narrow down and focus your creative practice to create a high standard practical body of work in your final year.Ludmila Swiderska, BA Design Graduate 2014Since graduating from BA Design, I have worked freelance running life drawing workshops and selling my ceramic works in a local art co-operative. I set up a small business and collaborate with another graduate selling craft pieces. I have also taken part in the Graduate Intern programme, working alongside the Design team which has given me invaluable work experience. Liverpool Hope University gave me the support I need to set up a small business and prepare me for life outside of the university. The Creative Campus was an excellent setting to study, with local galleries, great facilities and a real feel of a creative community. The Design team were excellent, not only guiding me in the studio but giving me many opportunities to exhibit my work and make links with artists and designers. I was really pleased to be invited to take part in the Internship programme and have highly valued my experience here.Emily Salter, Design graduate 2015The wide range of facilities and material areas accessible to students, and availability for individual personal tutorials really helps students both settle into the course and create a professional portfolio of work.Georgia Kane-Frazer, BA Design Graduate 2014Liverpool Hope University has offered me numerous amounts of opportunities; such as curating your end of year exhibition, attending New Designers and furthermore giving us the chances to communicate with flourishing established designers and crafters. This has expanded my knowledge and given me valuable work experience in the design sector and given me the freedom to begin my own business. The design course at Hope is intimate allowing you to communicate better with the lectures and tutors which enables you to tailor your work to a higher quality. My time at Hope has broadened my horizon and matured my work to standard I am delighted with.89Janice Egerton, Head of the DepartmentJanices research interests include, practice based textile design and construction methodologies and collaboration. Her current focus is using drawing as a conceptual problem-solving strategy.She has exhibited widely throughout the UK and internationally in North America, Germany, France, Romania and Holland. She has contributed to an International perspectives conference( Art and Design pedagogy), and her work has been cited in several books including Hand Stitch Perspective (Kettle A, McKeating), A practical Guide to Sustainable fashion, Gwilt, A AVA books and Shaw, F (2008) Go Superlambanana, cities 500.Janice is a member of Senate, an AQA Advisory HE Expert panel member for national A Level reform for Design Technology and External examiner at University of Central Lancashire (UCLAN). Dino Soteriou, Subject Leader and Professional Tutor in DesignDinos research interests centre on the production of creative image making methods associated to specific environments and collection of objects. Themes of nostalgia alongside lost and forgotten spaces often feature within his working process. Links between people, spaces and buildings are a visual drive for the work. Ongoing research into print processes and varying fabric qualities are integral to development, creating work that is underpinned by technical print tradition yet embracing contemporary design and new technologies. The links of the textile industries within the North West are an interest which often creatively feed the work, communicating a visual language which often simultaneously embraces the past and the present. Pattern, composition and colour feature heavily within his research investigating a creative language that challenges perceptions of imagery and creates new hybrid outcomes. Dyed and printed fabrics are often hand produced. Areas of expertise include drawing, collage, image manipulation, digital printing, screen printing, fibre and dye experimentation.Professor Alan Whittaker, Associate Professor in CeramicsProfessor Whittaker previously worked as a ceramic designer for Rosenthal Studio-Linie in Germany. His research is in porcelain and bone china vessels which relates to the study of rock formations. He is currently working on a Research Collaboration with Professor Steven Dixon at Manchester Metropolitan University studying the various degrees that bone ash additions have on the translucency of bone china. In particular, the use of animal bone ash found in a variety of locations from kangaroo bones in Australia to sheep skulls in the Shetland Islands. He has been featured in many contemporary ceramic books and his work has recently been purchased by the Victoria and Albert museum in London for their permanent collection.Academic Staff Profiles10Jacqueline Scholes, Professional Tutor in DesignJacqueline is a graduate of the Royal College of Art and Designer Maker who specialises in creating silver tableware. Her work is inspired by the celebration of dining; the relationship between food and tableware; the interaction of the diner with the meal and the landscape of the table are all important in her creative process. As a member and committee member of the Contemporary British Silversmiths, she has had the opportunity to show unique pieces worldwide, alongside mentoring up and coming silversmiths. Jacquelines research combines dining rituals, table manners, society and new technologies.Dr Richard Hooper, Associate Professor in DesignRichards research interests include pedagogical aspects of the application of new technology in design education and the application of new technology to contemporary studio practice in design and sculpture. He has recently completed a PhD in Sculpture and Digital Design. He balances his academic career with managing a design studio in Liverpool and practice as an international digital designer/maker/sculptor. His website is accessible at http://richard-hooper.co.ukSara Preisler, Lecturer in DesignSara works as a contemporary maker, specialising in jewellery and related product design. In 2002, she opened her first gallery: Sara Preisler England, and in 2005, following its success, moved to Front of House at The Custard Factory in Birmingham, to become The Sara Preisler Gallery. She works from her gallery studio in Birmingham and stocks her own exclusive collections of jewellery in over 60 shops and galleries across the UK. In her role as gallery owner, she represents over 70 other established and emerging designer makers from across disciplines within the Craft and Fine Art Photography sector. Saras gallery has recently been championed by Visit Britain as a cultural reason to visit the UK.Dr Antoinette McKane, Lecturer in Museum and Heritage StudiesDr McKane studied for her BA and MA at the School of Art, University of Aberystwyth. She received her PhD from the Centre for Architecture and the Visual Arts, University of Liverpool. Prior to working at Liverpool Hope she worked in a variety of freelance roles for Aberystwyth University Museum and Gallery, Oriel Davies Gallery, Tate Liverpool and Liverpool Biennial. Her areas of expertise include European art history from the nineteenth century to the present, and museum studies. She has published on contemporary art practice, participatory art exhibitions, and the role of 11art museums in urban change. In addition to lecturing in Art and Design History, she runs the MA Museum and Heritage Studies. Dr Kathrin Wagner, Lecturer in Art HistoryAfter working in Museums in Berlin and New York, Dr Wagner joined Liverpool Hope University from Cardiff University in 2011. Her key role in the team of Art and Design Historians is to co-ordinate the pathway in Art and Design History. Areas of teaching cover 14-16th Century European Art, Art Works with Propaganda purpose, Political Art and Photography. Kathrins research focuses on late medieval/early modern art from Northern Europe.Dr Amelia Yeates, Senior Lecturer in Art HistoryDr Yeatess areas of teaching specialism are French and British 19th Century art and European and American 20th Century and contemporary art. She has published on 19th Century British art and artists and contemporary art, especially in relation to gender. She also runs the MA Art History and Curating. Prior to joining Liverpool Hope, Amelia taught at several other UK universities and worked at Birmingham Museum and Art Gallery.Dr Judith Walsh, Professional Tutor in Art and Design HistoryDr Walsh studied for her BA and MA at the University of Liverpool and received her PhD in post war British art and social realism from Winchester School of Art, University of Southampton. Her teaching specialisms include 19th and 20th Century art and design history and visual culture. She has published on British figurative art and art criticism and regularly lectures for Tate Liverpool and the Walker Art Gallery in Liverpool. 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