ArtLab

By edwardwhite Comment Closed

Artlab

Name/School/ Email address

Tina O’Connell / Art / t.oconnell@reading.ac.uk

Overview

ArtLab is a dedicated art and technology facility that supports Outreach and Widening Participation, by bringing a wide range of children from across different social backgrounds into contact with cutting edge art and technology projects that are co-delivered with Undergraduate Art students (as student co-researchers). Underlying this idea are a set of core educational values concerning the deeper understanding of computing, digital media and new technologies that will form part of a vibrant cultural and economically viable society both today and in the future. The impact on our students derives from the experiences they gain in the delivery of numerous workshops with Primary and Secondary schools as well as a range of other public institutions over the last 4 years (see below). Further to this, the intention is to share knowledge and experience in order to provide a focus for other University of Reading department’s initiatives in this area.

Objectives 

  • To work with undergraduate co-researchers, who learn about a wide range of cutting-edge art and technology projects and co-deliver art-based pedagogic workshops to children from across different social backgrounds.
  • To enable our student co-researchers to understand their potential role as educators, and the value that art brings when combined with developing skills in technology, including offering potential careers within the fastest growing sector in the UK, the creative economy.
  • To encourage these co-researcher students to share their positive experiences with WP schools, helping a shift in mind set from STEM to STEAM (including Arts) and opening up this area to help pupils develop academic and practical skills that are not currently taught in mainstream schools.
  • To introduce pupils from State schools to University contexts through direct experiences with our co-researchers who are frequently students of similar backgrounds.

Context

Within the current educational context (and despite the global acclaim and economic success of the UK Creative Economy) Art and associated disciplines are increasingly de-prioritised or excluded from school curricula; and Art and Science/technology are presented as separate (or mutually exclusive) spheres of study. As such Art and our art students whilst being some of the most sought-after graduates are increasingly positioned as studying a non-essential subject and Arts subjects are increasingly inaccessible to children from State schools.

Implementation

Artlab was set up in 2013 to address these issues and has subsequently organised over 100  workshops, school visits, open days and other events at Primary and Secondary schools and Public institutions such as the Tate and MERL with our student co-researchers.

For instance, in this last academic year (2017-18) Artlab delivered workshops to 29 primary schools involving co-researchers, around 870 children by working closely with 52 teachers and teaching assistants. If we include Reading Scholar, Stellar Projects MERL, Reading International, Tate Exchange and other WP workshops ArtLab co-researchers engaged with over 4,800 potential beneficiaries in the process. One part of a range of the planned activities being coordinated at this time is Tate Exchange, a dynamic public engagement programme that will be central to the public facing activity of Artlab and for educating our students to the nature and reach of social practice. Spearheaded by Artlab, this represents the opportunity for our co-researchers; Reading students, as well as the Stellar Project team (children from Maiden Erleigh School) and our Reading Scholar Students (external A level students) who work with us at Tate on new projects that engage with the idea of ‘production’ – in particular drawing on the ideas and approaches that we have successfully pursued to date – art and technology.

 Impact 

  • ArtLab was nominated and shortlisted for Reading Cultural Award.
    Artlab is a partner of Reading International, which has received financial support from Arts Council of England.
  • ArtLab has helped MERL and READING MUSEUM in its application to ACE to become an NPO, securing £8,000 per year for 3 years delivering Arts MARK for ArtLab.
  • Providing teaching experience/mentoring for our Reading students – or co-researchers, as well as iReading Scholars, by inducting them into use of new technologies.
  • Co-researchers are supported in how to conceive, deliver and part take in workshops, and this has an impact on their future carer choices and their skills base within the creative economy.
  • The ArtLab  Placement is a 20-credit module (as part of ArtMark NPO successful, bid see above) this year there are 3 students on the module delivered by ArtLab. In association with Christ the King Primary School (CKP) Maiden Erlegh East (MEE) Secondary School, MERL and Reading Museum.
  • Summer Workshops over 24 days in June and July each year, ArtLab works with 10 local WP Primary Schools in Berkshire, UK. Including undergraduates, postgraduates, lecturers, teachers and school students working as co-researchers.
  • ArtLab’s PhD Student Outreach the University funds a fees only PhD student

Reflections

There continues to be strong evidence in our evaluation to indicate that the activity has led to deeper forms of engagement by our students, as well as an increase in applications to the University. The evidence can be seen as effective in respect of students across a range of skills, and interests. The success has exceeded our aims in terms of its effects, with much of our success evident in shifts to the success of progression of our students and their impact on cultures and values being developed in primary schools, that that then help shift attitudes in Secondary School pupils. This was an effective approach as pupils resist pressure to drop Art. In this respect this shift in attitudes increases both our students and associated pupils confidence in undertaking degrees in which they can see clear career prospects relating to creative and analytical skills as outlined. For the University, this has explained in part the uptake of some pupils in studying for joint honours degrees, providing further evidence of their value to admissions.

Follow Up 

We will continue our approach which has proven to be successful and attracted very considerable support and recognition including further funding from across the University and from independent organisations such as the Arts Council of England.

TEF

TQ1 LE1 SO1 LE2 S02 LE3 SO3 TQ5

Links
https://readingartlab.com/

Refreshing Professional Practice

By edwardwhite Comment Closed

Refreshing our professional practice module

Name/School/ Email address

James Lloyd / ACD (Typography) /  j.c.lloyd@reading.ac.uk

Overview 

In 2017/18 we reviewed and revamped our flagship professional practice scheme known as ‘real jobs’. The impacts include: a significant increase in the number of students regularly attending feedback sessions and engaging with the process; a large number of highly presentable concluding reflective reports from students; a reduced impact on staff resource due to better management of information and processes; and greater level of clarity among the student body about the existence and benefits of the scheme.

Objectives

  • Boost student engagement
  • Embed contemporary workflows
  • Streamline assessment and feedback
  • Centralise information and information management
  • Initiate a briefing session for all students, for the first time
  • Generate more competent (and compelling) outcomes. Our new blog at typography.network/real-jobs collects students reflective reports on these projects
  • Increase student exposure to industry professionals
  • Give feedback as jobs are completed, rather than right at the end of the course
  • Provide students with personal, engaging stories to tell on job applications and at interviews

Context

This work is part of TY3PRP on our BA Graphic Communication course. The genesis of these changes came from a sense that the current system was stretched due to increasing student numbers and lack of staff time. We needed to centralise and standardise more procedures in order to free up most staff to function better in their primary role (as design supervisors) and leave issues relating to project management, industry practice and print production to new staff members with a more dedicated set of roles (specifically in professional print production and professional design management). We also sought to address the fact that Real Jobs had never been fully integrated into the modular system on which the University now runs, making it an outlier in many areas (including assessment, timetabling and briefing) and thus causing confusion to students.

Implementation

Surfacing the issues

The project was initiated following detailed discussion with Rob Banham, our DDTL, based on his experience of running the Real Jobs scheme for around a decade. We also took advantage of the training and techniques offered on the University’s Academic Practice Programme (which Geoff Wyeth and I participated in for 18 months) to assess, flesh out and test Rob’s analysis of the issues. It became clear the scheme was characterised by lack of clarity (with no real assessment criteria or workflow) and lack of student engagement (with the keenest students always doing well, but the majority shying away from the scheme). It also felt excessively manual in its admin – reliant on the generosity of staff time, rather than robust processes.

Planning for professionalisation

Over Summer 2017 I planned a new process, taking in feedback and concerns from a wide range of staff and students, trying to address a wide variety of issues and encode solutions into:

  • A Filemaker database of jobs, clients and students (for staff admin use only)
  • A Trello online project management board (used by supervisors and students). The board acts as a contract, a step-by-step process and a live project management tool, mirroring many aspects of life as a professional designer
  • A blackboard organisation – so the scheme has a VLE for the first time
  • A new annual briefing session for all Part 1 students, late in the year
  • A revised format for weekly Real Job meetings
  • A new rubric, mapped to new assessment criteria

Launch

We launched formally in Autumn term 2017, with most of the tools in-place.

In order to get all students up to speed, we ran the induction briefing session for all three year groups. The induction was crucial to the success of these changes. By bringing in staff, graduates and potential clients, we carry all students through a model for the new process over a two-hour session. They experience a dry run of the whole thing, and hear reflections from students and clients who’ve already been through it. The goal is to bring active awareness to the scheme and its process, so that when they attack projects for real, the barriers feel reduced.

Impact

The outcome is an entirely new process, much more tightly focused on student understanding, user needs and a more engaging and defined set of tasks – while still allowing students to explore projects in their own way.

Attendance at Real job meetings has gone from an average of around 9 students per week to something more like 30 or 40. A increased calibre of discussion has also been noted by staff.

Final reports have been transformed into more professional, thoughtful, meaningful and marketable blog posts.

Assessment is simpler. More time consuming, but more thorough, and clearer.

Higher throughput of jobs.

Students who DON’T wish to pursue a career as a professional designer now have a parallel route, through Experiential Learning Assignments that let them write about design rather than practice it.

Reflections

The changes work because there has been a top-to-tail review with solutions carefully targeted across a range of goals. Most of these solutions are working as expected, though there is room for improvement

As a Department we still lack the resources to truly ensure that all students and all jobs stay on track. We have more visibility and better insights, but process steps can be skipped without immediate remedy.

The assessment process is more involved than planned, and is not yet happening as jobs are completed, but still at the end of each year.

It’s hard to measure the impact on employability.

Only a few students take advantage of the offer of a thorough pre-press check on their work.

Follow Up 

We have continued to refine assessment criteria and rubric style, in an effort to simplify things for staff and students.

ELAs (which let students get credit for non-design aspects of their studies) are being rolled out slowly.

A module review is needed to assess whether students are entirely satisfied with the way the scheme runs. Anecdotal evidence suggest some students still find the prospect of these projects daunting, and they find ways to avoid engagement.

TEF

LE2, SO1, LE3

Links

http://typography.network/real-jobs-scheme/

http://typography.network/about-real-jobs/

https://www.bb.reading.ac.uk/webapps/blackboard/execute/announcement?method=search&context=course&course_id=_130257_1&handle=cp_announcements&mode=cpview (login required)

 

Increasing Engagement Through Use of Collections

By edwardwhite Comment Closed

Using collections in teaching & learning

Name/School/Email address
Rob Banham / ACD / r.e.banham@reading.ac.uk

Overview 
The work undertaken was to engage UG students in design history and printing history through its lettering, printing, and graphic design collections. The impact was improved attendance and greater engagement of students with history modules, increased use of collections by staff in other modules, development of new modules, and UROPs.

Objectives
• Increase attendance and engagement in the UG module history of graphic communication
• Improve students understanding by revisiting topics covered in lectures
• Encourage students to develop skills in analysis and debate
• To enable students to learn through task-based learning activities, rather than traditional seminars

Context
TGC’s approach to teaching design has always involved history, theory, and practice. Over time, changing practices and new technologies in design and printing meant that the history of the subject has become less connected with current design practice. UG students were therefore less inclined to positively engage with modules with a historical focus. The activity was undertaken to make history teaching in TY1HG (now TY1HG1) more dynamic and engaging, using interactive sessions with TGC’s collections, and task-based learning, in place of traditional seminars.

Implementation
• New module outcomes and seminar content for TY1HG1 (History of Graphic Communication 1), with task-based learning, relating to material from TGCs collection
• Additions to TGC’s collections

Impact
The revised module content achieved its immediate aims of improving student attendance and engagement in seminars, with students frequently commenting positively in module evaluation about the inclusion of collections-based seminars. Students were also more engaged with associated lectures, and with the coursework submissions and examination in the TY1HG1 module. There were also further, unexpected outcomes. The popularity of the revised module led to student requests for additional opportunities to study the history of the subject and new modules were introduced in Part 1 (TY1PRI: History of Printing and Printmaking, TY1HG2: History of Graphic Communication 2) and Part 3 (TY3ES: Ephemera Studies). There was also an uplift in the number of students using collections in general, and TGC’s collections in particular, as the basis for dissertations in Part 3. Staff also began to employ collections-based sessions in practical design modules across all three years.

Reflections
The activity was successful for a number of reasons. Students have the confidence to participate in seminars because the task-based learning activities mean that they can discuss questions in pairs or groups before sharing their answers. This is particularly appreciated by students with learning styles not suited to traditional seminars, or from WP backgrounds who tend to be intimidated by them. Students also find the hands-on nature of these seminars much more engaging than a straightforward discussion of sources and, perhaps most importantly, find the seminars a useful way of consolidating their learning from associated lectures. The activity had wider impact because the good practice and positive student feedback were shared through staff and student evaluation and review of teaching. The activity could have been better implemented by involving students in developing the revised module description, by de-colonizing the module curriculum (which we will be working on over the next 12 months), and providing students with more training regarding how to handle collections materials.

Follow Up
The TY1HG1 module has continued to evolve, with the introduction of new seminar topics, classes looking at University Special Collections and (as outlined above) new modules and increase use of collections in practical project teaching.

TEF
LE1, TQ1