BA(Hons) Jewellery and Silversmithing

Unit Handbook

Unit Title: Form and Surface

Maike Dahl, Jugs, 2011, Silver

Unit Code: FFCP4290

Credits: 30

Tutors:

Adrian Bland (ABland@uca.ac.uk)

Debra Allman (dallman@uca.ac.uk)

Grant McCaig (gmccaig@uca.ac.uk)

Natalie Ryde (Natalie.Ryde@uca.ac.uk)

Jewellery Technical Tutor: Dan Seddon

Ceramics Technical Tutors: Emma Rawson, Susan Atwill

Unit Briefing: 30th January 2024

Unit Submission: 22nd April 2024

Project Brief : Holloware : Inside Outside
This unit will introduce you to a range of new material knowledge and process skills
relating to hollow forms. You will explore a range of approaches to making hollow
forms, relating to both jewellery and silversmithing.

Silversmithing is a term that can be applied to describe either a range of functional,

domestic or ceremonial objects produced mainly in precious metal (silver) or can
refer to the primary techniques used in making these objects. Whilst sharing
commonalities of techniques with Jewellery, Silversmithing differs in many ways; it’s
traditions, scale and function.

This unit will introduce you to hollow form and the main techniques and processes to
make them:

● Raising
● Press Forming
● Cylinder making

Alongside these you will also be introduced to the ceramic Slip Casting process as
a means of producing a repeated 3D hollow form that can be used in jewellery
objects.

During the project there will be a series of rotating technical workshops, which will
introduce you to each of the key technical elements. Technical sessions are
intensive and compulsory. It is essential that you attend each one of these
workshops at your allocated dates and times and take relevant notes and
documentation that will allow you to work largely independently over the course of
the project. These workshops will introduce you to the principles of the techniques
covered. You will produce samples of each technique covered during these sessions
that will give you practical knowledge of their application and potential to inform your
design work. Technical sessions must be documented in your technical journal

Design development is central to every project. You will use essential research
methods to develop your project.

Unit Structure
This unit is made up of several tasks, which run alongside each other. There are
workshops, reviews and tutorials that help you to develop your skills and ideas.
Projects are structured to introduce you to a range of skills and to build your
confidence in their use to enable you to engage in interesting and challenging design
projects.

Your weeks will be split between workshops, designing, tutorials, lectures and
seminars. You should regularly check online announcements and locate information
about scheduled activities and project resources via myUCA. Please note that it is
important that you attend all timetabled sessions, including tutorials, which are a
time for you to talk through your research and designs with your tutors. During your
self-directed time we expect you to be working in the studio/workshops where
possible. You should be developing techniques, researching and developing
ideas and designs. Make the best of this time.

It’s very important to continually explore the relationship between your research, test
pieces and design work, as this relationship is crucial in developing your ideas. Test
in 3D and then observe through sketching and then move back into 3D.

● keep a current timetable

● regularly check online announcements myUCA
● attend all timetabled sessions, both real life and online
● prepare for tutorials

Tasks at a glance:

● Raising Task

● Cylinder Task – make a cylinder with a base.

● Necklace Task – design and make a necklace from repeated slip cast
ceramic components.

● Forming - Learn about doming, press forming and making chain.

• Essay Assignment – 1200 word illustrated essay

 Cóilín Ó Dubhghaill, Ceo 6 Gold copper alloy

Task 1 –Raising

During technical workshops you will learn to raise a hollow vessel from a flat disc of
copper sheet with hammers and stakes; a process known as Raising. This is not a
design exercise; it enables you to learn a silversmithing skill that is transferable
across jewellery. Your technical progress should be documented and recorded in
your technical journal with images and technical notes that will allow you to pursue it
if you wish in future projects.

Research for this task: You should research silversmithing, contemporary and
historic that explores hollow form. Consider the context for the work you are
researching, that is, what its function is (domestic, ceremonial, decorative etc). This
research should be evident in your sketchbook.

Adi Toch – Satiated Vessels 2018

Task 2 - Jewellery & Form: Repetition and Suspension

For this task you are required to design and make a necklace comprised of repeated
slip cast ceramic forms. The capacity to repeatedly reproduce components for a
piece of jewellery can be an important and useful method in the design process.
Doing this in ceramic slip allows you to manipulate objects after casting, to
experiment with colour and surface and enables you to explore a range of design
possibilities in a new material.

You will be introduced to the moulding process early in the project, please note this
sample cannot be used as your final design. You are required to design and make a
master model from which you will create another mould.

The mould provides a means of production that is fundamental to 3-dimensional

design. It allows the repeated reproduction of a predetermined form. You will be
working primarily in plaster and ceramic, as well as being introduced to the use of
basic firing and staining of slip. Your design must be sympathetic to the moulding
process and include the use of colour by applying stains to your slip. How you use
colour will be driven by your research. You will use colour but not glaze in this task.

Ceramic Component Sizes

Please note that a minimum size for your component/s is: 4cm in any direction
Please note that a maximum size for your component/s is: 10cm in any direction

You should remember that your master model should be made 20% bigger than your
intended form to allow for shrinkage.

Shu-Lin Wu – Mokume necklaces with coloured porcelain

In addition to this you will explore metal techniques, including making chain and
press forming, which can also be included as part of your design.

Timing for this task is essential and requires you to make use of the studio and
workshops at every opportunity in order to finish your pieces. There will specific
deadlines within the unit which must be followed.
 Final designs should be informed and explored, in depth, through material testing
and investigations carried out in the workshop. Development work for this project is
essential and you are required to plan your time to allow for this. Drawing and
modelling will help you to explore the potential of ideas.

Evert Nijland, Moulded porcelain and string necklace,

2004.

Research for task:

● You are required to broadly research necklaces and neckpieces, then select a
minimum of 6 examples that you feel are particularly interesting – at least 3 of
these should be made using ceramic. You must annotate all examples – write
down materials used, scale, designer/maker, the date they were made and why
you picked them. Look at how designers use components in a necklace; how
do they hand, on what material? How are they connected?

● In order to explore potential forms and to gain inspiration for your designs, you
should research a range of three-dimensional forms, both natural and
manmade, and you should take your own photos and make drawings (primary
research). From this source material you will then begin to develop ideas for
your designs.

Evidence of your research and development should be available at all times when
you are in the workshops or having tutorials as technicians and tutors will want to
discuss with you.
 Aline Berdichevsky, In the Wind, 2016

Task 3 : Cylinder
You will make a small cylinder, which will have a base. Though this isn’t a design
project, you should consider the surface of the cylinder.

Research for task:

● Gather a selection of artist research references that makes use of cylindrical

form. You should include at least 3 silversmithing examples and 3 jewellery
examples.

Rebecca de Quin, Stacking Vessels, 2015

Essay Assignment

Following a series of lectures, you will be required to write a short essay (details in
assessment requirements section).
Lecture Series:

Lecture 1 (Essay Assignment):

Sensory experience, touch and tactility

Lecture 2 (Essay Assignment):

Addressing the assignment

Lecture 3 (Essay Assignment):

Form and function: modernism

Lecture 4 (Essay Assignment):

Surface and spectacle: postmodernism
Content of these lectures is posted separately in Teaching Materials

Unit Learning Objectives

LO1: Experimentation & Innovation

Use workshops effectively to develop material skills and repeated production
processes.

LO2: Research & Analysis

Use a range of visual, material and contextual research skills to critically evaluate and
develop design ideas.

LO3: Engaging with Practice

Extend understanding of the relevant contemporary and historic contexts relating to
crafts and design practice.

LO4: Realisation & Communication

Use visual and verbal communication skills to communicate ideas and design
outcomes.

LO5: Personal & Professional Connectivity

Committed community contribution and personal management.

Important
It is vital that you plan objectives and use your time well during this unit, as
you will be expected to complete all tasks for the crit and assessment. The
schedule for workshops is on your unit timetable. Please check the notice
board and MyUCA regularly for any updates. This project will require you to
spend a substantial amount of your time in the workshop testing and making.
We expect to see students working in the studio as much as possible
throughout the unit and to be at all scheduled sessions on time. You cannot
afford to miss any timetabled sessions as they can’t be repeated. If you miss
any timetabled sessions, it could affect your ability to successfully complete
the project.

It’s very important to continually explore the relationship between your research, test
pieces and design work, as this relationship is crucial in developing your ideas. Test
in 3D and then observe through sketching, then move back into 3D.

Final designs should be informed and explored, in depth, through material testing
and investigations carried out in the workshop. Development work for this project is
essential and you are required to plan your time to allow for this. Drawing and sketch
modelling will help you to explore and discuss the potential of your ideas.

All your technical exercises should be documented and recorded in your technical
journal with images, physical samples where possible and technical notes.

Project Groups

You will be split into 2 groups during this unit. You MUST make sure you are in the
right place at the right time:

Groups for workshops:

Group A: Chaeyeon, Jaemin, Bia, Nik, Romy, Rachel, Ben, Sara, Fern

Group B: David, Nade, Xander, Sam, Patrizia, Emily, Sebastian, Frederika

Project Requirements
For workshop sessions and tutorials:

● Current Sketchbook (source material, visual research )

● Technical journal

Assessment Requirements
For the Essay Assignment – 12th April 2024

Produce a 1200 (+/- 10%) word, illustrated essay based on ONE of the following 3
choices:

1. Discuss the impact of the multi-sensory on craft and/or design practices. You
should focus on no more than three examples.
OR
2. Discuss the impact of modernism on craft and/or design practices. You
should focus on no more than three examples.
OR
3. Discuss the impact of postmodernism on craft and/or design practices. You
should focus on no more than three examples.

The structured essay should include correctly referenced quotations and images,
and MUST include a bibliography. Full details of the assignment will be explained in
the second lecture.

For the presentation on 22nd April:

Outline the story of your project in 6 slides. You should include artist research,
contextual research, key sketchbook pages and final objects. Your presentation
should be between 4 and 6 minutes.

For the assessment submission on 22nd April:

Task 1 – Raised Vessel

● One raised vessel

● Test pieces/technical exercises documented through Technical Journal

● Research into silversmithing, contemporary and historic.

● Photograph of finished vessel

Task 2 – Jewellery and Form: Repetition and Suspension

● Resolved necklace consisting of repeated slip cast forms

● Test pieces/technical exercises which evidence exploration and skilful use of

slip casting, use of stain and relevant metal techniques documented in
Technical Journal
 ● Sketchbooks: including drawing, research and 2D design development

● 3D design development: Sketch models (see glossary) that represent the

development of your design and tests your ideas, scale and function of piece.

● Photographs of work being worn and as also off the body

Task 3 – Cylinder -

● One completed cylinder with base.

● Test pieces/technical exercises and documented in Technical Journal
● Research into cylindrical form
● Photograph of cylinder

You should submit physical evidence of all successful completion of all

workshop inductions (doming/press forming/chain making/mould
making/pouring coloured slip/slip cast tests).

Please note that you should prepare to submit all your work for assessment at the
end of the project so remember to keep all tests, drawings etc as the project
develops.

Key dates:

During this unit you are expected to manage your time well, to meet your own
deadlines, as well as set project deadlines.

Project Briefing: 30th January

Press Forming: 29th January

Cylinder Making: 5th and 12th February

Subject Seminar – Necklaces: 6th February (am)

Drawing: 13th February

Plaster Mould Making Inductions:

Group A 8th February (am)

Group B 15th February (am)

Colouring Ceramic Slip Inductions:

Group A 20th February (am)

Group B 20th February (pm)

Raising Workshops:

Group A 19th February and 4th March

Group B 26th February and 11th March

Chain Making Workshop:

Group A 19th February

Group B 26th February

Research Review: 20th February

Bring: Sketchbook with primary research into three-dimensional form, both natural
and manmade. Be prepared to discuss this and to reflect on what aspect of the
research you consider the most interesting moving forward. Also bring your research
into Hollow form and Necklaces as outlined in the Handbook.

Making Masters for Casting: 21st February

Bring: Your sketchbook and a model of the object that you want to make a mould
from for slip-casting.
Study Trip - London: 27th February 2024

Support Making Final Moulds: 29th February (am) 12 max

Formative Review: 5th March

Last day for making plaster mould: 8th March

Last day for slip casting: 20th March

Last day for firing cast objects: 10th April

Essay Submission: 12th April 2024

Presentation: 22nd April

Assessment Submission: 22nd April

Glossary

There will be a series of words and terms you hear on a regular basis, which might
not be familiar. The list below aims to highlight the meaning of certain terms and
words.

Glossary of words

Concept = an abstract idea, a plan or intention.

Context = The circumstances that form the setting for an event, statement, or
idea, and in terms of which it can be fully understood.
Series = A number of objects of a similar or related kind

Speculative = involving a high risk.

Research = The systematic investigation into and study of materials and sources
in order to establish facts and reach new conclusions.

Source material = Visual material that you study directly from first-hand experience.
Primary sources can be natural objects, artefacts, places, people or
events.

Secondary research = material produced by others. Secondary sources can

include reproductions of images and artefacts, photographs,
film, video, web-based material or text. Work by other artists
and designers should relate to your project in terms of subject
matter, ideas, style, use of materials and processes or
techniques.

Unit Descriptor

UNIT TITLE
Form and Surface

Unit Code
Location Farnham
Level 4
Duration (number of weeks) 10
Credit Value 30
Total Learning Hours for Unit 300
Date of approval of this version
 Course(s) to which this unit BA (Hons) Jewellery and Silversmithing
contributes BA (Hons) Ceramics and Glass

List any other Institutions (and Name of Institution: UCA unit code:
locations) which sub-contract and
deliver this unit:

CONTENT

What: The capacity to repeatedly reproduce components can be an important and useful
method in the design and making process. It facilitates the iterative reproduction of a
predetermined form. This unit introduces you to a range of production methods, including
forming, mould making, casting and surface application.

Why: The purpose of this unit is to extend existing and develop new material knowledge and
process skills, with a focus on form and surface.

How: You will develop an understanding of all aspects of the design process at a
fundamental level - research, ideas generation, conceptualisation, iterative exploration,
design development, documentation, evaluation, resolution and communication.

You will be introduced to a broad range of historical and contemporary contexts that address
issues of form, texture, pattern and decoration, highlighting the values of cross-disciplinary
research towards innovation and positioning of practice.

Syllabus content (indicative):

Fundamental Jewellery and Silversmithing Projects

• Project Briefs
• Hammer work
• Raising
• Machine forming
• Soldering
• Surface finishes
• Material investigation
• Research methods
• Hand drawing / collage
• Sketch modelling
• Design Process
• Practice context
• Wider crafts and design context including:
Modernism/Postmodernism
Form and Function
Ornament, pattern and decoration
Multi-sensory objects and the tactile experience

UNIT LEARNING OBJECTIVES

LO1: Experimentation & Innovation

Use workshops effectively to develop material skills and repeated production
processes.

LO2: Research & Analysis

Use a range of visual, material and contextual research skills to critically evaluate and
develop design ideas.

LO3: Engaging with Practice

Extend understanding of the relevant contemporary and historic contexts relating to
crafts and design practice.

LO4: Realisation & Communication

Use visual and verbal communication skills to communicate ideas and design
outcomes.

LO5: Personal & Professional Connectivity

Committed community contribution and personal management.

INDICATIVE TEACHING & LEARNING METHODS

This will comprise:

• Project briefing
• Tutorials
• Lectures
• Reviews
• Seminars
• Technical inductions
• Technical workshops
• Supported studio/workshop practice
• Project Critique
• Learning Material on myUCA
• Formative and Summative Assessment
• Museum/gallery visits
• Peer Learning
• Self-directed independent study
• Self-evaluation
• Technical Journal
• PLE

UCA KEY PRINCIPLES

Which of the five key principles that underpin the delivery of a personalised learning
journey and that define UCA Degree Programmes are explicit in this unit and how
are they delivered? [Not all principles will be explicit in every unit.]

Practice-led and Professionally Contextualised

 In this unit you will apply knowledge gained through problem solving, research
and technical and material development. This will help build confidence and
knowledge of the demands of your creative discipline.

Discipline-specific and interdisciplinary exposure

You further explore contextual and practical skills in other crafts and design
contexts. You will explore a range of methodologies, techniques and ways of
thinking, which will expand your creative knowledge.

Technologically relevant

Subject specific practical and conceptual skills help develop your knowledge and
confidence in the subject.

Employment focused

N/A

Internationalised learning

N/A

ASSESSMENT REQUIREMENTS

Table A1 - Assessment Components

Assessment Weighting Typical Indicative Assessment Type

Component (%) Assessment tasks For each
List all separate Where the component component double
components comprises more than one click in the box to
(normally no assessment task see options.
more than 2 per The options equate
unit) to the assessment
types in table A2
Portfolio 100% Body of developmental, Portfolio
practical and contextual work
evidenced in: Sketchbooks
(visual research, design
development),
material testing, sketch
modelling,
technical/material/ process
knowledge specific for unit,
written/oral presentations.
Project outcomes.
Table A2 –Categories for Assessment

% of Total for
Assessment Type Category
assessment Category
Written exam Written
Set exercise (under exam conditions but
Written
not testing practical skills)
Written assignment, including essay Coursework
Report Coursework
Dissertation Coursework
Portfolio 100 Coursework
Project output (other than dissertation) Coursework
Set exercise (not under exam conditions,
Coursework
e.g. critiques)
Oral assessment and presentation Practical
Practical skills assessment (including
Practical
production of an artefact)
Set exercise testing practical skills Practical

INDICATIVE READING LISTS1

Essential

Loyes, F. (1980) The Thames and Hudson Manual of Silversmithing London:

Thames and Hudson.

Austin, A. (2007). The Craft of Silversmithing. Techniques, Projects, Inspiration. New

York: Lark Books.

Codina, C. (2002) Jewellery and Silversmithing Techniques. London: A&C Black.

Jackson, P. (2011) Folding Techniques for Designers: From Sheet to Form. London:
Laurence King.

Smith, K. (2005) Silversmithing: A Manual of Design and Technique. Ramsbury:

Crowood Press.

Le Van, M. (2007) 500 Metal Vessels Contemporary Explorations of Containment.

New York: Lark.

1
Reading lists are indicative at the point of validation or periodic review. Any subsequent amendments are approved and
published on myUCA in accordance with the Reading Lists policy as maintained by Academic Services. This policy also forms
part of Annex 5 of the Quality Assurance Handbook.
McGrath, J. (2005) The Jeweller’s Directory of Decorative Finishes. London: A & C
Black

Codina, C. (2003) Goldsmithing and Jewellery Work: Jewellery, Vessels and

Ornaments . Asheville: Lark Books.

Game, A. & Goring, E. (1998) Jewellery Moves: Ornament for the 21 st Century:
Edinburgh : National Museums of Scotland.

Wardell, S. (2017) Slipcasting (Ceramics Handbooks). London: Bloomsbury.

Frith, D. E. (1999) Mould making for ceramics. Wisconsin: Krause Publications.

Martin, A. (2007) The Essential Guide to Mold Making & Slip Casting. New York:
Lark Ceramics Books.

Harrod, T. (Ed) (2018) Craft (Documents of Contemporary Art). London:

Whitechapel.

Recommended

Adamson, G. (2011) Postmodernism: style and subversion. London: V&A

Publications.

Classen, C. (2005) The book of touch. New York: Berg. At: https://www-taylorfrancis-
com.ucreative.idm.oclc.org/books/edit/10.4324/9781003135463/book-touch-
constance-classen

Lambert, S. (1993) Form follows function? London V&A Publications.

Pallasmaa, J. (2012) The Eyes of the Skin. Chichester: Wiley. At:

https://ebookcentral.proquest.com/lib/ucreative-ebooks/detail.action?docID=896076

Paterson, M. (2007) The senses of touch: haptics, affects and technologies. New
York: Berg. At: https://ebookcentral.proquest.com/lib/ucreative-
ebooks/detail.action?docID=483729

Shonibare, Y. (2018) Criminal Ornamentation. London: Hayward Gallery Publishing.

Tanner, A. (2010) Batch: craft, design and product. London: A&C Black. At:
https://ebookcentral.proquest.com/lib/ucreative-ebooks/detail.action?docID=738841

Wilk, C. (2006) Modernism: designing a new world. London: V&A Publications.

Corwin, N. M. (2010) Chasing and Repoussé Methods Ancient and Modern. London: A&C
Black Ltd.

Kingsley, S. (1993) Hydraulic Die Forming for Jewellers and Metalsmiths. California:
Carmel.

Pipes, A. (2007). Drawing for Designers. London: Laurence King.

Tanner, A. (2010). Batch; Craft, Design and Product: The Work of the Designer
Maker. London: A & C Black.

Lewton-Brain, C. (2008). Foldforming. Cape Elizabeth: Brynmorgen Press.

Wiley, P. G. (2004) The Art of Metal Spinning: A Step-By-Step Guide to Hand-Spinning.

About Your Course

Teaching Staff and Technicians:

You will see a variety of tutors during this unit including:

Natalie Ryde (natalie.ryde.ac.uk) Lecturer Jewellery

Working Pattern: Mon - Tue, Variable - See timetable

Debra Allman (dallman@uca.ac.uk) Programme Director Jewellery, Ceramics and

Glass
Working Pattern: Monday, Tuesday, Wednesday, Thursday, Friday (Variable)

Grant McCaig (gmccaig@uca.ac.uk) Senior Lecturer Silversmithing

Working Pattern: Mon - Wed, Variable - See timetable

Adrian Bland (abland@uca.ac.uk) Senior Lecturer Contextual Studies

Working Pattern: Monday, Tuesday, Wednesday, Thursday, Friday (Variable)

You will also have workshops with technicians and Artists in Residence:

Dan Seddon Jewellery Technical Tutor

Working Pattern: Monday, Tuesday, Wednesday, Thursday, Friday

Susan Atwill Ceramic Technical Tutor

Emma Rawson Ceramic Technician

Working Pattern: Monday, Tuesday, Wednesday, Thursday, Friday

Learning and Teaching

The core learning and teaching on a unit comprises a unit briefing, project briefing,
project contextual seminar, tutorials, reviews and workshops. Other learning and
teaching methods may be introduced as the unit progresses, according to
requirement.
Self-directed learning is an essential part of the university learning and teaching
experience, it occupies the majority of time on your degree. Self-directed study is a
time to work with your student peers, engage with the full scope of available
university resource eg. studios, workshops, library, computer rooms etc and with
public resources eg. museums, institutes, libraries, events etc to develop your work
and thinking. This provides the material for discussion and development during
scheduled contact hours, so effective self-management of this time has a significant
bearing on your progress. Students should ensure any outside commitments eg.
part-time work are balanced appropriately with full time study

What we are looking for throughout a unit: Outcomes, expectations

and portfolio

We are looking for considered work, which shows an understanding of the

relationship between research, material investigations and testing in the design and
production of final pieces. Remember, you are encouraged to explore and to take
risks!

● Sketchbooks are one of your research methods. It is where you record your
source material and development of ideas. Drawing in sketchbooks is a key
development tool and sketchbooks should be kept with you at all times to
capture your thinking and help you to explore and articulate ideas.
Sketchbooks are tools, they don’t have to look refined to be effective but they
do have to be used.

● Test pieces indicate learning and more speculative experiments with the
materials and processes you are introduced to are essential in developing
your skill level and helping to explore, develop, create designs and resolve
ideas.

● Technical notes, which should be kept in a Technical Journal, documenting

process and findings. This helps you to log and process information and
understand it.

● Design development through sketching and 3D sketch modelling is a key

design development tool that will help refine speculative ideas and help you to
realise the objects being designed in 3 dimensions.

● Finished pieces in response to the brief.

● Context. This is a tool to help you understand the professional and creative
environment in which your work sits. This can come from a variety of sources,
 for example, images of relevant artists work, gallery visits/environments,
fashion industry and should reflect the concerns of your studio practice.

Technical Journal

Your Technical Journal should document your making processes through image and
text. It will enable you to record what you are being taught and what you discover about
each process. There will be a series of inductions, which you must complete and have
signed off in order to progress.
This is a documentary diary that you will complete, through note taking, as you are
introduced to each new process and technique. This should record both technical instruction
details and possibilities of new discoveries you make as a reflective tool. You should record
actual events such as technical workshops and reflect on this information with consideration of
problems encountered and/or alternative approaches. This is seen as an example of
independent learning.

Journals and Websites

www.klimt02.net - A key online resource for Contemporary Jewellery.

www.artjewelryforum.org - American online resource for Contemporary Jewellery.

Crafts Magazine: UK based applied arts magazine

Current Obsession: International publication devoted to contemporary jewellery

practice

Department Pinterest Page http://uk.pinterest.com/unicreativejewellery

Department Instagram Page uca_jewellery_silversmithing

The Goldsmiths Company: www.thegoldsmiths.co.uk

Online Resources Reference

Primary Research http://www.bbc.co.uk/education/clips/zk32tfr

Secondary Research http://www.bbc.co.uk/education/clips/zjctsbk

Glossary of Terms

Sketch Models: Design development tool utilizing 3D quick prototyping in any

material that helps to visualize and realize design ideas.

Primary Research: Information gathered first hand. These can be in the form of
personal photography, drawing, and collected images.

Secondary Research: A secondary source is material produced by others.

Secondary sources can be reproductions of images and artefacts, photographs, film,
video or web-based material.
Work by other artists and designers should relate to your project in terms of subject
matter, ideas, style, uses of materials and processes or techniques. However, you
can choose to use imagery from one context in a new or innovative way. For
example:
A painting could inspire a repeat pattern for a fabric design.
A photograph could be used to develop ideas for a painting.
A poem or piece of text or film could inspire ideas for illustrations,
drawings, wall decoration or graphic design.
All sources should be credited and annotated.

Contextual Research: Research that considers the environment where work is

seen.

Feedback: Feedback refers to any commentary on your work. This can be both
formative and summative and can come from academic staff, peers or friends. It can
be both written and verbal.

Feed-forward: All feedback is designed to advance and develop you and your
practice. It is designed to be constructive and push you practice forward.

Formative Assessment: Is not graded rather it is used as an intervention to help

shape and develop your practice, to give constructive advice on work and practice.

Summative Assessment: Graded Assessment.

Critical Reflection: Fostering the ability to look over or reflect on your work and
assess its strengths and areas that need to be developed is essential in developing
your creative practice. This should be a constant process that runs throughout a
project and on completion of a project.

Personal development: An ongoing process to help you assess your skills and
qualities, consider your aims and set goals in order to realise and maximise your
potential.