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Postgraduate Certificate in Education (PGCE) secondary art and design trainees facilitated an art education project for pupils at a specialist school for visual impairment (VI) in the Northwest of England. This paper focuses on the ways in which the art education project was designed to better prepare PGCE trainees for working with pupils with VI. There is an exploration of a series of reflections at the end of the art education project and again upon completion of the PGCE course. Feedback provided by PGCE trainees indicated the ways they were able to transfer the skills learnt regarding teaching pupils with VI into practice, as they embark upon their careers. Existing literature highlights variation across initial teacher training (ITT) in relation to what is taught regarding special educational needs, this is generally due to time constraints on one year ITT courses. The findings indicate these experiences have implications for practice. through following their journey, initially PGCE trainees were apprehensive about working with pupils with VI. However, facilitating the art education project enabled PGCE trainees to become more confident working with pupils. PGCE trainees were able to develop as teachers. [ABSTRACT FROM AUTHOR]

In the challenging – and frightening – times in which we now live, education is seen as playing a key role in making change for the better. However, the Department for Education's (2022) strategy on education for sustainability and climate change, applicable to schools in England, is lacking in many areas and fails to address students', teachers', and teacher educators' priorities. Crucially, the environment and climate emergency greatly concerns many children and young people and these issues should be addressed across the whole curriculum, not just in geography and science. Further, there needs to be more focus on emotions rather than facts, wellbeing rather than the economy. So, the question is: How can we 'green' art, craft and design education to ensure it is both effective and affective? Art can change the world because it is 'homeless, endless, and edgeless' – this sounds exciting but does not aid teachers in curriculum design. In this paper I will share an emergent manifesto for an environmentally responsible art, craft and design (ACD) curriculum... [ABSTRACT FROM AUTHOR]

Abstract: For the past 100 years beauty has been marginalised in Western art and regarded as a problematic notion in a range of cultural contexts. Art educators tend to associate experiences of beauty with passive appreciation rather than active engagement, while researchers of children's understanding of art characterise references to beauty as evidence of low levels of aesthetic development. This article draws on evidence from a recent study to challenge these assumptions. The study explored how children describe and analyse their perceptions of beauty and how they reflect upon and articulate their experiences of beauty. Fifty‐one children in two English primary schools were asked to find and photograph images they thought were beautiful, which they shared and discussed during a series of group interviews. The interviews provided evidence of the diversity of these children's perceptions of beauty, of their awareness of how visual and formal qualities contribute towards the beauty of images and of how their experiences of beauty can be meaningful and relevant to them. The article suggests that children's responses to beauty are not merely passive but often expressive, and that some of their responses to beauty illustrate art educators’ principles of participation, individuality and self‐expression. It argues that art educators should reappraise the value of beauty in art education and reflect on its potential for raising children's levels of engagement with the visual world. [ABSTRACT FROM AUTHOR]

Drawing books can be seen as a vital component to teaching and learning art. They serve as an excellent resource for understanding the historical context of teaching drawing. As the industrial revolution geared forward in the nineteenth century, drawing books became a crucial source for sharing and disseminating educational philosophies for the teaching of drawing as well as understanding artistic practices. Serving many informal and traditional educational contexts, drawing books can be seen as evidence of how people learned or were taught. Although many accounts of teaching of drawing are known, little is documented about the many drawing manuals developed by art educators in England and its colonies, specifically India. This article examines nineteenth-century drawing books by George Wallis (1811-91) and Ernest Beinfeld Havell (1861-1934) and the subsequent influence of these books on art education in England and India. Through comparison between the different approaches of authoring these drawing books, one could argue that both Havell and Wallis pursued nationalistic and personal goals by juxtaposing the authoring styles of their books. It was evident that George Wallis' authorship of his drawing books was grounded in his philosophy of education, appreciation for design education, and dedication to England. Havell's drawing books, on the other hand, attempted to provide students with the knowledge of Indian sculpture, architecture and painting thereby exposing them to India's artistic heritage as well as raising awareness about utilising Indian art as the basis of instruction at the Indian art schools as part of the larger Indian nationalist movement against British rule. Their histories cumulatively bring to print a specific account of drawing manuals used during the nineteenth century and their influence on the teaching and learning of drawing in England and India. [ABSTRACT FROM AUTHOR]

The author reflects on development of towns in the north bank of London, England in the medieval period and its association to design, technology and education. He cites a north-favored development associated with a solar energy plant in the south of Spain and argues that south-facing slopes are preferred territory for settlement. He points out the need to be realistically humble when making decisions about design by recognizing and understanding clients' motives and ambitions and history.

This article is part of a formal research project concerning design as an integrated part of sloyd education. The concept of ‘sloyd education’ is used in the Nordic countries as an umbrella term for different educational crafts whose scientific basis is to be found in the university subjects Sloyd Education and Crafts Science. The aim of the whole project is to develop methods for teaching design theory and design practice within sloyd teacher education. By analysing the design processes of five design students during an MA course in Fashion and Textiles, an account of the kind of design knowledge the students are working on during the process, and how iterativeness and multi-layered procedures, which are characteristic for the design process of a single student, is built up. The results of the analysis show that during the design process the students concentrate on technological and aesthetical knowledge and that the design process can be very varied and have its starting points both in images and in concrete materials. [ABSTRACT FROM AUTHOR]

This article looks at the concept of Black History Month and its implications for teaching and learning in art and design education. It argues that the concept of Black History Month should be discarded because it tends to promote a separatist notion of culture and that it deflects from an understanding of culture as a plural and intermeshing process. The paper interrogates history as a discourse, problematising our use of the word. The article then looks through the eyes of two groups of African Caribbean young people at Black History Month, as a curriculum initiative. The first group was interviewed at a south London gallery and the second at a conference for African Caribbean learners in Oxford. Two art and design educationalists who participated in the research project that included the south London young people make a significant contribution to the paper. It concludes with a personal interpretation of movements in art and the practice of a contemporary artist whose work endorse the key philosophical position posited in the text that culture is always a process on interweaving. [ABSTRACT FROM AUTHOR]

The aim of the study was to investigate the relationship between such factors as learning style, gender, prior experience, and successful achievement in contrasting modules taken by a cohort of thirty design and technology trainee teachers during their degree programme at a University in the North East of England. Achievement data were collected from three design and three electronic modules at levels 1, 2 and 3. Data concerning appropriate, previous experience before starting the course was obtained through a short questionnaire. The learning style of each member of the sample was ascertained using the Cognitive Style Analysis test. The findings from the study indicated that the learning style groupings were not as expected. A positive relationship between achievement and past experience in both electronics and design activity was found, although improvement for those with no prior experience in comparison to those with previous experience was only evident in electronics. A concern arising out of the data was the differences in terms of achievement between male and female students and also the difference in achievement when learning style and gender were scrutinised. The implications of the findings in relation to the success of the trainees as impending teachers of design and technology were discussed. The problems associated with the small cell size caused by splitting the sample by the three variables was acknowledged and a suggestion was made that further study would be required to ascertain whether the gender and learning style differences witnessed in this study would be replicated in a larger sample. [ABSTRACT FROM AUTHOR]

The Sheffield Urban Contextual Databank (SUCoD) system was developed as a Web-based urban information system to host the urban data gathered by the Sheffield Urban Study programme. Our development of the SUCoD system provides user-centred dynamic retrieval and visualisation facilities for accessing multidimensional city datasets. The paper reports on a study of applying the SUCoD resources in an educational setting to explore its usability in two accounts: presenting urban site investigations as online urban narratives and the development of 3D schematic urban proposals. The current experiment suggests that SUCoD could be further developed into an online Urban Design Collaboratory. [Copyright &y& Elsevier]

Presents the results of a study on the non-completion of subjects by college students in Great Britain, particularly art and design and other subject areas. Influences on non-completion by students; Discussion on the factors that affect student experience in art and design subjects; Implications of the results for teaching art and design.

This paper focuses on a built environment project with a mixed ability group of learners from year seven attending Deacon's School in Peterborough, England. The School caters for students aged between eleven and eighteen, from a wide range of ethnic and cultural backgrounds (including a substantial minority from the Indian Sub-Continent); it is an active participant within the University of Cambridge Post Graduate Certificate in Education partnership and is a 'beacon school'. In practical studio terms, the project was concerned with school students making 'pop-up cards' based on first hand observation of local architecture under the guidance of the Head of Art. [1] The focus for students' learning was on their critical responses to their built environment, in and around the City of Peterborough. In particular, students were encouraged to make full use of their sketchbooks and to engage in active oral work. The approach taken builds upon that advocated by Wolff and Geahigan [2] by emphasising the relationship between students' personal engagement with art and design and their personal response to it through their own art; students were encouraged to learn about art and design objects through the process of reacting, researching, responding and reflecting. [3]. [ABSTRACT FROM AUTHOR]

The paper describes a project for Liverpool John Moores University PGCE Art and Design students in which they carried out practical research into comics and graphic novels as part of their preparation for teaching. The students were encouraged to investigate the history of the genre, its formal properties as well as its potential as a vehicle for social realism. The practical task was to prepare a single comic book page design, in the course of which they explored a range of possibilities from imaginative children's stories to serious issues such as illness and abuse. They took the opportunity to investigate the potential of this sequential medium to construct narratives using devices such as sequence, repetition and multiple perspectives as well as the juxtapositions of image and text. The paper contains examples of students' work where the investigations yielded interesting and innovative results. [ABSTRACT FROM AUTHOR]

Editorial. Presents information on several keynote addresses during the Computers in Art and Design Education conference held at the University of Teesside in England in April 1999. Value of computer and information technology; Importance of creativity among animators; Creativity and information technology for school children.

The article focuses on the status of art education and design in England and Wales. An overview of specialist art and design colleges providing foundation, vocational and degree courses in England and Wales are presented. The roles of artist as visual explorer and designer as a problem solver in the society are analyzed. Different courses in polytechnics and colleges for introductory, specialized, professional and research based art and design education are discussed. It is noted that foundation and vocational courses prepare students for specialized study. The role of colleges and national council in development, evaluation and maintenance of academic standards are discussed. Grants for students and the improvement in quality of teachers, buildings and equipments are also discussed.