NCAD Prospectus 2016 2017 by National College of Art & Design

National College of Art & Design Prospectus 2016/17

The approach in first year sets a way of thinking in design Stephanie McDermott, Fourth Year Visual Communications

We’re happy to fail if that’s what it takes to do something good David Rogers & Ciaran Kenny, Third Year Media

In sculpture there’s an encouragement to doing something you don’t understand Dennis Shanky Smith, Fourth Year Sculpture

Admissions Office, National College of Art & Design 100 Thomas Street, Dublin 8, Ireland.

Tel: 353 (0)1 636 4200 Fax: 353 (0)1 636 4207 admissions@ncad.ie www.ncad.ie

In NCAD, we encourage creative thinking and the integration of theory and practice so that you will become a reflective practitioner. We seek to produce visually expressive, literate and articulate graduates with an ability to creatively enrich culture, society and the economy. This prospectus has information on what you can study at NCAD, how to apply, and what to expect when you get here. It is also a book of stories by students talking about their work, their experiences at NCAD, why art and design matters to them and their thoughts about the future.

Contents

Course information: First Year Art & Design (Common Entry) AD101, 8 Fine Art: Fine Art Print, 14 Fine Art Media, 20 Fine Art Painting, 26 Fine Art Sculpture, 32 Ceramics & Glass, 38 Textile Art & Artefact, 44 Design: Fashion Design, 50 Textile & Surface Design, 56 Jewellery & Metalwork, 62 Visual Communication, 68 Product Design AD212, 74 Visual Culture: Visual Culture AD215, 80 Education: Design or Fine Art & Education (second level teaching) AD202, 86 CEAD, 88 Graduate Studies, 90 MA Interraction Design, 92 MSc Medical Device Design, 94 MFA Design, 96 MFA Fine Art, 98 MFA Art in the Contemporary World, 100 MA Design History and Material Culture, 102 Professional Masters in Education (Art & Design), 104 MA in Socially Engaged Art, 106

About NCAD: Director’s Statement 106 Why NCAD?, 110 Careers, Employability and Real World Learning, 112 Map, 116 Application Procedures, 118 Minimum Entry Requirements, 120 Portfolio Submission Guidelines, 123 Finance and Fees, 126 Your welfare, 128 Events and Information, 130 Important Dates for Applicants, 131 Enquiries, 132

Interviews: Chenyi Ye, First Year Art & Design, 4 Alex de Roeck, Fourth Year Print, 10 David Rogers & Ciaran Kelly, Third Year Media, 16 Fergal Styles, Third Year Painting, 22 Denis Shankey Smith, Fourth Year Sculpture, 28 Sarah Mooney-Wiegersma, MFA Design, Ceramics, 34 Eimear Kinsella, Fourth Year Textile Art & Artefact, 40 Daniel Roden, Fourth Year Fashion, 46 Gill Thorpe, Fourth Year Textile & Surface Design, 52 Genevieve Howard, Fourth Year Jewellery & Metalwork, 58 Stephanie McDermott, Fourth Year Visual Communications, 64 Fabian Strunden, Fourth Year Product Design, 70 Gráinne Brennan, First Year Visual Culture, 76 Avril Buttle, Fourth Year Education, 82

5 Interview: Chenyi Ye, First Year Art & Design

One of the reasons I came to NCAD was to experience all aspects of art and design. Before I came here, I thought I was more suited to fine art than design. I’m actually quite scared of going into design because I always considered myself as a fine artist, but it’s quite flexible in design as well. Chenyi Ye on her fear of design

Alumni: William Butler Yeats, Harry Clarke, Grace Gifford, William Orpen, Stella Steyn, Henry Pim, Matthew Thompson, Bob Gray …

At the moment I’m looking at architecture and buildings. I’m looking at lines, construction, connections and flow. I’m from China and I’m looking in particular at Chinese pavilions and western churches. What are the common elements in both places and what are the differences? For example the colour in Chinese Pavilions would be vibrant, normally red and sometimes green. Whereas in western churchs, it’s actually quite cold, there isn’t much warmth. The garment I’m making might not be commercial or even wearable. It’s very early in the process, I’m still sketching, photographing, sampling and playing with materials. On a conceptual approach

My last project began by looking at rocking chairs and the elimination of movement. From looking at the semi-circle shape of the rocker I made circular wooden rings. Each ring symbolised the rocking chair,

the movement and the globe. When worn it deliberately limits your movements. For me, at the moment, I’m more focused on the concept, the experience and the making. On her cultural influences

My cultural background definitely influences the way I’m thinking. I was actually raised in a village, not a big city, a bit like Ireland. No matter where you are in the world, you live in a small space. It’s all about personal space. So, for me, I like simplicity more than really complex things. I like the idea of creating wearable sculptures and using organic materials like wood, which is actually quite personal to me. But it’s not just about the fabrics and the materials, it’s about something else as well. It’s the concept. If I ask two models to wear the same piece, they will act differently. You discover they treat it differently and have different actions and movements. It’s quite interesting really.

First Year Art and Design at NCAD gives you options for entry into many different worlds. It is a route to study Fine Art which includes Media, Painting, Fine Print, Sculpture, Textiles and Ceramics & Glass It is also a gateway to studying Design in Fashion, Jewellery & Metalwork, Textile Surface Design, and Visual Communication. The working week is divided between studio practice, professional practice and Visual Culture. It is a full-time programme and runs over a five day week. When you arrive in NCAD you will be divided into mixed groupings and will share the studio with a wide mix of your peers. This is a great opportunity for you to experience diversity in art and design thinking and working methods, and to discover your particular strengths.

The key areas of study in First Year are: Observation: descriptive, explanatory, analytical and inventive skills through drawing, making and recording.

What will I study? First Year begins with a period of interdisciplinary art and design research, observation and or analysis. Your curiosity is our starting point. FETAC: You will build on the work you began in 5 Distinctions addressing the portfolio brief and the summer Full Award project. At the end of the first semester you will choose to study within the School of Fine Art Portfolio Requirement: or the School of Design. NCAD Portfolio The second semester is School based. Submission Brief This time will be spent working on projects Friday 5th Feb 2016 which will help you choose your degree discipline. You will then spend some time Degree awarded: Common First Year studying in the Department supporting your leading to one of: chosen degree specialisation where you will undertake a series of skill acquisition projects BA (Hons) â&#x20AC;&#x201C;Fashion and self-directed work. Design/ Jewellery & Metal Work/ Education and Product Design students Textile & Surface go through the same common First Year, the Design/ Visual difference being that they will have chosen in Communication/ advance which degree pathway they will take. Fine Art â&#x20AC;&#x201C; Print, Education students will decide through the Media, Painting, Sculpture, Applied course of First Year whether their degree in Material Cultures Education will be in conjunction with Fine Art (Ceramics, Glass, Textile Art & Artefact) or Design and with which Department in Fine Art or Design.

Visual Culture: in this part of the course students study the connections between history, theory and practice in modern and contemporary contexts, in order to become reflective and effective practitioners.

First Year Art & Design AD101 Common Entry Common first year of Level 8 Honours Degree Places: 235 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art

Materials: Development of the physical and aesthetic behaviour of a wide range of materials. Research: The process of gathering visual information in relation to topics of inquiry. Processes: The use of innovative & traditional techniques and equipment in the stimulation and development of ideas. Professional Practice: Time management, organising and presenting work, peer learning, development of an individual body of work.

How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed project/ module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions What happens at the end of First Year? At the end of First Year final results are posted and successful students progress to the second year. For students with a strong interest in visual culture there is an opportunity to take a Joint Major Degree in Design or Fine Art and Visual Culture. Students make this choice at the end of First Year and acceptance onto the Joint Honours option is dependent on First Year results.

11 Interview: Alex de Roeck, Fourth Year Print

I make art out of impulse, entertainment and instinct. I do a lot of writing and am influenced by how people create rap music, where it bounces back and forth creating diverse and flexible narratives. I don’t think it’s important to create solutions. I don’t want to be told an answer Alex de Roeck on asking questions

Alumni: Aine O’Gara, Fiona McDonald, Joe Hanly, Catherine Bowe, Alice Hanratty, Piia Rossi, Catherine Lynch …

when I look at art. My art is about asking questions. Sometimes I can get into a hole and make a lot of rubbish, but I think that’s kind of a good thing. A mistake in art is good sometimes.

then turned into assemblages and I’ve now started to use clay and expanding foam. I think the printmaking process slows me down too much. I think it’s kind of too precious. I draw mostly. When I draw I don’t I have changed one really know what’s hundred percent since going to happen a lot I started here, mainly of the time. thanks to the library. Just getting random Our class formed a books and reading group called the Gum about different artists. Collective. It’s a beI take influence from autiful place to be, to outsider art and things have thirteen people like that. I like people to bounce off. Without like Isa Genzken. this college we would have never created the Originally I was a circumstances we are printmaker. I would in, which is amazing. make large colourful We have a lot of things mono prints. This lined up so it’s good. On influences

On his class

On printmaking

Fine Art Print BA (Hons) Fine Art/(MFA) Duration: 3 Years BA (+ 2 years MFA) Places: 28 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art/ (MFA)

Fine Print is a central discipline within the School of Fine Art that spans the autographic (hand-drawn) arts, mechanical reproduction, and digital media. Fine Print overlaps with a broad range of disciplines including sculpture, installation and media, whilst maintaining a distinct culture of its own. What will I study? The Fine Print programme encourages students to explore printmaking and ‘expanded printmaking’, and seeks to develop each student’s creative potential. You will be encouraged to work across a range of disciplines. You will explore a variety of modes of expression and visual installation using a variety of techniques and skills including: lithography, etching, screenprinting, monoprint, Photoshop, photography, Final Cut Pro, animation, audio visual installation. Year 1 – See First Year Art & Design pg. 8. Years 2 and 3 In the second year you will focus on skills acquisition across a range of processes. The traditional processes of etching, screenprint and lithography are explored as well as the most up to date approaches of digital imagery, large format ink jet, photography and multimedia. Projects are set with an emphasis on the use of the appropriate process for the expansion of ideas and their tangible expression. In Third Year the focus is on using the skills and knowledge you have acquired to develop a personal art practice. You will develop a substantial major project that will form part of your professional portfolio of work and which you will present in the final year degree exhibition. Throughout the three years time is devoted to studies in Visual Culture where you will learn ways to analyse and situate your own practice, and that of others, in the contemporary world. You will be helped to develop your skills in visual literacy, expression and articulation. Students study the connections between history, theory and practice, in modern and contemporary contexts, in order to become reflective and effective practitioners.

How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions. Opportunities after graduation Students who graduate within Fine Print are both creatively and technically competent to produce their own work and engage with the world of contemporary visual art practice. They are computer literate, multiskilled individuals possessing a range of practical and professional skills relevant to a variety of career options within the creative arts. Our graduates have found employment in a wide variety of areas including in print workshops, in theatre and performance companies, as studio assistants, in Archives and Museums, in publishing, illustration, exhibiting, curating, conservation, teaching or lecturing and as practicing artists. A number of graduates also go on to postgraduate study, within NCAD and outside of Ireland, including at Goldsmiths College London, the Royal College of Art and Sydney College of Arts. Following on from a masters programme, the College offers a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

17 Interview: David Rogers & Ciaran Kelly, Third Year Media

CK.We did a project in first year during a sculpture elective where we made bird suits. We strapped ourselves with bread and we were connected at the head with string and we went down to Stephen’s Green… DR. We lay down beside the lake and just let the little David and Ciaran on starting together

Alumni: John Graham, Daniel de Chenu, Robert Armstrong, Alan Butler, Angie Duignan, Atoosa Pour Hosseini, Avril Coroon …

birds peck at us for about an hour. That was the first time that we worked together, wasn’t it? I think the reason that came about was just because we thought it was so ridiculous and funny so if something is that ridiculous and funny I think you’d have to do it. CK. That was in First year. It was only after I did a Media elective for two weeks that I knew it was what I wanted to do. It had a mix of everything I was interested in, sound, visual, performance and the technical skills. DR. I was originally going to do Paint, the two-week elective completely changed my mind. On their influences

collaborative artists. On their process

DR. I think because in first year we got away with wearing a suit made out of bread, so if that can pass as art, we can cycle around an obelisk or chase sheep around a field for ten minutes and that can probably pass as art as well. On their most recent project

DR. Our process is very visual, when we’re trying to think of something we kind of get up and talk and I run over this and then you throw something at my head and it bounces off my head, it’s very physical. CK. We’d quickly do a story board and then start getting things together and then we just shoot it. We really need to do it to realise if it can be done in the way we want it to be done. And the thing about our stuff as well, I think sometimes if no one else is doing it, and it works, you should keep doing it.

CK. Harrison and Wood would be a big influence. DR. They’re fine artists but they use a lot of humour which I think is quite rare to see, I don’t know why. CK. Also, Brass Eye would be an influence. Shows like that, humour is the best On failure way to get a point across sometimes. I think I CK. I think definitely we’re on our way to learned more from Bill Hicks than anything. It finding our own voice. DR. The piece that we’re can be humorous but it’s still serious. doing for the exhibition in a week is a one shot. We’re in a car park interacting with different On art and humour DR. There seems to be some sort of void that’s objects and if something fails there, we have both art and comedy, certainly in the mainstre- to work with the failure. We can’t start and go am. It’s like artists kind of go with artists and back. CK. Well, we were trying to something comedians go with comedians and there’s never completely new and something that’s going to really a crossover. CK. I find the idea of having challenge us more. If it does fail, it’s a complete to fit into a box boring. I can appreciate good failure, but we’re happy to fail if that’s what it stuff but I’m happy enough to say that a lot of takes to make something good. stuff isn‘t good. I think this is one of the things On what happens next driving us to make videos that are just funny for DR. Next up I’m going away for the summer, the sake of being funny. DR. If I wasn’t working I’m going to San Francisco but we’ve decided with Ciaran, I wouldn’t be doing this type of that we’re probably going to do some work work and that’s one hundred percent. I’d defini- even though I’m in San Francisco and he’s still tely be doing more serious stuff. in Dublin. It could be kind of interesting. CK. We’ll still collaborate next year and try and do On their collaboration DR. Maybe we try to compete against each something different. DR. The thing about meother to see who can do the craziest or funniest dia is there’s so much scope, you can really go thing? CK. We would have a list of stuff and into so many things, production, performance, we’d bounce off each other and then we’d either fine art, or more commercial things. CK. You’ve mash ideas or else pick one to go off on. We’re got to keep your head and never get boring. so close in what we want it to look like but also what we laugh at and stuff, and what we think CK. That fella today, he was the coolest person is good, there’s not a lot of conflict there so it I’ve probably ever met to be honest. DR. He’s up only helped to expand the idea. DR. If I say there. CK. Yeah, he’s in the top forty. DR. No, something and he doesn’t laugh,that‘s bad, if I top fifteen. CK. You don’t know all the people say something and he laughs, then we can work I’ve met, so … DR. Top twenty maybe. CK. Top on that. We’re only getting started ourselves as twenty of yours, top forty of mine. DR. OK.

Fine Art Media BA (Hons) Fine Art/(MFA) Duration: 3 Years BA (+ 2 years MFA) Places: 25 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art/ (MFA)

Fine Art Media is a discipline specific stream within the BA in Fine Art. We encourage students to explore and discover a wide range of equipment, materials and methods that challenge the way the world can be interpreted and re-presented. We use computers as a tool or catalyst to mash-up still images, video, sound and anything else we can force into them. The programme uses a lot of technology as required but is not dependant on it as students frequently work across a range of traditional media. The role of the audience will be a key concern and you will be challenged to rethink preconceptions. What will I study? Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 8. Years 2 and 3 In the second year you will develop your interest and expertise in selected media and experience a range of hardware and software to enhance your skill set. You will also participate in group tutorials, seminars and workshops to enhance your conceptual, critical and practical abilities. Individual tutorials are also a feature of the second year. Photography, video, sound, computing, sensors and interactivity are just some of what you will experience. A day a week is devoted to studies in Visual Culture. Group presentations are an important element of the programme. The department also offers a range of extra master class workshops in areas such as 16mm film making, medium and large format photography, special software applications, basic electronics and sensor technology, traditional darkroom practice and special print processes. The third year is largely self-directed to enable extended periods of practice with your chosen medium or media. You are assigned a personal tutor who helps you navigate the range of possibilities on offer in line with your own expertise and aspirations. You will write a thesis on a chosen topic usually related to your studio practice and present your work for review and examination at the end of Year 3. You are also actively supported in developing applications for post-graduate study.

Each year is supported by a programme of visiting lecturers, off-campus collaborative opportunities, field trips, and study visits. Throughout the three years time is devoted to studies in Visual Culture where you will learn ways to analyse and situate your own practice, and that of others, in the contemporary world. You will be helped to develop your skills in visual literacy, expression and articulation. Students study the connections between history, theory and practice, in modern and contemporary contexts, in order to become reflective and effective practitioners. How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions. Opportunities after graduation As a consequence of the skills acquired, Fine Art Media graduates have a very wide range of opportunities open to them, including as practicing artists, photographers, film makers, lighting designers, mobile phone app developers, games developers, curators, animators, special effects designers, and many other related areas. A number of graduates also go on to postgraduate study, within NCAD and outside of Ireland. Following on from a masters programme, the College offers a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

23 Interview: Fergal Styles, Third Year Painting

I like a sense of immediacy from my work. I discovered a way of working at the end of first year that I really liked. In second year I sort of strayed away from it, but built on it in other ways. I learn techniques that work and then I don’t have to think too much about them Fergal on process

Alumni: Paul Doran, Séan Keating, Diana Copperwhite, James Hanely, Michael O’Dea, Sue Townsin, David Timmons, Nigel Hoolahan …

when applying them. I guess, there’s an element of me being instinctive. At the begining I can be really free, I don’t have to think about it until maybe different contrasts start building up in the painting. I know it is nearing completion when I start to get precious with certain areas of it. When I start saying - this area is working I can work off that area until other areas of the painting start working as well. On exhibiting

I think in a way painting is something that I need to do. On his influences

I’m interested in how other artists approach or make their work. I like painters such as Chris Martin and Antóni Tapies, I guess there are lots, but I try not to think about them too much in relation to my own work. I always have a little tiny pocket notebook with me. You want your life and your practice to go perfectly together hand in hand.

When I display my paintings, I like to work off the space I am displaying them I have just finished a book in. I see the space as another on David Hockney. He needs stage of the painting. to paint, his whole life is art. He was saying how he was When I was in fourth year really influenced by the way in school, there was nothing Picasso painted, in that he I wanted to do more than go would just keep switching to Art College. Originally I styles and yet retainined a was thinking maybe Graphic consistency of approach. It Design but when I came doesn’t matter what style you to the NCAD Open Day I choose to paint in, as long decided I definitely want to as you maintain that same go to this place and I defiapproach. Your approach nitely want to do painting. will always shine through. On approach

On NCAD

Fine Art Painting BA (Hons) Fine Art/(MFA) Duration: 3 Years BA (+ 2 years MFA) Places: 35 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art/ (MFA)

The Painting Department embraces the diversity of contemporary painting practice and possibility. The discipline of painting in all its forms is supported in the context of evolving and expanding art practices. The course is rooted in investigation of painting’s unique tradition and history and encourages new interpretation, innovation and experimentation. Every culture needs its artists and every artist seeks to change the culture. Painting is an old tradition that continually renews itself. Be part of the ongoing renewal. What will I study? The discipline of painting will be your point of departure towards establishing an individual art practice based on your interests and aptitudes. The initial focus is on relevant skills and techniques of painting and related media, and gradually extends to explore issues of content, meaning and context. Year 1 – See First Year Art & Design pg. 8. Years 2 and 3 Year 2 extends the conceptual and technical aspects of your work as it gradually becomes more self-directed. Students are supported and guided by a staff composed of practicing artists. Year 3 students prepare for BA (Hons) degree examination and presentation equipped with practical skills and conceptual underpinning and supported by a personal tutor from departmental staff. Seminars, group critiques, gallery visits, workshops, demonstrations, lectures and visiting artists contribute to the course. Throughout the three years time is devoted to studies in Visual Culture where you will learn ways to analyse and situate your own practice, and that of others, in the contemporary world. You will be helped to develop your skills in visual literacy, expression and articulation. Students study the connections between history, theory and practice, in modern and contemporary contexts, in order to become reflective and effective practitioners. The BA(Hons) degree is seen as a platform for entry to the professional art world and as a stage to further study at postgraduate level, either at NCAD or elsewhere.

How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions Opportunities after graduation Many painting graduates have gone on to successful careers as exhibiting artists nationally and internationally – including representing Ireland at the Venice Biennale and the Saatchi/ Channel 4 ‘New Sensations’ exhibitions. Others have found opportunities for employment in the wider cultural field as gallery administrators, community arts facilitators, educationalists and cultural commentators. The creativity encouraged by Fine Art training is much sought after and adaptable to a wide range of entrepreneurial activities. Students can leave at the end of Year 3 with a BA(Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

29 Interview: Denis Shanky Smith, Fourth Year Sculpture

I came straight from secondary school. I wanted to be a painter, I think, because that’s the only thing I’d been exposed to. Then I came here and realised I can make things. I remember in first year I got four pieces of wood and screwed them together to make a strange Denis on starting in NCAD

Alumni: Oisín Kelly, Oliver Sheppard, Amada Coogan, Gabriel Hayes, Corbon Walker, Kathy Prendergast, Darragh Coyle …

frame, stood on it and got my friend Ben to smash it apart and that was it. I documented it with a series of photographs and made prints from them. On Sculpture

I find that in Sculpture there’s an openness and encouragement to do something you don’t understand and this influences your subsequent actions. You’re progressing and extracting the knowledge from the thing you’ve done. You look back and you understand why you started in the first place. The more you do, the more you learn. It’s wonderful in that way. On student influences

I was influenced so much by other students, I remember when I came into second year, looking at students who were in fourth year at the time, John Conway and Michael Dignam. They had two different ways of working. John was always making objects, Michael, his presence wasn’t really felt, it as only when we came to his degree show, we saw he had made all these really beautiful videos. He had just spent a lot of time editing, working really hard in a different way. John was making objects and he ended up doing a performance with these actual physical things being manifested. They were the two standout shows for me. The onus is completely on you to make as much as you want and you take what you want out of it. One would hope that the work reflects that, there is actual richness to someone who’s been working constantly trying.

that is absolutely beautiful, he knows how to do it. Zidane knows how to do it and there’s something wonderful about playing. I was playing football in Red Square in NCAD with my friend one day and the ball fell down out of the sky and I swung my right foot at it and just hit the ball perfectly and it sailed and hit the top left hand corner of the goal. we were completely ecstatic in this moment of wonderful perfection, and that’s the same thing that I felt when I saw The Sea at L‘Estaque by Cezanne. But I’m responsible for making that moment in Red Square. In my work there’s a kind of constant question around this art/life boundary. If you call yourself an artist when are you not making art. I don’t know if I have the authority to claim what my work means, so I don’t really know if I have the authority to claim when my art is happening either. When you look at it from a career perspective and you think, if my job is an artist then I’m getting an awful lot out of it. Maybe the work of art that no one knows you have done is the one that is the most profound because people are treating it as they would anything else. On his thesis

The title of my thesis was Did Donald Judd ever make a chair - is this art or is this life? It was an interrogation of the different areas of Donald Judd’s output. When Judd was an artist he said a lot of big things about the difference between his art and his design works, when he was a designer he did Loads of people think about the degree show as the the exact same thing, they were never meant to be last show. I think about it as the first show. At the shown in the same place. These are big claims he’s moment I am considering something with football. making, then when he’d go home to his house he Football makes you feel things. has them all living together, his design works and art works all perfectly comingled. Judd as a man On football Richard Moss came to the College last year when didn’t seem to have as much problem as Judd as an he received the NCAD SU award for outstanding artist or Judd as a designer did. I was hoping that if cultural achievement. I had to make the award, so you interrogate that boundary you can find out that I made him a boiled egg in resin. it was at a point it’s not there. in time when I was questioning, why does anyoOn the future ne make art? I knew why I’d come to art college, I The thing that brings you to Art College in the first knew I was doing this thing called art which didn’t place is something that never leaves you. I’ll always really have any particular definition but everyone find myself making art. My brother is an industriwas trying very hard to defend. It was like trying to al designer, I could see myself and him setting up play capture the flag but there was no flag. Why did business together. He approaches industrial design from a conceptual design approach and I approach Richard Moss make work about the Congos, is it because he really cares about the Congo or because sculpture from the opposite way. If we could influhe wants to make art? It seems border line arbitrary ence the way people live outside of a gallery that would be quite good, where he’s trying to get the sometimes what art is about. It seems more about making this thing, doing this thing and at that point design into the gallery, I’m trying to get the art out of it, and there could be some quite beautiful cross in time all I really wanted to do was play football. I’ve seen Dennis Denis Bergkamp play football and over there.

Fine Art Sculpture BA (Hons) Fine Art/(MFA) Duration: 3 Years BA (+ 2 years MFA) Places: 28 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art/ (MFA)

Sculpture provides you with a framework to engage with contemporary art practices and to understand how you choose materials and processes of all kinds. Sculpture is idea led, meaning that you learn to make choices and decisions. This requires self motivation and determination and a willingness to experiment and test ideas and actions and to connect experiences. What will I study? Our lives are complex negotiations with places, spaces and people, and Sculpture sits in this junction. This programme is about learning how we make work matter, figuring out who it matters to, beyond ourselves, and considering where we put it to test how it matters both within the gallery and beyond it. Students will be supported to create contemporary exhibitions, make proposals, apply for postgraduate study, make and develop opportunity as a way of meeting the world. Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 8. Years 2 and 3 The nature of art practice continues to change. It is not sufficient anymore to assume one way of doing things. This programme will support you to consider and access different models and frames for practice centred around your own attitudes and by developing different skills and research tools. It will encourage you to develop different perspectives and connections. It will teach you through engagement with contemporary practices and debates. The programme will require you to make and do things that involve thinking and practice in tandem. In Year 2 and Year 3 there are exhibition components and you are required to event work to a wider public. Within these years there are opportunities for joint projects working in interdisciplinary contexts in addition to studio practices. Throughout the three years time is devoted to studies in Visual Culture where you will learn ways to analyse and situate your own practice, and that of others, in the contemporary world. You will be helped to develop your skills in visual literacy, expression and articulation. students study the connections between history, theory, and practice, in modern and contemporary contexts, in order to become reflective and effective practitioners. We want to support your work and ideas practically and intellectually by helping to create scenarios and contexts for practice. This is supported by field trips, study

visits and by on-site and off-site working. The momentum of this programme is about becoming professional and about equipping you for a time after college. It is about building confidence to act on your ideas and your motivations. How will I be assessed? Assessment is usually at the half year and full year semester points and will focus on your creative processes, your tests and trials, and the artwork produced. Assessment is centred around your art activities, what you have discovered by doing these activities, how you critically reflect and link to this. There are also requirements to participate in ongoing course dialogues and to communicate and evolve views and perspectives. Opportunities after graduation An art education offers a rich way of engaging with life. Many of our graduates go on to become practicing artists in the field in Ireland and internationally. We have a record of our graduates becoming significant individual artists and players in the cultural field, in established galleries and other sites, and in becoming part of artist/creative teams. We have many vivid examples of students self-starting and creating residencies, studios, pop-up exhibitions and all forms of cultural entrepreneurship. Our graduates are enabled to find imaginative, creative ways forward in the rapidly changing landscapes of our time. A number of graduates also go on to postgraduate study, within NCAD and outside of Ireland. Following on from a masters programme, the College offers a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

35 Interview: Sarah Mooney-Wiegersma, MFA Design, Ceramics

My name is Sarah Mooney-Wiegersma and Iâ&#x20AC;&#x2122;m in the second year of my Masters in Fine Art and Ceramics. My final project is about memory and how we deal with memories. We remember something in a certain way but it may not be accurate, so we cushion it to make Sarah on her subject of research

Alumni: Brian Keaney, Roisin de Buitlear, Karen Donnellan, Eoiun M Lyons, Muireann Walsh, Sadbh McCormack, Ruth Powerâ&#x20AC;Ś

it more palatable for us to move through life. I was thinking about objects and coming from ceramics, how we relate to those objects and how memory isn’t an accurate thing. Ceramics however, is a material that will not be broken down. It can break, you can smash it, but it cannot be broken down, it cannot dissolve the way metal can erode away, so that’s important to me. On memory

emotion on display. I am much more connected to the work and that’s really what I wanted to get out of the MA. To be much more aware and make it more meaningful. I think it’s always meaningful when you make something. On process

With the undergrad work I felt connected to it as a maker, but not emotionally connected. I ended up just repeating pieces and I felt a pressure to continue because of their success. When I started I wanted my work to change but I still wanted to have lots of little things on plinths, whereas that’s not important to me now. Not with this work. I’m now using clays and different materials that I wouldn’t naturally gravitate towards, but the materials and processes I’m using are more to do with the research and the narrative that I want to give. I have these specific moulds that are to do with the old work and I now feel I could take a hammer to them.

One thing I inherited when I was really young was a charm bracelet, it’s a kind of a universal thing in Holland, where my mum is from. It was hers when she was a little girl. The idea of the charm bracelet is that you get one on a special occasion, you get a charm and you attach it on and every year you get a different one. I began to look at the charms, but it all seemed very busy, all these little objects, so I took a step back and started to look instead at the chain. They can be looked at as something that ties you down but it can also be looked I feel much better about my work at as something that is protecting. Being here has reminded me how to research again. I think as a pracI came to NCAD as a mature stu- tising artist, when you’re out in the dent and graduated in 2010. I was world, you do things you need to very interested in Georgian Dublin do to get stuff done. The ceramics and I started to make centrepieces department is a comfortable place of parks and fountains. I think I’m for me, it’s a good place for me, it’s positive, it’s making. now more aware of putting my On comfort

Ceramics & Glass BA (Hons) Fine Art / MFA Duration: 3 Years BA (+ 2 years MFA) Places: 15 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art / (MFA)

Located within NCAD’s Department of Applied Material Cultures in the School of Fine Art, Ceramics & Glass at NCAD embraces different types of creative practice from design for manufacture to unique crafted art objects or architectural framing of ceramics, glass and related materials. Work occurs at intimate and architectural scale challenging our relationships to object, surface, transparency,light and space.. This course supports you to develop your artistic and creative sensibilities with skills in the studio and workshops. This is complemented by experience drawn from real world encounters and engagements. What will I study? The programme takes the position that creating from a deep and sensitive knowledge of materials provides you with a basis to engage in a particular creative field and to contibute to interdisciplinary debate with others. In developing your knowledge by on going practical studio work, you learn a suite of fundamental and contemporary skills with the vital and complimentry ability to connect your work to audiences and contemporary culture. With individual bench spaces, machine workshops and studio space, the programme provides the perfect environment to experiment and explore personal and public dimensions of making and communicating new material considerations now and for the future. Students develop a personal creative identity and proficiency in design and technique, and learn through a mixture of workshops, lectures, tutorials how others professionally approach the creative field through new relationships to making and presenting their work

Year 1 – See First Year Art & Design pg. 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful ceramics and glass practice. You will also focus on researching and defining a specific audience and developing a market and gallery understanding through professional practice.

Year 3 In the third year students are ready to develop their own programme of study, which reflects each individual’s skills and interests within ceramics and/or glass. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions Opportunities after graduation As a consequence of the skills acquired, Ceramics & Glass graduates have a wide range of local and global opportunities open to them, from designer maker, to artist, educator and creative entrepreneur. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Fine Art offers a range of innovative masters programmes, as well as a practice-based PhD. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MA/MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

41 Interview: Eimear Kinsella, Fourth Year Textile Art & Artefact

When I came into the College I was mostly a painter, and when I decided to do Textile Art & Artefact I just kind of felt that I wasn’t ready to limit myself to any material. The broadness of the course is fantastic. I would honestly recommend it. I’m definitely conceptOn her approach

Alumni: Orlagh O’Neil, Rachel White, Orla McCarthy, David O’Malley, Jennifer Slattery, Melanie Spendlove …

and never really leaves us. I was looking at what birds have that we don’t have and birds have extra air sacks. When they breathe in, twenty percent of their body is made up of air because they can take in so much. The oxygen goes all the way into these air sacks and goes straight to the body. I needed to look at how I would build On experimenting I know last year I discovered a mate- bronchiole extensions, so I started rial I liked making from, which is rice researching into different types of noodle paper, I was encouraged loads scaffolds used within surgery and one and I just kept going with that. I was of these ways was porcelain. I made looking at the idea of one skin fits all a good few porcelain based scaffolds and was experimenting with a lot of then I used a technique where I grew skin on top of them. At this point I tights and different types of nylons had no idea what I was doing with it and then painting on them. I didn’t all, I was just making. know why I was doing it and then I came across rice paper. I’d wet the On scientific research rice noodle paper, place it on my skin, At the moment I’m gathering all of these different things. I’m going to hair dry it until it vacuum-packed try and compile them in an obsessive onto me, which looks like another narrative of a person who was obseslayer of skin. I had always had an interest in science in secondary sed with flying from when they were school and this material really young. I have a room on this floor allowed me to explore that deeper. which is fantastic because it looks a bit like a lab. I want to capture it On material research Now I’m looking at changing the through three encyclopaedias conbody through a technique called structed in a museum curated way, vavilovian mimicry or what I’m showing everything this person did. calling vavilovian mammalial Different types of marking, obsessive mimicry - looking at mammals and labelling, looking at growing their how they mimic each other. More own wings, attaching them to their specifically I’m looking at humans, skin, how they’d attach them best, and birds. I’m looking at mimicry doing the bronchiole extensions, in aviation, the human mimicking building air sacks. different types of aviation and at On her final year show birds, insects and aeroplanes. People I want it to be informing. I want peowant to fly or at least experience what ple to come out and ask more quesit’s like to fly, or to be a bird. It’s a tions, that’s why I’m constructing it in fascination that starts at childhood a way that it’s going to be realistic. driven and I probably always was. You’re encouraged in here to try every type of medium, to try photography, video, to try doing things with Illustrator, fashion design and then you kind of just latch onto something that you enjoy, or you’re good at, or that just really suits your type of making.

Textile Art & Artefact BA (Hons) Fine Art / MFA Duration: 3 Years BA (+ 2 years MFA) Places: 30 Applications: CAO AD101 First Year Art & Design Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Fine Art / (MFA)

The Textile Art & Artefact programme is located within NCAD’s Department of Applied Material Cultures in the School of Fine Art. The programme takes its position that creating from a fundamental response to material and ‘making’ in the broadest sense will enable you to realise outcomes in textile applied art and in textile artefacts. TA&A students are encouraged to have an awareness of a broad range of both new and hand-crafted textile processes. What will I study? Year 1 – see First Year Art and Design pg. 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful textile art and artefact practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice. Year 3 In the third year students are ready to develop their own programme of study, which reflects each individual’s skills and interests within Textile Art & Artefact. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. How will I be assessed? Coursework, essays, studio projects and assessments take place at key points throughout the year. Formal assessment results are issued at the end of each academic year.

Opportunities after graduation As a consequence of the skills acquired, Textile graduates have a wide range of local and global opportunities open to them. Previous graduates have gone on to be: successful visual artists, entrepreneurs, fashion and textile designers for couture, milliners and accessory designers, stylists, costume and prop designers, product designers, illustrators, and to work in art education and art therapy. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. NCAD offers a range of innovative masters programmes, as well as a practice-based PhD. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study in one of a number of MFA programmes: MFA Art in the Digital World, MA/MFA Art in the Contemporary World, MFA in Fine Art. See page 91 for more details.

47 Interview: Daniel Roden, Fourth Year Fashion

The starting point for my degree collection was the illustration of Mark Davies and his work for Disney, especially that of Cruella DeVille. I really liked those big amorphous outerwear shapes. I’m also very interested in contrasting natural textures and I suppose Daniel on inspiration

Alumni: Daryl Kerrigan, Philip Treacy, Daniel Kearns, Edel Tucker, Alan Taylor, Claire Lynam, Simone Rocha, Sinéad Onóra Kennedy …

I was very much drawn to the colour green. In haute couture fashion green is considered a superstitious colour to use, so that kind of intrigued me. I wanted to just focus on that colour and then push it with regards to contrasting textures. I’ve got everything from very light feathers all the way through to some heavy wools, leathers and different skins.

feathers are so natural.

Making is really what drives me, I’ve always been a maker. I’m not the kind of person who will have a fully worked out concept and then make. It will always be evolving with the making, because making is really how I explore the design. I may have an overarching concept, but once I start making things, it changes. The process is important but you’re I looked at silhouette in isolation really working towards a specific and then I looked at the colours end product. Fashion is so much and the textures in isolation as about the end product. well. For me it’s nice to have the silhouette developed in isolation Last year I was interning with to the material, it allows me to Philip Treacy, I had an incredible push the materials a bit further time, he’s a real maker. What without having to worry about really drew me to him was yes, what the silhouette is doing. he makes hats but there are no limits with him, you know, a hat Purely by chance, I visited this can be anything. And it was such vineyard, Chateau la Coste, a maker’s environment. which is owned by an Irish guy, Paddy McKillen. Frank Gehry I don’t really design for a speciwas asked to design an amphithe- fic person, but then again there atre for the site. It was so out of probably is a specific person that place in one way because it was would wear it. When the collecsurrounded by all these vines, tion is much more developed but in a way I really liked that and the styling comes into it, the contrast. He used very hard, ar- shoes, accessories, jewellery, how chitectural shapes in a vineyard a jacket might hang, or will it be wrapped tight? That’s really and that inspired me to look at when I really start to consider weaving feathers. Weave being the consumer. something very geometric and On process

On interning with Philip Treacy

On research

On the consumer

Fashion Design BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 25 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission brief Friday 5th February 2016 Degree awarded: BA (Hons) Fashion Design/(MFA)

Fashion Design aims to educate students to become professional practitioners in the field of fashion and related industries. Students are encouraged to have an awareness of fashion in its social and cultural context and to bring that understanding to their work. The department places great value on its industry and professional links that gives students an insight into real-world commercial requirements. Emphasis is placed on developing informed, creative designers, who are prepared for the needs of industry. What will I study? As a Fashion Design student you will learn about the design process as it applies to the fashion industry. Elements covered include visual research, drawing, design process, fashion design, knitwear design, pattern cutting, garment construction, illustration presentation, manufacturing techniques and market research. There is a focus on understanding fashion in context and students will undertake field research, trend analysis, customer profiling and branding within a wide range of contexts for the fashion industry. Students will also be able to develop links with historical fashion and material culture through the practical application of visual culture research. Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful fashion design practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice. Year 3 In the third year students are ready to develop their own programme of study which reflects each individualâ&#x20AC;&#x2122;s skills and interests within fashion design. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. Each year is supported by a series of lectures by leading creative practitioners and theorists, collaborative interdisciplinary opportunities, live industry projects, field trips, and study visits.

How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions Opportunities after graduation As a consequence of the range of skills acquired, Fashion Design graduates from NCAD can be found in all areas of the fashion industry. The programme provides graduates with the knowledge and skill to design and make collections, either independently or as part of a team in design studios. As well as designing in-house for international designer brands, graduates work globally at all levels of the industry from performance sportswear to major international high-street brands. Some have set up their own design/manufacturing business. Others have diversified into specialist areas such as knitwear, illustration, menswear, childrenâ&#x20AC;&#x2122;s wear, millinery, footwear design, accessory design, design management, journalism, fashion teaching, fashion styling, retail, merchandising, buying, forecasting, and costume design for film, theatre and television. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) Degree. Students who reach the appropriate standard may stay on for a further two years of postgraduatestudy and leave with an MFA in Fashion Design. See page 91 for more details.

53 Interview: Gill Thorpe, Fourth Year Textile & Surface Design

Four weeks of printing and then its putting everything together for the show. At the start of the year I focused mainly on Cumann na Ban and their fight for the Irish Republic. I especially focused on their uniforms made using Irish tweed and how to contemporise Gill on the end

Alumni: Orla Kiely OBE, Nigel Cheney, Ciaran Sweeney, Rachel O’Connell, Aisling O’Neill, Martin Fox Philips …

also using furnishing fabrics for accessories. They’re tougher, and a lint to the functional uniforms that the women use. I like the way they were nurses and couMy real starting point however riers, secretly bringing messages was the exhibition Disobediant around the city during the rising. Objects in the V&A, which I saw I’m working on the final collectilast summer. It was based around on now. revolutionary work against governments and wrong doing in We’ve a very strong class, there’s a country. There were little hand a lot of distinct personal styles made weapons from Syria, a van going on, which is good. When based on an innocent man on de- we are printing there’s seven peoath row, work from the Guerrilla ple printing at a time, so you can Girls and screen printed banners always see what people are doing from the Aids Protests in the 80’s and everyone likes to talk about in America. This led me onto my what they’re doing. I suppose I’m thesis topic as well, which was on constantly looking at what’s going protests and women using texti- on around me. les as forms of protest. Before NCAD, I did a degree in Visual Communication in IADT I stated by just writing down and graduated in 2012. I then loads of ideas and using the took a year out, volunteered in creative columns on flickr to the print museum, assisted claslook at archival photographs and stuff like that. Also visiting ses in the Ark and interned in and photographing places in the Library Project. I also did Dublin that relate to the 1916 a Letterpress night course with rising. I then went on some Mary Plunket and a textiles night history walks around the city. course with Mel Bradley. I like having boundaries for myself and I’m designing textile prints for to have set guidelines about what bags, scarfs and jackets so I’m I’m supposed to do or where I’m using different materials for each supposed to go. Studying graphic one. I have this material used in design definitely helped me to installation for houses and I’m develop how I work now. them. I was looking at females in Irish history, because there’s not really much information about them. On her starting point

On inspiration

On life before NCAD

On her process

On her materials

Textile & Surface Design BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 20 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a Third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Textile Art & Surface Design/(MFA)

Textile & Surface Design at NCAD will help you to develop your full creative potential as a designer of the surfaces that will surround us in the future. Throughout the programme you will develop your knowledge and expertise through the use of traditional as well as new technologies and you will be encouraged to challenge the possibilities of Textile and Surface Design. Design outcomes are realised through the production of design samples, fabric collections, visualisations and/or products and prototypes. The College offers an excellent range of facilities for realising textile design work including digital print, screen print, transfer print, and weaving, while external manufacturing services such as laser-cutting, computer-aided weaving, multihead embroidery, and finishing are also utilised. What will I study? Year 1 â&#x20AC;&#x201C; See First Year Art &Design pg. 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful Textile & Surface Design practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice. Year 3 In the third year students are ready to develop their own programme of study, which reflects each individualâ&#x20AC;&#x2122;s skills and interests within Textile & Surface Design. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. Each year is supported by a series of lectures by leading creative practitioners and theorists, collaborative interdisciplinary opportunities, live industry projects, field trips, and study visits. How will I be assessed? Assessment throughout the programme, in both your studio practice and in Visual Culture, will be on a continuous basis, at the end of each completed module and at the end of each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, portfolios and exhibitions

Opportunities after graduation As a consequence of the skills acquired, Textile & Surface Design graduates have a wide range of local and global opportunities open to them. The Textile & Surface Design pathway has a proven track record in educating assured designers who follow successful careers within the fashion, interior, and lifestyle product industries. Typically graduates become in-house textile designers for international fashion/interior designers and established brands, designers within textile design studios, independent designer-makers of textile products, or designer-makers of bespoke textiles for corporate/interior/architectural or fashion clients. There are also possibilities for graduates to establish their own design studio, label or brand with successful NCAD graduates including Orla Kiely OBE, and design studios Quinnconfrey and Pattern. Related graduate careers include trend-forecastersm, creative directors, design agents and buyers, colourists, illustrators, visual merchandisers, design researchers, and educators. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Design offers a range of innovative Masters programmes, as well as a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) Degree; students who reach the appropriate standard may stay on for a further two years of postgraduate study and leave with an MFA in Textile & Surface Design. See page 91 for more details.

59 Interview: Genevieve Howard, Fourth Year Jewellery & Metalwork

I came into NCAD not knowing exactly what I wanted to do. I actually started off doing ceramics after fiirst year. I had done it for my Leaving Cert, but I just found it different in college to the way it was in school. It was more conceptual and I have a more logical design focus. Genevieve on her design approach

Alumni: Brian McGuinn, Anna West, Sarah McEvoy, Laura Caffery, Catherine Keenan, David McCaul, Alan Ardiff, Jaki Coffey â&#x20AC;Ś

I play music, I’ve played my whole life and both my parents are musicians. I’ve been playing the piano since I was four. My mum’s a music teacher and my dad’s a classical guitarist so there’s always music in my house. I always wanted to try and find a way to bring music into my art. On music’s inspiration

I learned a lot from my thesis. It was on how visual art has inspired my music and synesthesia and that kind of stuff. On future possibilities

I ’m not going to stop at this because I think it’s a language and there’s so many possibilities. I can experiment with different types of music, stage visuals, installations… I definitely could see them on a bigger scale, definitely. For now, I’m hoping my degree show will be a collection of bangles and brooches and neck pieces.

I was sitting at the piano one day reading a score of music and I thought maybe I could use the scores of music and make graphic representations of them. I could make music visual and wearable. So I drew over the scores to get I went on Erasmus to Budagraphic shapes and then pest which was a really good laser cut the shapes. experience. They have real attention to detail over there. Angela, my tutor, suggested I found myself paying more I use paper as my material. I attention and finishing things never thought of it before but better when I returned. I dethen it made sense because finitely get a lot of inspiratithe music is printed on paper. on from being away. I think When it’s all packed together I’ve grown as a person and tightly, it resembles fabric. I matured a lot since I started used this black Japanese linen in NCAD. It’s such a vibrant paper and it just looked really college and is totally different rich and it just made sense from any other college camto me. pus in Dublin, it’s beautiful. On NCAD

On material research

Jewellery & Metalwork BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 15 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Jewellery & Metalwork /(MFA)

Jewellery & Metalwork at NCAD embraces many different types of creative practice. Students are supported to develop the skills to pursue personal expression through the gallery market or to forge a career in industry. Jewellers are encouraged to create designs that challenge notions of the body, fashion, gender, and the environment. Students develop skills in working with precious metals, and experiment with non-traditional materials, such as paper, textiles, and plastics. Similarly, goldsmiths and silversmiths explore the interaction between fine metalworking and ideas, through the creation of domestic objects and fine luxury products, exploring radical forms and processes. With individual bench spaces, machine workshops and studio, the programme provides the perfect environment to experiment and explore in pursuit of personal expression. Students develop a personal creative identity and proficiency in design and technique, and learn through a mixture of workshops, lectures, tutorials and, most importantly, through their own practice.

Year 1 â&#x20AC;&#x201C; See First Year Art & Design page 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful Jewellery and Metalwork practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice.

Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study and leave with an MFA in Jewellery or Metalwork Design. See page 91 for more details.

Year 3 In the third year students are ready to develop their own programme of study, which reflects each individualâ&#x20AC;&#x2122;s skills and interests within Jewellery & Metalwork. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. Each year is supported by a series of lectures by leading creative practitioners and theorists, collaborative interdisciplinary opportunities, live industry projects, field trips and study visits.

Opportunities after graduation? As a consequence of the skills acquired, Jewellery & Metalwork graduates have a wide range of local and global opportunities open to them, from designer maker, to artist, educator and creative entrepreneur. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme.

65 Interview: Stephanie McDermott, Fourth Year Visual Communication

I always knew I wanted to do Visual Communication even in first year. I think the approach in first year sets a way of thinking in design that helps you to be more than just a technical designer. It’s about conceptual thinking. It also gives you the chance to try out Stephanie on her design approach

Alumni: Brian Cronin, Mary Dotherty, Ciarán ÓGaora, Declan & Garech Stone, Paul McBride, Conor Nolan, Keith McGuinness …

out different things. I definitely have carried that through to today.

really sexually aggressive men. Because of this my feed on Instagram is totally different to any of my other On her dreams I say I’ve always wanted to do graphic accounts, it’s just filled with porn, design, but when I was really young sex, really sexual content and so that makes me question, is this then forI wanted to be an ice-skater. I think ming me, because I’m being expoit was the outfits. sed to this information? Does social On her final project For my degree and thesis I am look- media inform your own personality? ing at social media and the construc- When I’m on another account loads tion of the self online. It has been of vegan food might come up and a long research project, but I found it’ll make me hungry for that kind it really beneficial. The level of inves- of food. So that kind of informs my tigation has been so important. life in another way. Coming away from this, I believe I’ll be able to handle things at a better level conceptually. On social media

On social media with every post you make, you’re giving away a new piece of information about yourself. I don’t think people really think about that enough. Someone once came up to me and said, you look so different on the internet than you do in real life. I thought that was so bizarre. As part of my research, I’ve designed nine versions of myself. It’s me, you can see that it’s me but I’m able to distort my image and my personality online. I’m able to edit myself and that’s effectively what everybody is doing. I’m mostly doing the project through Instagram as it’s image based. I thought that was the best route to go. On her approach

One of my profiles is a blonde, tanned, way too much make-up, really plastic looking girl and the kind of people that follow me are

On the instareem

A lot of the reading I’ve been doing highlights the fact that we’ve woken up to a privacy epidemic five years too late. There’s all this stuff about us online that we can do nothing about now and we’re still putting it up. One of the people I reference in my thesis is the head of the CIA. He’s said for years and years they’ve been trying to gather as much information about the population as they can and now we’re giving it to them for free. So, I want people to come away from my project with a more cautious approach to social media. On research

After I finish I’d like to do some internships in different companies with different approaches and figure out what kind of designer I really want to be. Ideally, I’d like to be somewhere like London or New York in my late twenties. The design industry in Ireland is quite small. I’d like to see more, I’d like to see how other places do it.

Visual Communication BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 45 Applications: CAO AD101 First Year Art & Design (Common Entry) Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Visual Communication/ (MFA)

Visual Communication, or graphic design, is a problem-solving practice which uses image and text to communicate an array of messages that can be personal, cultural or commercial. The key elements of visual communication are typography, illustration, photography, interactivity, and the moving image. What will I study? Studying Visual Communication you will learn to incorporate the traditional skills of drawing, printing, photography and other graphic processes with the new digital realms of video, sound, animation, moving image, and multimedia. As you proceed through the programme you will undertake both real/commercial projects and self-directed projects, which are negotiated between tutor and student. There is also an emphasis on team-based work, though ultimately the staff ’s ambition for each student is that their innate individuality is fostered and that they find their own voice in the context of the broad Visual Communication domain. Year 1 – See First Year Art & Design pg.8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful visual communication practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice. Year 3 In the third year students are ready to develop their own programme of study, which reflects each individual’s skills and interests within Visual Communication. students can focus on design or image based pathways, and their studies will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. Each year is supported by a series of lectures by leading creative practitioners and theorists, collaborative interdisciplinary opportunities, live industry projects, field trips, and study visits.

How will I be assessed? Coursework, essays, practical design projects and assessments take place at key points throughout the year. Formal assessment results are issued at the end of each academic year. Opportunities after graduation As a consequence of the skills acquired, Visual Communication graduates have a wide range of local and global opportunities open to them. Visual Communication graduates are employed by design consultants, book and magazine publishers, multi-media and web design companies, advertising agencies and as in-house designers for large corporations, and public sector bodies. Opportunities for graduates also exist in the fields of television, film, and exhibition design. The knowledge and skills gained through study of this subject are highly transferable so graduates may find themselves working collaboratively with experts in a wide variety of other fields. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme. Students can leave at the end of Year 3 with a BA (Hons) Degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study and leave with an MFA in Visual Communication. See page 91 for more details.

71 Interview: Fabian Strunden, Fourth Year Product Design

I’ve been through all four years here, with an extra year in as Students Union president. I studied Sculpture for two years and then swopped over to Product Design for the last two years. I always wanted to be a product designer. My work in sculpture was quite Fabian on his move to product design

Alumni: Frank Long, Gearóid O’Conchubair, Paul Adams, Sam Russell, Ahmad Fakhry, Frazer McKimm, Aine Coleman,…

technical work as well, a lot of electronics work, programming and micro controllers but always on the subject of how people meet. A lot of that I was able to carry into Product Design but with more precise questions which was quite exciting. On his background

I always loved programming and building websites. I’ve made websites for my parents. My mum is a textile designer and my dad is a painter. I moved over here from my boarding school when I was sixteen. I think my parents were sort of expecting that I was going to go back to Germany, but then I really like Ireland and I couldn’t study my degree in Germany. Ireland is like my big playground in a way. If you are from somewhere else things seem so much more possible in a way, you can be a little bit more cheeky sometimes. On his final show

with farms around your area. You can also purchase the seeds that you then grow in the farms. It’s shortens the distance that food travels and gives you the abillity to be in control of what goes into your food. To actually see a plant grow is quite important also I think. On his process

My show is a manifestation of the thoughts I’ve had for the last five years. It’s a summary of all the things I have learned. It combines a lot of different technologies and processes of making. My process is very making focused. I kind of immerse myself in the context at a very early stage, throw out ideas and see where the response is, how does it resonate with people? I do that over and over and over again. I set up a prototype, quickly test, examine the results, take the good elements and do another test in a completely different direction. That’s my process, that and immersing myself in the environment of the library where we have fantastic design and art books. The inspiration for my final design coincidently came from a light I saw in a book in the library.

For my show I am building an atomised irrigation system. Community gardens are really nice but not everyone has the time to invest in them. I think it would be nice if you could cater to people that live a busy lifestyle. If they get completely left out of health food I’ve made some fantastic mistakes here. growing because it doesn’t suit their lifestyle then they’re just missing out. That’s the cool thing about this college, There needs to be a healthy medium. you have the time and the space and opportunity to put yourself in situations where you can make mistakes. My idea is for my micro farm to run alongside Instagram. A sort of parasite On what’s next What’s the next exciting adventure? platform alongside where you login through Instagram, take pictures, post I don’t know, is it computer science? recipes, say what you have done with Is it design? I think there is so much your recipes, connect to other people opportunity in Ireland it’s crazy.

Product Design BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 30 Applications: CAO AD212 Product Design Entry requirements: Leaving cert: 2HC3 + 4OD3, English, Irish and a third Language or Art, Maths OC3 or HD3 or FETAC: 5 Distinctions Full Award + Leaving cert Maths requirement as above Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Product Design/(MFA)

Product Design at NCAD is a studio based degree that addresses all stages and activities involved in the creation of a new product – from concept design, to prototype development to manufacture and marketing. From chairs and lights to consumer products and environmental objects, product design is about enriching quality of life, whether in the home, workplace, or public domain. It can provide ways of answering unmet needs, improving function and appearance, or offer new ways of critically engaging with objects. Product Design is fundamentally about making things better. Studying Product Design at NCAD will enable you to develop your skills within a creative art school environment, underpinned by technical expertise and extensive links with industry. The programme is delivered primarily within the design studio. This approach creates a socially interactive, yet individually driven, working practice, with teamwork and shared experience core to our philosophy. The small size of each year-group, typically 30 students, coupled with close and frequent contact with the tutors, creates an informal yet highly effective student-led learning environment. Product Design has been taught at NCAD since 1976, and is the oldest programme of its kind within Ireland. Since its inception NCAD has developed a strong international reputation for producing graduates whose common strengths lie in the creation of innovative designs, products and services. What will I study? The curriculum addresses all the stages and activities involved in the creation of a new product – from concept design to manufacture, to prototyping to marketing. It encourages students to challenge conventions and to think about the subject in new and exciting ways. The programme philosophy is guided by a questioning stance on the role of Product Design in the 21st century, one which considers the creation of a sustainable future through the critical and creative exploration of a range of approaches to Product Design. Year 1 – See First Year Art & Design pg. 8. Year 2 The focus in the second year is on developing a personal visual language and the skills necessary to translate this into successful Product Design practice. You will also focus on researching and defining a specific audience and developing a market understanding through professional practice.

Year 3 In the third year students are ready to develop their own programme of study, which reflects each individual’s skills and interests within Product Design. This will culminate in a substantial body of work for assessment and display at degree shows, exhibitions and events. Each year is supported by a series of lectures by leading creative practitioners and theorists, collaborative interdisciplinary opportunities, live industry projects, field trips, and study visits. How will I be assessed? Coursework, essays, practical design projects and assessments take place at key points throughout the year.Formal assessment results are issued at the end of each academic year. Opportunities after graduation As a consequence of the skills acquired, Product Design graduates have a wide range of local and global opportunities open to them. Designers often focus on a particular area, such as consumer electronics, furniture or medical equipment, but many of the product designer’s skills are transferable between projects and products. Graduates find employment within manufacturing and design consultancies, and have strong entrepreneurial skills which enable them to set up their own design companies, creating and producing products. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The School of Design offers a range of innovative masters programmes, as well as a practicebased PhD programme. Students can leave at the end of Year 3 with a BA (Hons) degree. Students who reach the appropriate standard may stay on for a further two years of postgraduate study and leave with an MFA in Product Design or one of our other Design masters. See page 91 for more details.

77 Interview: Grรกinne Brennan, First Year Visual Culture

Grรกinne on why Visual Culture

Before starting in NCAD I did two years craft-based study in Grennan Mill, in Thomastown, Kilkenny. I actually came here thinking I wanted to do museum curation, but by the end of the year it was the theory and research I prefered most. I enjoy the the challenge of writing

papers and doing essays. On writing techniques

We’re learning critical and writing techniques step by step. I’ve learned from my errors what not to do. As a class, we take in a few galleries on our own time and then sit down and do talks on it. We sort of bounce off each other which is quite helpful. On practice and theory

The course makes you question everything you are seeing and think in a completely different way. This semester we’ve looked at Kant and Schopenhauer and studied aesthetic judgement. We’re also encouraged to consider the context of where our writing exists. Is it a blog? a museum paper? and how should I adjust my style to suit the different context and culture? On influences

My recent essay is on

pop art. I wrote about the Campbell’s soup can. At the beginning of the year I would have written about the colour and what it looked like. Now, it’s more of the cultural meaning surrounding it, the politics of the time and why people were fascinated with it. I looked at Walter Benjamin and the Age of Mechanical Reproduction. I never would have read that at the start of the year. But that’s the fun of it, that’s learning, that’s what we’re here for. We’re not expected to produce published masterpieces. On new ambitions

My goals have now changed, I‘m more ambitious. I’m passionate about everything that I’m learning. This course has opened a whole new world to me. I’m looking at things differently and I know that I’m looking at them differently.

Visual Culture Ba (Hons) Duration: 3 Years BA Places: 20 Applications: CAO AD215 Visual Culture Entry requirements: Leaving Cert: 2HC3 + 4OD3, English, Irish and a third Language or Art FETAC: 5 Distinctions Full Award from a linked FETAC award, see page 121 Portfolio requirement: None Degree awarded: BA (Hons)

The BA in Visual Culture gives you an opportunity to study the history and theory of modern and contemporary art and design practice in a creative art school setting. This programme offers a route that is not studio based for students who aspire to careers in the numerous professional sectors which reside around the arts and design, including arts management, critical and popular writing, and curation. This programme is suitable for anyone with a broad interest in history, culture, and society. You do not need to have any prior knowledge of art and design before you start. Your study will be based around lectures, seminars, tutorials and field trips. There will be opportunities to work with studio-based NCAD students, this engagement may take the form of critical/ professional writing and publication projects, curation and event development. You will be educated to become visually literate, expressive and articulate. On graduation you will have gained a broad range of critical and research skills associated with an arts degree. The BA (Hons) Visual Culture was launched at NCAD in 2013. A portfolio submission is not required; places are allocated through the CAO on a competitive basis to students with Leaving Certifcate or FETAC qualifications. What will I study? This degree uses the theoretical and historical study of art and design to help understand the place of art and design production in the world today. Year 1 Introduction to Key Concepts in Art & Design Histories of Visual & Material Culture Introduction to Professional Practice Histories of Art & Design 1 Technologies of Visual Culture Year 2 Visual Culture II Professional Practice II Histories of Art & Design II Understanding Digital Culture Contemporary Theories & Practices

Year 3 Work Placement Collaborative Practices Economies of Culture Professional Practice III Research Practices How will I be assessed? Assessed course work may include text and image essays, presentations, curatorial and event-based projects, and self-publishing. Opportunities after graduation? As a consequence of the breadth and depth of understanding and experience acquired in relation to visual and material culture, Visual Culture graduates have a wide range of local and international opportunities open to them, including: arts administration (in contemporary and heritage contexts); publishing, journalism, critical writing; work in museums and private galleries; or art and design historical research and lecturing. Graduates may progress to further study at postgraduate level to refine their creative and critical abilities and approach. The School of Visual Culture offers highly regarded masters programmes, MA Art in the Contemporary World and MA Design History and Material Culture as well as PhD level study. Students can leave at the end of Year 3 with a BA (Hons) Degree; students who reach the appropriate standard may stay on for postgraduate study. See page 91 for more details.

83 Interview: Avril Buttle, Fourth Year Education

I did my portfolio in Gorey School of Art, applied for NCAD and Limerick, got both, but decided to go to Limerick to do fashion at the time. When I was in Limerick I started volunteering with Northside Learning Hub and realised that I preferred working with young Avril on moving to NCAD

Alumni: Mary Devenport Oâ&#x20AC;&#x2122;Neill, Tracy Brady, Orlaith Ross, Aoife Ni Cheannabhain, Michelle Brady, Aideen Kingm, Alanna Galvin â&#x20AC;Ś

people. So I transferred to NCAD and started Education.

tioned the tone of the shadows. I made sounds and used mixed media and video as a form of play. I also recorded my stuOn alternative education dents from different age groups and their When I was still in Limerick I worked with Moyross kids on floats for the Saint struggle of trying to play the piano. Patrick’s day parade as well as individual On exploring processes I wasn’t really appreciating the piano projects. Developmental education is in it’s true state. I remember talking to something that really interests me and Michael Warren about how he makes his after my move up here, I got involved with outreach projects run by the NCAD sculptures. He said that he would often Access Officer, Finola McTernan. I sup- for hours just throw off-cuts over and pose without the experience of alternati- over and over onto the floor until they ve education through the Access Office, fell in a certain way that worked. So I I wouldn’t have as much patience when tried it with the piano. I would just start I‘m in mainstream schools. throwing parts of it and listen to my music at the same time and just recording On alternative education what was happening. I also started lookMy last academic assignment was an essay exploring the relationship between ing at Helen O’Leary a lot and basically the art you produce in college compared just dismantling the piano and rebuilto the art you teach in schools. I perso- ding it. I decided to incorporate wire nally think that the more you bring your and string into combining all the pieces own contemporary practice into the together, so that I made a new instrument. I have one piano that’s completely school, the more accessible you make distorted, I messed it up with a hammer. contemporary art to your students. I still play technically perfect on it and On designing education I think the fundamental principles of art record that sound. I then play the same and design could be implemented in all piece of music classically on my good subjects. That way kids are more aware piano. and overlap the sound. They’re all of why they’re learning things and how creating different sounds now. The next they’re learning it, rather than learning thing is to start writing music with the it for the sake of repeating it verbatim in new instrument, instead of applying the old music to it. It’s about the inherent an academic exam. new qualities that this instrument has. On her studio work We can pick anything we want to explore for studio practice. In third year I started There’s so many fragmented elements thinking about the relationship between from the construction to visual languavisual art and music and the visualisati- ge, to making new instruments, making on of sound. I am a piano teacher, it’s my new music, and how do you make that weekend job. I just thought it would be tangible or in some way accessible for interesting to amalgamate and explore those who don’t know the story of you? the relationship between the two. I took I kind of feel like I’m on such a roll now. apart the piano and made 3D sculptures. I’m starting to think of how I can combiI cast light on the sculptures and ques- ne all my successes together.

Design or Fine Art & Education BA (Hons) Duration: 4 Years Places: 35 Applications: CAO AD202 Design or Fine Art & Education Entry requirements: Leaving cert: 2HC3 + 4OD3, English, Irish and a third Language or Art or FETAC: 5 Distinctions Full Award Portfolio requirement: NCAD Portfolio Submission Brief Friday 5th Feb 2016 Degree awarded: BA (Hons) Design & Education or BA (Hons) Fine Art & Education

The BA in Fine Art and Education or in Design and Education is a Joint Honours award. That means you follow the full degree course in Fine Art or Design as well as taking a dedicated teacher education programme as a professional qualification. This Joint Honours course takes four years to complete, as compared to the three-year single discipline Fine Art or Design degree.

How will I be assessed? Assessment throughout the course, in both your studio practice and in education studies, will be on a continuous basis, usually taking place over each semester (half-year). Formal assessment results will be issued at the end of each academic year. Modes of assessment will include practical and written assignments, oral and visual presentations, and some written examinations.

What will I study? In Year 1, your course of study will be largely focussed on the development of your capacities in Fine Art or Design (see First Year Art and Design page 8). In Year 2 you will continue to follow the degree programme you have chosen in Fine Art or Design but you will also follow certain modules that will introduce you to aspects of education and begin to prepare you for teaching in various settings. For the first half of your third year, you will continue your Fine Art or Design studies, along with some Education elements. Then for the second half of your third year, you will be engaged full-time in Education. You will have an extended placement in a school where you will be supported in learning the role and functions of a teacher. There will be some college-based work as well, providing you with a theoretical base for your teaching. In the first half of your fourth year, you will continue on a full-time Education programme. This will involve another extended placement in a recognised school as well as further education studies and space for reflection, based in college. Finally, for the second half of your fourth year, you will re-engage with your studio practice in Fine Art or Design, and will bring your studies to conclusion with your final end-of-year exhibition of work.

Opportunities after graduation Most Education graduates go on to teach in secondary, vocational or community and comprehensive schools. The teaching qualification is recognised internationally, and some graduates choose to travel abroad to find employment in other countries. Art teachers work in a variety of settings â&#x20AC;&#x201C; in second-level schools, in further education, with very young children, with adults, in museums and galleries, in prisons and in many other places where education takes place. Many Education graduates choose to continue their specialist art or design area of work, through further study or employment in those disciplinary areas. In some cases, they might decide to return to teaching at a later stage in their lives, knowing that their professional qualification will still be valid. Art teachers can pursue a range of higher education awards at graduate level, including masters awards in various aspects of art or education, such as visual art education, special needs, educational management and other aspects of education. Similarly, Joint Honours Education students may choose to develop their art or design studio practice through MFA work in those disciplines.

Continuing Education in Art & Design (CEAD) Centre for Continuing Education in Art & Design Tel: 01 636 4214 cead@ncad.ie

Continuing Education in Art and Design (CEAD) at NCAD offers an extensive range of part-time art and design courses. CEAD courses take place in the autumn and summer, day-time and evening. CEAD caters for a range of levels from beginners, to improvers and those seeking a route to professional status. Continuing Education offers part-time accredited Certificate and Diploma options for mature students. One year Certificate courses include; Drawing and Visual Investigation, Photography and Digital Imaging and Visual Art Practice. Students who successfully complete a Certificate can apply to the part-time Diploma. All part-time programmes are minor awards within the National Framework of Qualifications. Non-credit courses and workshops are offered to students who want return to third level art and design education but need to develop their skills and knowledge, before committing to accredited options. CEAD provides continuing professional development options including master-classes for those seeking to up-skill and acquire further professional experience. The CEAD exhibition takes place on campus annually and presents an excellent opportunity to view studentsâ&#x20AC;&#x2122; work. CEAD Open Day February 14th, 2015.

Certificate Courses 1. Drawing and Visual Investigation, (D+VI) One year course providing students with knowledge, skills and understanding of contemporary approaches to drawing and visual research. The course takes place two evenings a week over a twenty four week period. 2. Photography and Digital Imaging, (PDI) This one year course offers students an opportunity to extend their visual vocabulary and explore the creative possibilities of photography within contemporary visual art and design practice. The course takes place two evenings a week over a twenty-four week period. Visual Art Practice Visual Art Practice is a flexible programme, offering students a wide range of modules to choose from. Students can audit this programme or take modules for credit purposes. Examples of modules include; drawing processes, printed textiles, painting and research methods, bronzecasting and Jewellery design. Diploma in Art & Design, level 7 NFQ Students who have completed a part-time Certificate are eligible to apply to the parttime Diploma. This one year intensive course includes studio practice and visual culture. Students are required to attend two evenings a week, some Saturdays and day-time blocks. This course aims to introduce students to concepts, ideas and research processes in art and design, provide students with technical skills applicable to practice, encourage students to develop ideas across Fine Art and Design. This part-time undergraduate course offers an opportunity for mature students interested in establishing a personal direction in their art and design practice to attend a flexible programme leading to an NUI diploma worth 40 ECTS credits. Application and Enquiries The deadline for application and portfolio submission for PDI, DVI and Diploma is in June. Applications for VAP are taken from July until mid-September each year. Information on all courses is available on the College web site www.ncad.ie/continuing-education

ncad graduate Programmes

NCAD graduate students seek to address a wide range of cultural, socio-economic and creative concerns through their work. New modes of public engagement are explored, creative constraints challenged, critical dialogues plotted... and the future imagined. Professor Des Bell Head of Academic Affairs and Research

ma interaction design

The MA Interaction Design brings together candidates from a range of fields including design, art, computer science, psychology, sociology and business, and prepares graduates to play a leading role in the development of emerging technology in society.

MA 1 year 90 ECTS credits Taught masters

What to Expect

Programme Contact Emma Creighton creightone@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The MA Interaction Design is a one year full time taught masters delivered in NCAD in conjunction with UCD. The course teaches fundamental approaches, methods and tools related to the design of digital products, environments, systems and services with a focus on users, experience and context of use. The MA is studio-based with students engaging in lectures, seminars, workshops, fieldwork and independent and group projects. The studio environment is a key component of the MA, which fosters collaborative and peer-to-peer learning. The programme focuses on the interdisciplinary nature of Interaction Design, covering topics ranging from psychology and sociology to human factors and engineering. Students learn to conduct people-centered research, extract meaningful insights, create and visualise concepts, and develop and test experiential prototypes. Covering the theoretical and practical aspects of the discipline, the course encourages students to design from both a pragmatic and speculative perspective. During the first and second semester students develop theoretical knowledge and skills in areas including human-computer interaction, systems thinking, user experience (UX), user interface design, web design, design ethnography, prototyping, coding, physical computing, data visualization, digital fabrication and tangible media. In the second semester students also complete an Entrepreneurship and Social Innovation module delivered by UCD Smurfit Business School. Over the summer months students complete a major project and dissertation which can be either self-initiated or industry focused.

Opportunities to Engage

After Your Degree

Based in Dublin city centre, the hub of Irelandâ&#x20AC;&#x2122;s rapidly growing technology sector, the MA offers exciting opportunities for students to engage with industry, extending their existing skillset into new territory. Students are exposed to a broad range of topics and real-world contexts through sponsored projects and engagement with design practitioners and visiting academics. Through project work students engage in fieldwork connecting with the local community, businesses and organisations in the creation of design propositions and prototypes, which are deployed and evaluated in context. Student work is exhibited on campus through work in progress shows and a final exhibition. In addition to this, students are encouraged to test, implement and exhibit their work beyond the college in appropriate settings. Students are also supported to prepare publications to contribute new and relevant knowledge to the academic community.

The MA prepares graduates for careers in industry, independent design consultancy, start-up venture, creative practice and academic research. With the skills to develop design solutions related to web technologies, software, physical products, systems, services, environments and installations, graduates have a wide range of local and global opportunities available to them. Roles open to graduates include interaction design, user experience (UX) design, product design, web design, usability engineering, user interface design, information architect, and design-led research. The School of Design actively participates in the EU-funded Erasmus+ programme, which offers recent graduates the opportunity to avail of internships in high profile design companies within the European Union. Students are also supported to progress to PhD level.

Programme TEAM The MA Interaction Design is directed by coordinator Emma Creighton (BDes MSc). Lectures, workshops and studio projects are lead by faculty members across the School of Design. A key component of the course is the delivery of intensive master-classes, studio projects and lectures by leading practitioners and academics in the field throughout the course of the year.

Eligibility The programme is open to graduates with an Honours degree award of 2.2 or higher, or an equivalent academic or professional qualification across various disciplines including design, art, the humanities, social science, computer science, engineering and business. The college also takes into consideration prior learning and experience. Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the Academic Version) or an equivalent score in another accepted test.

msc Medical Device Design

MSc 1 year 90 ECTS credits Taught masters Programme Contact Enda Oâ&#x20AC;&#x2122;Dowd odowde@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The MSc in Medical Device Design is a one-year taught masters delivered at NCAD in conjunction with University College Dublin (UCD) and Trinity College Dublin (TCD).

What to Expect MSc in Medical Device Design is based in a dedicated Medical Device Design Studio on the NCAD campus. The programme consists of a combination of taught modules and studio-based project work. Basic Medical Science is taught one afternoon a waeek at TCD while Biomechanics; Biomaterials, Bioinstrumentation; Human Factors and History of Medicine are taught modules delivered at NCAD. A week long intensive module Rehabilitation Engineering is taught at UCD. In parallel with the taught modules a series of studio-based projects are run at NCAD in conjunction with industrial and clinical partners. Industry partners include US multinationals with a base in Ireland along with Irish start-up companies. In all cases the design briefs are on live industry projects on which the companies are working. Students present their work to engineers and scientists from the companies at research, concept and final design stage. This is a great opportunity for students to produce significant work in a real world product design and development environment. Feedback from industry tutors and practitioners is an invaluable part of the learning process.

Opportunities to Engage

Programme Leader

Our industry partners include medical device companies such as Cook Medical, Hollister, Medtronic, Boston Scientific and Stryker along with leading research hospitals and institutes such as St. Jamesâ&#x20AC;&#x2122;s hospital (TCD), St. Vincentâ&#x20AC;&#x2122;s hospital (UCD) and Tyndall National Institute (UCC). There is an opportunity for students to work with these companies, hospitals and other institutions during the course of the year. Much of the work generated is proprietary to the companies we work with and cannot be placed in the public domain. However having learned the process of medical device design in conjunction with industry partners the students have an opportunity to put this knowledge to work on their own final projects. These can often be designed and developed in conjunction with clinicians and it gives the students an opportunity to develop their own products within the NCAD innovation and commercialisation framework. Over the 5 years of the course we have generated many patents and much of the student work has gone on to be further developed within the companies. Some of the work produced in the early years of the course is now coming to market.

Enda Oâ&#x20AC;&#x2122;Dowd BSc., MSc. Enda holds a degree in Polymer Technology and a masters in Engineering Product Design. He specialises in applying science and technology to design questions, helping designers use technology to develop new and innovative human centred products, and applying his knowledge of materials and technology to bigger questions such as systems thinking and human behavior.

After Your Degree Graduates of the MSc in Medical Device Design are sought after in the medical device industry and design practices. While some graduates go on to register for a PhD the majority go on to work in industry or design practice. Recent graduates have a 99% employment rate and can be found working across many of the global design companies such as Design Partners, Movement, Cook Medical, Dyson, Hollister and Trulife.

Eligibility Honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a related discipline. The College also takes into consideration prior learning and experience. English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the Academic Version) or an equivalent score in another accepted test.

mfa design

The MFA Design provides an interdisciplinary scholarly framework for students who wish to master their design discipline in a studio setting. The programme aims is to create a design culture that thrives on new ideas, new ways of doing things and new areas of exploration. We encourage our students to experiment and take risks in order to trace new aesthetic paths and make technical innovations within and beyond their design discipline.

MFA Design 2 years 120 ECTS credits Taught masters

What to Expect

Programme Contact David Bramley bramleyd@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The MFA Design is a two-year taught studio programme across a range of design disciplines with distinct pathways in Product Design, Communication Design, Design for Body and Environment (Fashion, Textile Surface Design, Jewellery & Metalwork). In Year 1 students take a number of core taught modules combining critical study and specialist studio practice together with interdisciplinary options before proceeding in Year 2 of the programme to advanced research based study with a choice of a reflective body of writing or business plan culminating in the production of a major studio project for exhibition, commission or industry application. Students develop a personal creative and professional identity and proficiency in design and technique, and learn through a mixture of workshops, lectures, tutorials and, most importantly, through their own creative practice as emerging professionals.

Opportunities to Engage The MFA Design has extensive industry links and a visiting lecture programme of leading industry and creative practitioners, the programme aims to create students with the entrepreneurial skills to become employers as well as employees. Student work is exhibited through work in progress and final shows, all are encouraged to exhibit their work in appropriate gallery and industry contexts. Students have the opportunity to undertake short placements and live projects with cultural and industry partners working with fellow students across the College.

After Your Degree The two year taught masters programme provides an in depth, professionally informed programme of study and studio practice. As a consequence of the range of skills acquired MFA Design graduates have access to a wide range of local and global opportunities in industry, services, and design consultancy or as a creative entrepreneurs, designer makers and educators. The School of Design actively participates in the EU-funded Erasmus+ programme, which offers recent graduates the opportunity to avail of internships in high profile design companies within the European Union.

Programme TEAM Dr Helen McAllister, PhD - MFA Programme Leader (interim) Helen is a textile practitioner, her work brings together the work of the specialist textile practitioner, design thinking and conceptual engagement in the making process. Her work has been widely exhibited throughout Ireland and Europe, she has a number of peer reviewed papers and presentations addressing practice based methods of research, design, craft, Venetian design and material culture. Derek McGarry, MFA, MA, BA (Hons), MIDI – Head of Innovation and Engagement Derek is a practicing designer and design researcher. He is a member of the NCAD Research Institute, Past President of the Institute of Designers in Ireland (2010-11) and former elected member of the Board of Directors of the Crafts Council of Ireland (2011-2014). He is a current member of the Board of Directors of the Rediscovery Centre. His work is included in the permanent collection at the National Museum of Ireland and Worshipful Company of Goldsmiths in Dublin, as well as in international private collections. Derek has presented his research in peer reviewed international design conferences in Australia, China, Finland, Italy, and the USA and recently his new technology design work was exhibited at the international Inhorgentia jewellery exhibition in Germany. Sam Rusell - Head of Product Design Sam holds a first degree in Industrial Design and a MA in Design through practice. His

research interests relate to the role designers can play in development aid and the design of new learning experiences and spaces. As acting head of Industrial Design his focus is on experiential learning and linking students to industry networks. Conor Clarke – Head of Communication Design Conor holds a First Class Honours Degree and MA in Visual Communication from NCAD. As acting Head of Visual Communication, Conor is leading change and development within the Visual Communication Department, moving the programme towards a more research-based, human-centred design approach. He is a Director of Design Factory, one of Ireland’s longest established and respected graphic design practices. His work has been featured in a number of international design publications and in exhibitions in Dublin, London, Maastricht, Milan, New York and Havana. Angela O’ Kelly - Head of Design for Body and Environment Angela has a degree and postgraduate diploma from Edinburgh College of Art where she specialised in jewellery and silversmithing, and a MA in Arts Management & Cultural Policy from UCD. As a designer and curator she specialises in design led wearables combining mixed media with traditional and new technologies. She has exhibited extensively in international exhibitions and galleries. Her focus is equipping students for sustainable careers after college, linking students to industry and exposing design through national and international markets.

Eligibility The programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a related discipline. The College also takes into consideration prior learning and experience. English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the Academic Version) or an equivalent score in another accepted test.

mFa fine Art

MFA Fine Art 2 years 120 ECTS credits Taught masters Programme Contact Philip Napier napierp@ncad.ie Sarah Durcan durcans@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The potential in this programme is ultimately to advance great art work and process which matters to you and to others.

What to Expect The MFA programme is based around the idea of visual arts practices as inquiries into how we understand and interpret the world. Students are encouraged to reflect on their individual research pathway, to communicate their ideas effectively and to situate their work in relation to the spectrum of contemporary art discourse and practice. On this programme we are interested as visual artists in discussing, making and framing those things that encourage you to look or listen again â&#x20AC;&#x201C; the things that alter how you see the world â&#x20AC;&#x201C; things that you and we mentally refer to and reflect upon. This is advanced in relation to negotiating and developing your personal inquiry in the visual arts and in finding new ways of making, modeling and connecting this knowledge to the professional field of the visual arts and in relation to people, situations and your peers. The MFA programme is offered through the discipline pathways of Fine Print, Media, Painting, Sculpture, Textile Art, and Ceramics & Glass. Within this structure students can develop specialist skills and also engage with trans disciplinary and expanded forms of practice. The spine of this programme is centred upon an experiential art practice engagement with structured components that explore research methods and contemporary practices. The advanced study required at masters level is informed by contemporary practice based co-ordinates delivered by leading professionals in the field, including artists, curators, writers and those from other relevant backgrounds. The course will also foster your ability to know and to name the kind of knowledge being produced and has a written component in which students reflect on their research in a critical context.

Opportunities to Engage

After Your Degree

These programmes have their foundations in a consistent commitment to the ’publication’ of practice through exhibittion. These moments of public exhibition come both through clusters of testing work within and outside the academy, but also in the public exhibition of the student’s major research project at the end of their studies. These exhibitions have been developed in different locations, and are a significant feature of the Dublin and Irish cultural landscape. The programme is developed around a pathways model that affords specialism in relation to known and expanded conceptions of contemporary painting, print, sculpture, and the digital world – You choose engagement with a range of discursive seminars and lectures across areas of socially engaged practices, digital world perspectives, theoretical coordinates and interdisciplinary components some drawing upon our close relationship with University College Dublin.

An MFA qualification is generally accepted as a prerequisite for further professional development in art and related fields. The alumni of the MFA at NCAD have gone on to pursue a variety of careers as artists, curators, academics, doctoral researchers and entrepreneurial arts professionals in expanded fields. Dublin and Ireland have a vibrant visual arts sector that embraces contemporary art museums, formal gallery spaces, private galleries, artist initiated/artists run spaces. The culture and society are known across the world as offering known and alternative ways of engaging. Dublin is home to a smart, dynamic, curious, friendly and youthful population that contributes to its reputation as an active, engaging and outward looking, connected European city.

Programme Team Staff across the School of Fine Art at NCAD encompass a wide variety of specialisms and skills across the field of contemporary art encompassing painting, print, the moving image, object based, participatory and expanded forms of sculpture, physical computing and art criticism. It is the ongoing effort to resource their research, to develop and exhibit work and to be a part of contemporary debate in all its forms, that are understood as critical to contributing to an effective and informed teaching culture.

Eligibility The programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a related discipline. The College also takes into consideration prior learning and experience. English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the academic version) or an equivalent score in another accepted test.

ma / MFA art in the Contemporary World

Art in the Contemporary World is a taught Masters programme that examines contemporary art practices and their contexts.

MA 1 year (or 2 years part time) 90 ECTS credits Taught masters Visual Culture Pathway

What to Expect

MFA 2 years 120 ECTS credits Taught masters Theory/Practice Programme Contact Dr Declan Long longd@ncad.ie Dr Francis Halsall halsallf@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit – www.ncad.ie/study-at-ncad

Art in the Contemporary World is a taught masters programme that examines contemporary art practices and their contexts. The course offers an opportunity for focused engagement with the varied challenges of today’s most ambitious art. It bridges the relationship between theory and practice by creating exciting study options for artists, curators and writers. We welcome graduates from a variety of backgrounds, including: fine art; art history; philosophy; literature; film studies; architecture; communications; or design. There are 2 pathways available: (i) a one year, ‘theory only’ MA; (ii) a two year theory/ practice MFA. All students take the theory modules in their first year. MA students complete a major research topic (typically a written thesis) by the end of the year; MFA students undertake a second year of practice. A key feature of the MFA is that practice is understood in an expanded sense to include not only studio practices (represented by NCAD studio expertise) but also practices facilitated by Visual Culture staff including: curating; critical and creative writing; event organization; a major research project. Course content for the Visual Culture theory modules is divided into four thematic strands: (i) ‘Practices’ explores the range of current international art practices; (ii) ‘Situations’ is comprised of elective options addressing social and cultural contexts for art practice today or occasions of interdisciplinary crossover with other fields (iii) ‘Theories’ is a series of seminars focusing on key theoretical approaches relevant to contemporary art; (iv) ‘Writing’, which explores different models and strategies for writing on art.

Opportunities to Engage Art in the Contemporary World regularly collaborates with key cultural institutions in Ireland, running courses and events with the Irish Museum of Modern Art; Irish Film Institute; Dublin City Gallery; Kerlin Gallery; The Irish Pavilion at the Venice Biennale. We offer course options with educational partners such as the School of Architecture and the School of Art History & Cultural Policy at University College Dublin. Art in the Contemporary World functions as a forum for debate on contemporary art theory and practice, regularly hosting public events involving course participants. In recent years guests at such events have included: Massimiliano Gioni, curator of the Venice Biennale, 2013, and Director of Exhibitions at the New Museum, New York; Katrina Brown, former director of the Glasgow International Festival of Contemporary Art; Frieze magazine senior editor Dan Fox; comedian Stewart Lee; film-maker Kenneth Anger; writer Rebecca Solnit; art critic Irving Sandler; and artists Lynda Benglis, Liam Gillick, Susan Philipsz and Walid Raad.

Programme Leaders Dr Declan Long, PhD Dr Declan Long lectures on contemporary art theory and practice. He is a contributor to Artforum International, Frieze and Source Photographic Review and is a board member of the Douglas Hyde Gallery, one of Irelandâ&#x20AC;&#x2122;s leading contemporary art venues. In 2013 he was a member of the judging panel for the Turner Prize. More information can be found at www.declanlongtexts.wordpress.com

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Dr Francis Halsall, MA PhD Francis Halsall lectures in the history and theory of modern and contemporary art at NCAD. In the spring of 2014 he held the Critical Studies Fellowship at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. His research practice involves writing, teaching and organizing public events. This practice is situated between two main areas; the history, theory and practice of modern and contemporary art, and philosophical aesthetics. He has written extensively on all of these fields, full details can be found at www.alittletagend. blogspot.com

After Your Degree Graduates from Art in the Contemporary World have gone on to receive international awards and residencies, to take up respected curatorial positions and to publish their writings in prominent academic journals and art magazines.

Eligibility The programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a relevant discipline. The College also takes into consideration prior learning and experience. English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the Academic Version) or an equivalent score in another accepted test.

ma design History & Material Culture

This MA in Design History & Material Culture (DHMC) is about objects: things you might sit on, drink from or wear; things you might cherish, throw away or never notice; things for special occasions and things you use every day; things made by machine, things made by hand and things never made; spaces you might visit, inhabit or travel through; ideas about things, things about ideas.

MA 1 year full time (or 2 years part time) 90 ECTS credits Taught masters

What to Expect

Programme Contact Dr Anna Moran morana@staff.ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The MA in Design History and Material Culture is a pioneering course that examines the history of design and material culture from the eighteenth century through to the present day, providing a unique forum for the study of objects, architecture and interiors. The programme is taught through seminars and guided research, equipping students with the skills to research, analyse and write about the material world in its various historic and contemporary contexts. We welcome graduates from a range of backgrounds including art/design practice, architecture, art history, history, sociology, anthropology, literature. The duration of the programme is 1 year for full time students, and 2 years for part-time students. Full time students attend classes two days per week, and part time students attend classes one day per week. Students conduct supervised research and write a dissertation which they submit at the end of the programme.

Opportunities to Engage MA DHMC students benefit from partnerships and joint initiatives with a wide range of museums, cultural institutions and historic properties. Collaborative projects and modules have been organised in conjunction with the National Museum of Ireland, The Little Museum of Dublin, the National Library of Ireland, NUI Maynooth Department of Anthropology and others. Students who wish to gain relevant work experience have been assisted by the DHMC course team in organising internships at appropriate institutions.

Programme Team Led by design and material culture historian Dr Anna Moran, the MA DHMC is taught by internationally recognised leaders in their fields. In doing so the programme draws on the wide-ranging academic expertise of faculty members in the fields of architectural history, dress and textiles history, contemporary craft practice and craft history, contemporary design theory and material culture studies. Dr Anna Moran, MA, PhD Course Director Anna has completed degrees at UCD, the Royal College of Art and the University of Warwick. Anna’s research interests include glass in eighteenth-century Ireland, the history of shopping and consumer culture and craft practice in twentieth-century Ireland. Her co-edited anthology, Love Objects: Emotion, Design and Material Culture, was published by Bloomsbury Academic Press in 2014. Professor Jessica Hemmings, MA, PhD, Professor of Visual Culture Jessica Hemmings writes about textiles. Recent publications include The Textile Reader (Berg 2012) the first anthology to address textiles as a distinctive area of cultural practice and a developing area of scholarly research; Warp and Weft (Bloomsbury 2012), which considers experimental woven structures; Cultural Threads: transnational textiles today (Bloomsbury 2014) considers the influence of postcolonial thinking on contemporary textile practice.

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Dr Paul Caffrey, MA, PhD Paul’s current research explores the relationship between the material culture of Ireland and its wider European and North American context. Recent research includes contributions to Ireland: Art on a World Stage, 1690-1840 (Art Institute of Chicago, Yale 2015), Art and Architecture in Ireland (Royal Irish Academy, Yale 2015) and Allgemeines Kunstlerlexikon (De Gruyter).

Dr Lisa Godson, MA, PhD Lisa is a lecturer in History of Design, and was previously NCAD Fellow at GradCAM and tutor at the Royal College of Art. Her research interests include contemporary design and twentieth-century Irish material culture. Her co-edited volume Making 1916: the visual and material culture of the Easter Rising will be published by Liverpool University Press in 2015. Hilary O’Kelly, MA Hilary’s research interests relate to the role and significance of dress in Art History, and dress and material culture in 20th century Ireland. Recent publications include Cleo: Irish clothes in a wider world (2014)

After Your Degree The course consistently receives excellent feedback from both external examiners and students. Students on the course have been awarded internationally recognised awards for their work and many have gone on to pursue doctoral research at NCAD and elsewhere. Graduates have published their work in peer-reviewed journals and many are working within education (second and third level), art/design practice, galleries, museums, historic houses, film, theatre, publishing and government bodies responsible for arts/craft promotion.

Eligibility TThe programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a relevant discipline. The College also takes into consideration prior learning and experience.

Professional Masters in Education (Art & Design)

Professional Masters in Education (Art &Design) 2 years 120 ECTS credits Taught masters Programme Contact Dervil Jordan jordand@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

What to Expect The Professional Masters in Education (PME) is a two year masters programme which leads to a professional qualification to teach Art and Design at second level. The award is professionaly accredited by the Teaching Council of Ireland. The masters programme will enable you as an art or design graduate, to apply your practice in a professional teaching context. On completion of the PME you will have developed an integrated understanding and appreciation of the unique qualities of an art and design education. Specifically, you will have achieved the capacity to perform as an educator in a variety of settings and contexts particularly at second-level. The focus of the PME is on the application of your own art and design practices, insights and modes of learning to the requirements of teaching. The PME aims to facilitate your personal, social, intellectual and practical growth, preparing you for a professional career as a teacher and fostering the necessary skills and dispositions of research, analysis, evaluation and critique to enable you to become a reflective practitioner. The two-year Professional Masters in Education (PME) programme has three interconnected pillars: School Placement, Foundation / Professional Studies, and Subject Discipline / Visual Arts Pedagogy. In Year 1 you are given both a theoretical and a practical understanding of key processes of teaching and learning. You are introduced to influential traditions of practice in teaching and classroom management. You also undertake teaching practice in a school where you will develop the knowledge teaching skills and attitudes needed for effective teaching. This is supported by college tutorials and support teaching. In an extended placement in Year 2, the emphasis is on more autonomous functioning, and you will be encouraged to take up a visible and active role in the full life of the host school. A key requirement in Year 2 is an Action Research project which you will undertake with college support.

After Your Degree

Eligibility

Graduates of the programme take up positions as second level art teachers in Ireland and across the world, as third level art educators, as school principals and deputy-principals, as museum curators, youth workers, arts officers, artists in residence in primary and secondary schools, independent art education consultants and as researchers in art education.

The programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a related discipline.

Programme Leader Dervil Jordan – Programme Coordinator Dervil is a Senior Lecturer in Art and Design Education at NCAD, she studied Fine Art painting in NCAD before training as a teacher (PTA). She has a MA in Art Education. Dervil is currently completing a Doctorate in Education on the Dual Identity of the Artist Teacher in St Patrick’s College Dublin. She is the national coordinator in Ireland of the Creative Connections European Art and Citizenship project. Some past student comments on completing the postgraduate teacher education programme in NCAD: “I learnt a huge amount – I thought it was great.” “I loved that I felt more equipped, I felt more of a professional, I felt like someone who could go out and take up a job” “It’s a different way of thinking and working, a lot of the materials that you have to use are as basic as lino printing, you might never have used them before. There are a lot of practical skills and knowledge, which I thought was brilliant for me”

English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the academic version) or an equivalent score in another accepted test.

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ma Socially Engaged Art

If you are a practising artist or designer, an educator, a community activist, a youth worker or have an interest in these or similar areas of working, this programme could be for you.

MA 2 years 120 ECTS credits Taught masters Further, Adult and Community Education

What to Expect

Programme Contact Nuala Hunt huntn@ncad.ie Application To find out more about the entry requirements, application process and tuition fees visit â&#x20AC;&#x201C; www.ncad.ie/study-at-ncad

The MA Socially Engaged Art (SEA) focuses on the dynamic relationship between socially engaged arts practice and pedagogy. Embedded in this programme is a further education teaching qualification, accredited by the Teaching Council of Ireland, and necessary for those considering a career as a teacher or facilitator of learning within an increasingly diverse further education sector. Socially engaged art practice is an artistic practice that requires a meaningful interaction with communities of place and/ or interest and with broader social or political intentions at its core. It includes collaborative, community based, process based, public and dialogic practices that rely on social intercourse and exchange. The further education sector in Ireland is in a state of flux as policy and structural reforms have impacted on provision and pedagogical practices. As a site for experimental learning and critical debate, the course attracts students from a range of disciplines who want to immerse themselves in a trans-disciplinary enquiry at the intersection of socially engaged arts practice and further education as well as informal and non-formal educational settings. The MA SEA is an intensive course involving taught modules delivered over two evenings a week but includes a further range of engagements off campus and occasional full-day workshops. It comprises nine 10 credit modules including sociology, adult and community education, teaching and learning strategies, curriculum studies as well as modules exploring the history of socially engaged practice, the critical discourse that occupies the field and a module exploring practice and pedagogy. Students also engage in two practicums, one within a further education context (to meet teaching council requirements) and one within a context of your own choosing, where you immerse yourself in context based learning. In the final semester of year 2, students are fully focused on a 30 credit research project.

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Opportunities to Engage

After Your Degree

The course is committed to staying connected to the critical debate within the national and international field of Socially Engaged Art and Education so students are invited to participate in many events, seminars and symposiums taking place in the city, with international events including the Creative Time Summit screened annually live from New York. In Year 2, the MA SEA is committed to partnering with an international artist or organisation to engage in a critical enquiry into key issues that face their practice and co-develop a response. In 2015, in collaboration with The Stockyard Institute in Chicago, the MA produced a critical newspaper connecting practice issues in two cities.

The MA SEA was launched in 2013 and succeeds the Graduate Diploma Community Arts Education.which has produced over 120 graduates over ten years. Many of these graduates are practicing artists with a wide range of public, socially engaged, community based and educational practices with others moving on to work in arts administration, arts management and within the community and voluntary sector. In addition to being awarded a Masters Degree, graduates from the MA SEA will also be qualified to work within the Further Education sector. Graduates are also eligible to progress to PhD or professional development opportunities.

Programme Team

Eligibility

The MA SEA has a strong staff team combining established practitioners from the field of socially engaged arts with core NCAD education staff. The course is coordinated by artist Fiona Whelan (G.Dip.,MA) and Nuala Hunt (MA, MSc,GDip). Fiona Whelan is a socially engaged artist whose practice has been positioned in Rialto, Dublin for over ten years where she works in collaboration with a community youth service. www.fionawhelan.com Nuala Hunt is Head of Continuing Education at NCAD, where she has initiated reform of adult education provision, devised progression routes for part-time learners, led curriculum change and fostered college based teaching and learning initiatives. Associate staff include: artists Chris Maguire, Marie Barrett, Dr. Glenn Loughran, Dr. Ailbhe Murphy, as well as adult educator Dr. Anne Gallagher and community worker Dr. John Bissett.

The programme is open to graduates with an honours degree award of 2.2 or higher, or an equivalent academic or professional qualification in a related discipline. The College also takes into consideration prior learning and experience. English language: Students who have not been educated through English must show proof of achieving IELTS 6.5 (with a minimum of 6 in the writing section on the academic version) or an equivalent score in another accepted test.

109 Professor Declan McGonagle, Director, NCAD

It is a challenging time to be a small College in the educational landscape in Ireland or elsewhere, especially a College specialising in art and design learning and all the possibilities which flow from those creative processes. However, NCAD stands on a platform of success Facing Challenges

Micheal de Búrca, Jona Jones, John Turpin, Domhnall Ó Murchadha, Noel Sheridan, Colm Ó’Briain

in teaching, learning and the achievements of its students, staff and graduates which supports the position of the College to meet the challenges of this period â&#x20AC;&#x201C; a period of resetting of inherited knowledge, understanding and expectations in education, and in cultural and economic as well as social settings. A Forward Position

NCAD has occupied and continues to occupy a forward position in its field and in fact in 2015 for the first time has been ranked by QS University Rankings (Worldwide by subject) among the top 100 colleges of art and design in the world. This achievement is due to the quality of the work and commitment of staff and students who continue to respond creatively and imaginatively to changing and testing circumstances for higher education and education in art and design in particular.

Change

That is why a new degree structure was created and why some internal changes have been made to the positioning of some courses and administrative structures. It is also why, in response to national policies, the Academic Alliance with UCD and the clusters established with other peer institutions are being enhanced. This is a process that will expand opportunities for student learning across a range of subject areas and disciplines, which NCAD itself, because of its scale, could never provide. This will also hold NCAD and art and design education within university education â&#x20AC;&#x201C; where it should be if the education system itself is to emulate high achieving contexts elsewhere in the world where the creative arts are accepted as central components in a complete education system. Distinctive Learning

While this remains a challenge in Students are successfully transformed Ireland, many institutions along into graduates and practitioners, with NCAD have picked up that as artists, designers and educators challenge in order to hold but also through NCAD, despite all the to develop and sustain the distinctive learning identity that is available to surrounding anxieties and difficult students in NCAD. The context of issues the College has had to face the College in Dublin 8 also creates in terms of reduced resources. Yet, An Bord of NCAD has always argued the potential for new relations, with place and community, with city based that the institution should try to partner institutions and organisations develop its way through the crisis and look through the fog of difficul- in education, social, economic, ties in order to retain its educational health and cultural settings to provide opportunities for engaged and real offer to students â&#x20AC;&#x201C; to build and world learning which is crucial to sustain a new vision needed in life after College. a new era. Successful Students

Tuigeann cách go bhfuil an domhan ag athrú. Dá bharr seo, ní hamháin go bhfuil sé de cheangal ar institiúidí a aithint go bhfuil na hathruithe ag tarlú timpeall orthu, ach tuigeann siad freisin gur gá bheith páirteach go hiomlán sa phróiseas athraithe. Tá an t-oideachas lárnach sa mhéid seo agus tá ról tábhachtach ag ealaíon agus dearadh agus oideachas ealaíne sa phróiseas. Comhlíonann an coláiste náisiúnta ealaíne agus Deartha, atá mar an t-aon soláthraí oideachais ealaíne agus deartha in Éirinn laistigh den earnáil ollscolaíochta, na freagrachtaí sin agus cuireann sé bealaí nua smaointeoireachta, táirgeachta agus cumadóireachta cruthaithí ar fáil thar an raon is leithne de dhisciplíní ealaíne agus deartha. Fad agus a bhí NCAD ag tabhairt aghaidh ar na freagrachtaí céanna, tá sí tar éis tosú ar phróiseas athraithe agus forbartha a bhfuil mar aidhm aige an t-eispéireas oideachais do mhic léinn a threisiú agus a fheabhsú. le go mbeidh geilleagar nua na hÉireann éifeachtach agus cuimsitheach, beidh gá le smaointeoireacht nua, tuiscintí nua, eolas nua, foirmeacha nua táirgeachta cruthaithí agus páirtíochtaí nua le suíomhanna sa saol nithiúil. go stairiúil, tá NCAD tar éis bheith chun tosaigh ó thaobh inniúlachtaí dá leithéid a sholáthar agus, le linn na tréimhse seo amach romhainn, déanfaidh sí í féin a athshuí agus a athfheistiú chun na hinniúlachtaí seo a sholáthar ar bhealaí nua. Tá sé mar aidhm ag NCAD go mbeidh a gcéimithe nuálach ina réimsí foghlama agus cleachtais féin. Déanfaidh an chéim nua trí bliana onóracha fochéime agus an chéim Mháistreachta dhá bhliain athdhíriú ar na deiseanna foghlama ó 2013/2014 ar aghaidh agus leasóidh siad.

Professor Declan McGonagle, Director, NCAD An tOllamh Declan McGonagle Stiúrthóir, NCAD.

is coláiste Aitheanta é NCAD de choláiste na hollscoile Baile Átha cliath, faoi ollscoil náisiúnta na hÉireann, agus tá an comhaontas Acadúil seo tar éis iliomad deiseanna ó thaobh teagmháil fhéideartha de chomh maith le gníomhaíochtaí cúrsa a roinnt nó a chomhchruthú ar fud speictream iomlán ábhar sruithléinn chomh maith leis na heolaíochtaí, lena n-áirítear innealtóireacht agus leigheas agus Ailtireacht. Mar mhac léinn in NCAD cuirfear raon bealaí os do chomhair d’uaillmhianta a bhaint amach, thar an raon is leithne de chúrsaí ealaíne agus deartha sa tír. Tá sé mar chuspóir acu seo na scileanna cuí agus an mhuinín a thabhairt duit na scileanna céanna a úsáid le go mbeidh tú in ann do chuid aidhmeanna a bhaint amach i ndiaidh an choláiste, cuma más in Éirinn nó thar lear atá i gceist. cuirfidh d’acmhainn chruthaitheachta mar iarchéimí NCAD ar do chumas glacadh le deiseanna agus deiseanna a chruthú chun na haidhmeanna seo a bhaint amach. Is am dúshlánach é seo ach is tréimhse í gurb ionann bheith páirteach san ealaíon agus dearadh agus a bheith ar thús cadhnaíochta ó thaobh na smaointeoireachta nua de, ó thaobh an chláir oibre ‘scileanna nua’ de agus ó thaobh an eolais nua a chruthú a bheidh riachtanach don todhchaí. Bíonn sé dúshlánach ach spreagúil ag an am céanna nuair a bhítear i mbun athraithe agus, ag NCAD, beidh tú mar pháirt den phróiseas sin. Tabharfaidh foireann dhíograiseach, a bhfuil an-mheas orthu mar chleachtóirí ina ndisciplíní féin, tacaíocht duit agus cuideoidh siad leat d’aidhmeanna agus barr do chumais a bhaint amach le go mbeidh tusa i do chleachtóir cruthaitheach san ealaíon, dearadh agus oideachas.

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Why NCAD?

The National College of Art & Design, Dublin is Ireland’s leading provider of art and design education. Our campus on Thomas Street in Dublin’s historic city centre is home to a community of 1,500 undergraduate, graduate and part-time students engaged in a wide range of study and research across the disciplines of Design, Education, Fine Art and Visual Culture. NCAD has been the most significant provider of Art & Design education in Ireland for over 250 years and is a Recognised College of University College Dublin. Why study at ncad? NCAD is ranked among the worlds top 100 Universities for Art & Design (2015, QS University Rankings, World Wide by Subject). – You will gain a University degree from UCD which is in the top 1% World Universities. – NCAD is Ireland’s largest provider of art and design degrees. – You will be taught by a committed staff who are themselves experienced and practicing visual artists, theorists and designers. – You will experience small learning groups in studio, tutorials and seminars. – Located in Dublin City Centre, Ireland’s capital.

Campus Location Our Dublin city centre location has all the energy and excitement of a university campus with a full academic and student life as well as easy access to the dynamic urban and cultural environment of Dublin city. The College campus is within walking distance of all the key public, cultural, social and political institutions, including all the major national collecting institutions of art, design and material culture which are easily accessible to students. Campus Facilities Studio Space and Workshops – Allocated studio space with access to extensive workshops. Origin8 – Innovation hub & industry gateway to support and provide opportunities for students. Edward Murphy Library – An extensive collection of material relating to 19th, 20th and 21st century art, design and visual culture. National Irish Visual Arts Library (NIVAL) – A research library of international importance which documents the work of Irish artists and designers from 1900 to the present day. NCAD Gallery – Supports contemporary practice and critical debate in visual arts and in design. The Luncheonette – NCAD’s campus cafeteria run by Jennie Moran, offering good food in a beautiful environment.

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Careers, employability and real world learning

At NCAD we believe that creativity is at the heart of an entrepreneurial and innovative economy. We are confident that the knowledge, skills and competencies you gain as a student in NCAD will be valuable assets to you in your chosen career. We recognise that a major factor in selecting which third level course to apply for is the consideration of what career path you wish to follow and what opportunities it will open up for you when you graduate. NCAD will support you in your ambition. Our ambition is that you will graduate with the confidence and the ability to not just function in your chosen field, but to change it. Alumni NCAD graduates are an enterprising, innovative and creative group, many of whom have gone on to forge successful careers across a range of disciplines and with world famous organisations. When you graduate from NCAD you automatically become a member of the NCAD Alumni network. As part of the Alumni you will be able to keep in touch with fellow graduates and initiatives they are involved in, as well as with developments and initiatives in the College. Careers Advisory Service The NCAD Careers Advisory service is available to all our students and provides information and advice relating to career choice, employment, and postgraduate study. The service will help you identify the skills you have gained at NCAD, and provide information and advice on CV preparation as well as interview and presentation techniques. Graduates can avail of the Careers Service free of charge for one year after graduation.

Postgraduate Study NCAD recognises that a postgraduate qualification is now increasingly a requirement in many fields of work and the College offers a suite of masters degree programmes catering both for students who wish to further specialise in the area of their undergraduate degree as well as for students who wish to extend their knowledge and skills into a new or related area. There are many exciting opportunities at postgraduate level to engage in projects that link NCAD to the very latest in research and professional practice in the fields of Fine Art, Design, Education and Visual Culture. You will find more information on postgraduate programmes available at NCAD on page 89 or at www.ncad.ie/postgraduate Real World Learning NCAD degrees are designed to interact with the real world of Design, Fine Art, Education and the wider cultural and creative industries. This interaction comes through: Visiting lecturers and tutors who are themselves professional practitioners, Internships and work placements in a range of public, community and commercial organisations, and Active collaboration in commercial and public realm projects where students are encouraged to orientate their work towards real world requirements.

In Design you will work on a variety of client-based projects, enabling you to develop the skills you need to be successful in your chosen career. You will have the opportunity to work with a variety of companies from wellknown Irish firms such as Newbridge Silverware, to international consumer brands such as Persil, and global companies such as PWC, depending on your area of specialisation. Fine Art provides opportunities to work on public realm partnership programmes with agencies such as Dublin City Council, The Office of Public Works and Failte Ireland. You will work on projects that will enable you to develop your skills to create work in diverse environments, navigating discussions and communicating with different stakeholders to meet their requirements. Students who are taking the BA in Visual Culture will as part of their programme have a work placement in year 3 in a public realm, community or commercial organisation. Education students have an extended placements in a school setting as part of their teacher training. Innovation In addition to real world learning opportunities NCAD has recently established an Innovation Hub, Origin8, to provide graduates with the support infrastructure to develop and commercialise projects that they have worked on during their time in NCAD. Current projects include Obeo, an innovative system for waste disposal.

NCAD graduates are the people who are and will be the artists, the designers, the active makers, the doers, the writers, the commentators, the cultural entrepreneurs, the teachers, the gallery coordinators, the museum directors, the innovators, and those who are changing our culture. Philip Napier, Professor of Fine Art, NCAD

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Black Church Print Studio, 9

Ebow Gallery, 2

Project Arts Centre, 6

Temple Bar Gallery, 10

Kevin Kavanagh Gallery, 3

Gallery of Photography, 7

Chester Beatty Library, 4

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Within 30 minutes walk from NCAD / 10 minutes cycle from NCAD

Hillsboro, 11

RHA, 15

Hugh Lane Gallery, 12

National Gallery, 16

Douglas Hyde Gallery, 13

RIAI, 17

Rubicon Gallery, 14

Science Gallery, 18

Application Procedures

Undergraduate â&#x20AC;&#x201C; Year 1

Code/title

Application

Offers

AD101 First Year Art & Design (Common Entry)

Applications through the CAO by the 1st of February each year. These are restricted programmes. Late applications will not be accepted and a portfolio submission is required.

Portfolio results and conditional offer letters are sent out to applicants during March. Offers are made based on portfolio results to applicants who meet minimum academic entry requirements (see page 120). Offers are made through the CAO in August each year.

AD202 Design or Fine Art & Education

Applicants for September 2016 must submit a portfolio by Friday 5th February 2016 in accordance with the NCAD Portfolio Submission Guidelines 2016. Further information on the portfolio guidelines and on submitting and collecting your portfolio can be found on page 123.

AD212 Product Design

Applications through the CAO by the 1st of February each year, this is a restricted programme late applications will not be accepted. Applicants for September 2016 must submit a portfolio by Friday 5th February 2016 in accordance with the NCAD Portfolio Submission Guidelines 2016. Further information on the portfolio guidelines and on submitting and collecting your portfolio can be found on page 123.

AD215 Visual Culture

Applications through the CAO, the normal application deadline is 1st of February. The BA in Visual Culture is not a restricted programme.

Visual Culture does not require a portfolio submission; places are allocated on a competetive basis to applicants who meet the minimum academic entry requirements. (see page 120). Late applications will be accepted through the CAO up to 1 May, and change of mind for existing CAO applicants up to 1 July. Offers are made through the CAO in August.

Advanced Entry Year 2+

NCAD accepts applications for Advanced Entry to Year 2+ to all UG degrees. Advanced Entry applications are made through the Central Application Office www.cao.ie The normal closing date for Advanced Entry applications is 31st March 2016. The first round of offers will be made to applicants who have applied by this date. After that date applications will continue to be accepted for programmes where places are still available.

Shortlisted applicants will be invited to attend for interview and to bring a portfolio of work with them. Offers of places will be sent out during May and June.

NCAD Minimum Academic Requirements for entry at undergraduate level NCAD is a Recognised College of UCD, a Constituent University of the National University of Ireland. Matriculation requirements and information on obtaining an Irish language exemption are set out on the NUI website www.nui.ie.

Mature Students NCAD welcomes applications from mature students to all our programmes. A mature student is any EU student who will be 23 years of age on the 1st of January of the proposed year of entry to NCAD.

Mature Applications AD101/AD202/AD212: As a mature student you should apply in the same way and at the same time as any other For students presenting Leaving Certificate, applicant. You will be informed of the outcome FETAC or A-Level /GCSE awards please see of your portfolio submission at the same time Minimum Entry Requirements (page 120/121). as other applicants. Mature students who do not meet the minimum academic entry requireEU Applications ments should include on their CAO application Applications from residents of other member form information on previous learning and/ states of the European Union (EU) are considor any relevant work or other experience that ered on the same basis as those from Irish might support your application. Please send any residents. Information on entry requirements supporting documentation such as transcripts based on school leaving examinations from or CVs to the CAO marked clearly with your other countries can be found at www.nui.ie CAO number. Mature students who achieve a sufficient portfolio score to warrant an offer but International Applications who do not otherwise meet minimum academic Applicants from outside the EU are welcomed entry requirements will have an opportunity to and will be considered on an individual basis. matriculate on mature years. These applications Details of educational standard required and will be reviewed based on information and entry procedures can be found at www.ncad.ie/ documentation submitted to the CAO and you study-at-ncad/international may be invited to attend for interview. You will be informed of the outcome of your application English Language Requirement in April/May. Programmes are taught through English in the National College of Art and Design, therefore AD215: all applicants are required to demonstrate a Mature applicants to AD215 Visual Culture high level of competence in English language. should apply through the CAO by 1st February Applicants who have not passed English as a and should include on the CAO form inforsubject in the Irish Leaving Certificate or an mation on previous education as well as any equivalent Examination must provide evidence relevant work or other experience that might of equivalent competence in English language support your application. Please send any through their school leaving examination or supporting documentation such as transcripts matriculation examination or by achieving the or CVs to the CAO marked clearly with your minimum standard in a recognised English CAO number. Mature applications will be language test. Full details of acceptable tests reviewed and you may be invited to attend for and the standard required can be found at interview, you will be informed of the outcome www.ncad.ie/study-at-ncad/international of your application in April/May. Age at entry to NCAD The minimum age for admission to NCAD is 17 years by 15 January the year following entry.

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Minimum Entry Requirements

Undergraduate Degree Programmes First Year Entry 2016

AD101 First Year Art & Design (Common Entry)

AD202 Design or Fine Art & Education

AD212 Product Design

AD215 Visual Culture

3 235

4 35

3 30

3 20

Leaving cert minimum requirements Subjects* 6 Honours 2

6 2

Subjects must include Irish** OD3 English OD3 Maths*** – 3rd language/Art OD3

OD3 OD3 – OD3

OD3 OD3 OC3 or HD3 OD3

OD3 OD3 – OD3

5.2.2016

–

Years Places

Portfolio submission

5.2.2016

NCAD does not operate the Leaving Certificate/ CAO points scheme for programmes requiring a portfolio submission. Offers are made based on portfolio score to applicants who meet minimum academic entry requirements. * Full details on minimum entry requirements (matriculation) and regulations concerning exemption from the subject Irish can be found at www.nui.ie Leaving Certificate results may be combined. Foundation level Maths may be included as one of the Ordinary level subjects. ** Foundation level Irish is not acceptable.

The Leaving Certificate Vocational Programme (LCVP) does not count as one of the six subjects acceptable for matriculation/minimum entry requirements. For full details go to www.nui.ie *** The Maths requirement can also be met by one of the following subjects at Grade D3 on a Higher Level paper or C3 or Higher on an Ordinary Level paper: Applied Mathematics, Physics, Chemistry, Physics with Chemistry, Engineering, Construction Studies, Agricultural Science, Technical Drawing, Biology. AD101/AD202 & AD212 are restricted on the CAO system. Late applications will not be accepted.

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FETAC Entry Requirements

Code/title

FETAC Level 5 or 6

AD101 First Year Art & Design (Common Entry)

5 Distinctions Full Award

5.2.2016

AD202 Design or Fine Art & Education

5 Distinctions Full Award

5.2.2016

AD212 Product Design

5 Distinctions Full Award

AD215 Visual Culture

5 Distinctions Full Award*

Other requirements

Must satisfy Maths leaving cert subject requirements.

Portfolio submission

5.2.2016

A-Level/GCSE Minimum Entry Requirements A-Level Grade C+ in 2 NUI recognised subjects. (A/E or B/D is regarded as equivalent to 2 grade Cs for this purpose). And GCSE grade C+ in 4 NUI recognised subjects. (GCE Advanced level grades A to D, E or O are accepted as GCSE O level pass grades). Applied A levels are not recognised by the NUI for matriculation www.nui.ie Applicants for AD212Product Design must meet the entry requirement in Maths or an accepted alternative in a Science or Technology subject. See www.nui.ie for list of recognised subjects. Portfolio submission for all applicants 5.2.2016

* AD215 BA Visual Culture Places will be offered on a competetive basis to applicants holding a Level 5 FETAC qualification with 5 distintions in a linked award. For full details on FETAC requirements and FETAC links see www.ncad.ie/study-at-ncad

Deferred Entry The College, at its discretion, can agree to defer the offer of a place on a programme for one year. If you wish to defer your offer of a place in First Year the procedure is as follows: Do not accept your offer of a place through the CAO. Contact NCAD Admissions office in writing (email is the quickest way to do this admissions@ncad.ie) giving your CAO number, the programme you have been offered, and the reason you are seeking a deferral. The Admissions office should receive this request before the CAO closing date for accepting the offer. The Admissions office will contact you in writing informing you if your deferral has been granted and outlining the procedures for taking up your place offer the following year. NCAD Access Scheme NCAD operates a supplementary admissions route for school-leavers with a disability or from socio-economically disadvantaged backgrounds. Details of the NCAD Access Scheme are sent to all applicants who successfully pass the portfolio stage, or in the case of AD215 Visual Culture, information is sent to all applicants. (The Portfolio submission for AD101 and AD202 is marked out of 1,000, the passing grade is 400.) Applicants who feel they meet the qualifying criteria for the Access Scheme are invited to make an application. NCAD reserves 15 places in Year 1 for Access students. To receive an Access offer you must meet the minimum entry requirements and have passed the portfolio / interview stage. For further information visit www.ncad.ie/study-at-ncad Advanced Entry NCAD considers applications from students who wish to gain Advanced Entry to the second or subsequent year of an undergraduate degree. Applications are not normally considered for the final year of a programme. Advanced Entry Applications Advanced Entry applications are made online through the Central Applications Office www.cao.ie

On the CAO application form you are asked to indicate the year and programme you are applying into and to provide details of your previous education including school leaving exams as well as any further or higher education you have completed. You are also asked to provide details of any previous work or other experience that may be relevant to the programme you are applying for and asked to provide a reference from a tutor or other person. The CAO application will allow you to include up to nine course choices from different HEIs. You are advised to study the NCAD Prospectus carefully and to consider how your previous educational and other experiences relate to the programme of study you are applying for. Fine Art and Design applicants will be asked to submit a portfolio of work for initial review, this review will form part of the shortlisting process. Applicants who are shortlisted will be asked to attend for interview and to bring a portfolio of work with them. Design or Fine Art and Education Shortlisted applicants may be asked to take a small drawing test when they attend for interview. (Please note there are very few places available for Advanced Entry into Education) Interviews take place in April / May and offers are sent out in May/June. The normal closing date for Advanced Entry applications is 31st March 2016. The first round of offers will be made to applicants who apply by that date. After that date applications will continue to be accepted for programmes with places still remaining. Postgraduate Applications Postgraduate applications are made directly to NCAD.To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad Garda Vetting All successful applicants are required to undergo Garda Vetting at the time of registration.

Portfolio Submission A portfolio submission is required for all studio programmes at NCAD: AD101 First Year Art & Design (Common Entry) AD202 Design or Fine Art & Education AD212 Product Design EU applicants for these programmes must apply through the CAO by the closing date and submit a portfolio by the submission deadline. CAO Closing Date: 5.15pm Sunday February 1st 2015 Portfolio Submission Deadline: 4.30pm Friday February 5th 2016

Important Note: The application process for Product Design has changed. For entry 2016 you should submit your portfolio by Friday 5th February (see Portfolio Submission Guidelines for Entry 2016, www. ncad.ie/study-at-ncad). There is no interview process. Applicants will be ranked by portfolio score and offers made from this list to applicants who meet minimum entry requirements.

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AD101 First Year Art & Design AD212 Product Design AD202 Design or Fine Art & Education Portfolio Submission Guidelines

An entrance portfolio is a collection of visual work that shows your potential to study art and design at third level.

How will my portfolio be assessed? Criteria for Assessment for all portfolio submissions:

What should I include in my portfolio for NCAD?

Critical observation You should demonstrate an ability to visually record, describe, explain and analyse your subject in response to a range of source material.

We have provided guidelines that set out clearly what is required in terms of the volume and scope of the work you should submit as your portfolio. The NCAD portfolio requirements are designed to reflect the kind of projects students are expected to do in First Year. For details of portfolio submission requirements for entry 2015 please go to www.ncad.ie/study-at-ncad

Visual research â&#x20AC;&#x201C; Inventiveness and curiosity in research You should demonstrate an awareness and curiosity for visual material that is of interest to you: finding, collecting and organising source material. These can be documented in any visual format.

Creative Thinking You should provide evidence of a creative Important Note: process in your work. Where and how you have It is important to include all courses that you wish challenged yourself to look at things differently? to be considered for on your CAO Application. How were decisions made and why? Your work should show evidence of a lively and engaged When should I bring my portfolio to NCAD? creative process. The deadline for submitting your portfolio is 4.30 PM Friday 5th February 2016. We will Capacity to sustain work commitment accept portfolios any time in the two weeks up You should demonstrate ability to sustain the to that date. If you need to submit your portfolio development of ideas through experimentation/ earlier please contact the Admissions Office: exploration of subject/sources in a variety of admissions@ncad.ie circumstances. Please note it is your responsibility to submit your portfolio on time, we do not send reminders about this date. The address for portfolio submission is: The Admissions Office, NCAD, 100 Thomas Street, Dublin 8, Ireland. Can I get an extension on the deadline for portfolio submission? It is not possible to get an extension on the submission deadline- all portfolios must be presented by the published closing date.

In order to achieve a balanced measurement of your general overall ability, all sections of the portfolio submission are assessed under the above criteria. Being able to demonstrate some ability for observation, research, ideas development, use of media and capacity to sustain work applies to all sections of the portfolio submission. The Portfolio submission is marked out of a total of 1,000, the passing grade is 400.

Portfolio preparation: Further Information The Portfolio Submission Guidelines are pubWhen can I collect my portfolio? lished on the website in March/April each year, Portfolios can be collected from NCAD for up to copies are also available from NCAD by contact3 weeks after the end of the portfolio assessment. ing the Admissions office (admissions@ncad. You will be given information on collection dates ie). First Year staff run a number of Portfolio and times. If you need to collect your portfolio Information Sessions in November each year. early please let us know and we will arrange to Details will be posted on the NCAD website have your portfolio assessed and ready for www.ncad.ie collection.

Portfolio: Presentation Each individual applicant’s work must be presented flat and contained within one portfolio cover. Items submitted separately cannot be accepted. Portfolios must be carefully marked with the applicant’s name and address on the top left-hand corner both inside and outside. Individual pieces in the portfolio must also be marked with the applicant’s name and address. It must be securely packaged, but easily opened. No work framed in glass will be accepted. The portfolio must be authenticated by the school Principal or Art Teacher/tutor or another responsible person (not a relative), as being the applicant’s own work. See check list for Applicants on the inside back page of the Portfolio Guidelines. N.B.Portfolios in excess of ten kilos will not be accepted.

Portfolio: Return Applicants may remove their portfolios as soon as the portfolio examination is completed (normally during the fourth week in February). While all reasonable care will be taken of applicants’ portfolios, the College does not hold itself responsible for any loss or damage. Applicants are responsible for delivery and collection of their portfolios. Those not removed by the stipulated date may be disposed of at the discretion of the College. Interviews Applicants for First Year AD101/AD202/ AD212 Product Design are not normally called for interview. However, the College reserves the right to call any applicant for interview.

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Finance and fees

Undergraduate Fees There are three elements to the undergraduate fee: Tuition Fee Student Contribution Charge College Studio Levy Tuition Fee Under the Higher Education Free Fees initiative, the Irish government pays the Tuition Fee for all eligible full-time, non-repeat undergraduate, EU/EEA/Swiss students who meet the following criteria: 1. 2. 3.

Are first-time undergraduates Hold EU/EEA/Swiss nationality or official refugee status and Have been ordinarily resident in an EU/EEA member state for at least three of the last five years preceding entry to an approved course.

EU-students who do not qualify for the Free Fees initiative, as outlined above, have to pay the full EU-rate undergraduate tuition fee (this fee is set by the Department of Education and Skills each year). Students who are classified as non-EU students have to pay the international Fees rate. You will find updated information on tuition fees for 2015/16 on the College website www.ncad.ie/study-at-ncad/fees

College Studio Levy The College Studio Levy is a student contribution to studio and workspace learning and is collected from studio based students only. – The College Studio Levy has been set at €100 for 2015/16. – The College Studio Levy must be paid on registration in September. The Higher education Authority has estimated the cost of providing studio/lab based learning at €1,100 more per student than the cost of providing lecture based learning. The College Studio Levy has been put in place, by the College, as a contribution to providing and maintaining studios and workspaces, and the utilities/services relevant to studio based learning. Additional Costs – Department Materials Levy Students are expected to meet the cost of additional materials and equipment themselves.. These costs will vary depending on the area of study. In some cases a Department Materials Levy is collected to fund additional materials provided by a Department. This cost is additional to the College Studio Levy and is collected locally by the Departments.

Grants All new Higher Education Grants are administered through a single agency called SUSI (Student Universal Support Ireland). ApplicaStudent Contribution Charge tions are made online and students who wish The Student Contribution Charge has been set to apply for a grant are advised to apply early. at €3,000 for September 2015. If you qualify for You can start the application process before the Free Fees initiative you must pay this fee. EU you receive your CAO place offer and have students who do not qualify for the Free Fees confirmed your acceptance. initiative must pay the full programme fee which To find out more about the students grant includes the Student Contribution Charge. and eligibility criteria you should visit the following websites: Information on fees can be found at www.ncad.ie/study-at-ncad/fees www.studentfinance.ie or www.susi.ie The Student Contribution Charge may be paid by the exchequer for students who qualify To make an application for a grant go to the under the Higher Education Grants scheme. SUSI online grant application system Students have the option of paying the www.grantsonline.ie Student Contribution Charge in two instalments, September and January. Tax relief on the Student Contribution Charge for second and subsequent children in higher education, is available through the tax system, www.revenue.ie

Students from Northern Ireland Students from Northern Ireland should apply to their local grant authority (usually the Education and Library Board) for details of grants and the conditions applying to those grants. Students from England, Scotland and Wales Students from the UK who register at NCAD may apply to the UK student loan scheme.

Overseas Students Students from outside Ireland or the UK should obtain information on scholarships from the Ministry of Education of their own country (or other appropriate state agency). Students who have not established residence in Ireland are not eligible for maintenance grants from Irish grant authorities. NCADâ&#x20AC;&#x2122;s full-time programmes are included on the register of approved programmes for nonEU/EEA/swiss students access to employment (the internationalisation register of the Department of Education and Skills).

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Your welfare

Disability Support NCAD is committed to helping you achieve your academic goals. If you are a student who has a disability, mental health condition, a significant ongoing illness or a specific learning difficulty, the NCAD Access Office encourages you to come and register with us. Students are required to submit verification of their disability or learning difficulty from a Medical Consultant/ Specialist or Educational Psychologist. General practitioner letters are not accepted as suitable medical evidence.

NCAD have signed up to the Campus Engage Charter for Civic and Community Engagement. Campus Engage seeks to encourage diversity and pluralism in the complex and evolving world of civic and community engagement.

Room G16, Ground Floor, School of Design Telephone: + 353 (01) 636 4314 Email: learningsupport@staff.ncad.ie

Student Counsellor A counsellor provides a confidential counselling service.

Gaisce, The President’s Award, is Ireland’s National Challenge Award for young people between 15 and 25. It is the country’s most prestigious and respected Award programme and a challenge from the President of Ireland to young people, the nation’s future. NCAD can support you in continuing your Gaisce challenge or Student Learning Support Service (SLSS) support you in commencing a challenge through The Student Learning Support Service, provided the Access Office. Contact mcternanf@staff.ncad. by the National Learning Network, is a full-time, ie for details. confidential learning and support service for students with specific learning difficulties such as Student Accommodation Dyslexia, Dyspraxia/DCD and other associated Students from outside the Dublin area are adspecific processing/learning difficulties such vised to arrive in advance of the beginning of the as Autistic Spectrum Disorders (ASDs) and semester to allow time to find accommodation. Attention Deficit Disorders. The service also NCAD Student’s Union have set up a Facebook supports students with mental health difficulties, page – NCAD Accommodation Network - for significant on-going medical conditions, physical sharing options and information on accommomobility and sensory disabilities. Specifically dation. NCAD has no student residences and tailored tutorial/group support may be provided does not have an accommodation service. on essay writing, research skills, academic protocols, report writing, thesis writing, examination Student Medical Service and study techniques for students registered with A doctor attends the college during term time the service. on three days each week.

Access and Outreach The National College of Art and Design’s Access Programme commenced in 2005 and forms part of the College’s overall commitment to social responsibility and promoting equity of access and opportunity to NCAD. The preentry programme is designed to provide experiential art and design opportunities to pupils from both primary and post primary schools that are linked to NCAD. More recently NCAD Access has established a positive programme of engagement with local community groups through a formal partnership with Fatima Groups United, located in the F2 centre in Rialto, and with H2 Learning and the Digital Hub Development Agency, specifically through the Future Creators and Digital Pathways projects. If you are a registered full-time student at the college and would like to get involved in the Access Programme, please contact: Finola Mc Ternan, Access officer, mcternanf@ncad.ie for further information on current projects.

Assistive Technology Service The Assistive Technology Service provides students with software, IT facilities, advice and training to assist them with writing and research. Specialised software and support is available for students with specific learning difficulties or disabilities. Examples of software include: 1. 2. 3. 4. 5. 6.

Mind-mapping programs for planning essays and projects. Text to Speech programs which read text aloud through a computer. Software that converts a page of printed text (i.e. a library book) to editable digital text in Microsoft Word. Speech recognition software – type faster by speaking into a microphone. Proofreading software. Help with thesis formatting and computer skills training can also be availed of through the AT service.

Assistive Technology Seminars are held regularly and demonstrate how to integrate free software into your essay writing and research. All students are free to book an appointment to see what is on offer to them. Room G16, Ground Floor, School of Design. Telephone: +353 (01) 6364314 Email: assistivetechnology@staff.ncad.ie www.ncadat.blogspot.ie

Mentoring The College provides a voluntary mentoring service whereby Third Year students mentor small groups of new entrants during Semester 1 to assist them in settling in to the college and dealing with any problems they may encounter.

Access Scheme NCAD is committed to widening access and participation by students from all backgrounds, including students with disabilities, those who have experienced educational disadvantage and Careers Advisory Service those from under-represented socio-economic The NCAD Careers Advisory service is available groups. There are up to fifteen additional places to all our students and provides information and available in First Year for the Access Scheme. advice relating to career choice, employment and postgraduate study. The service will help Information Sheet and Application Forms for you identify the skills you have gained at NCAD, this scheme can be downloaded from the NCAD and provide information and advice on CV website: www.ncad.ie/study-at-ncad/undergradpreparation as well as interview and presentation uate-year-1/ncad-access-scheme techniques. or contact Finola Mc Ternan Access Students’ Union Officer for further details. The representative student body, the National College of Art and Design Students’ Union, holds elections annually. Students have representation at Board level and on Academic Council and School boards. During the year the union organises events including concerts, films, balls and other social and sporting activities. Students’ Union Contact details: Tel: + 353 (01) 6264269 ncadsu@gmail.com Add NCADSU as a Facebook friend Instagram: @ncadsu

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Events and Information Date

Event

Who should attend

7,10,11 November 2015

Portfolio Brief Information Sessions First Year staff answer questions on the Portfolio Submission Brief followed by a tour of the First Year studio to see current First Year students’ work in progress. Booking information will be posted on the NCAD website.

Anyone doing the NCAD Portfolio Brief for entry September 2016.

25 November 2015

NCAD College Open Day Meet staff and students, tour the campus, visit studios and workshops and view current students’ work in progress.

Anyone interested in studying at NCAD. All welcome – applicants, teachers, family and friends.

May 2016

First Year Studies Open Studio Work from the final module of the First Year Art & Design course. Dates and full details will be posted on the NCAD website.

Applicants who expect to start First Year NCAD in September 2016. Applicants thinking of applying to First Year NCAD for 2017.

Fashion Show Final Year Fashion Students’ Show. Dates and full details will be posted on the NCAD website.

Everyone with an interest in NCAD and in Fashion Design.

Postgraduate Symposium Full details will be posted on the NCAD web site.

Anyone interested in graduate study or research at NCAD

June 2016

July 2016

NCAD Degree Show Featuring the work of graduating students from the Schools of Design, Education and Fine Art. Continuing Education in Art & Design – Exhibition Featuring the work of CEAD students.

There are a number of events throughout the year that are open to the public, all of which are opportunities to visit the College, meet staff and students, and find out more about the area of study you are interested in. For more information visit www.ncad.ie Dates above subject to change, please visit www.ncad.ie/study-at-ncad/visit-ncad-opendays for up-to-date information.

Art teachers and tutors helping students prepare entrance portfolios.

Everyone with an interest in NCAD and in Art & Design.

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Important Dates for Applicants Date November 2015

Portfolio Information Sessions for entry 2016 7,10,11 November 2015

November 2015

Wednesday 25th November – NCAD Open Day, 9.30-3.00pm

February 2016

1 February – CAO Closing Date, final date to apply for AD101 First Year Art & Design (Common Entry) AD202 Design or Fine Art and Education AD212 Product Design 1 February – CAO normal closing date AD215 Visual Culture Friday 5 February – Portfolio Submission deadline for AD101 First Year Art & Design AD202 Design or Fine Art & Education and AD212 Product Design

March 2016

Portfolio Submission Guidelines for entry 2017 – www.ncad.ie Portfolio results and offer letters (September 2016) for AD101 First Year Art & Design AD202 Design or Fine Art & Education and AD212 Product Design

April - May 2016

Advanced entry interviews Year 2

May 2016

1 May – Late closing date for AD215 Visual Culture Advanced entry offer letters (September 2016)

July 2016

1 July – Closing date CAO change of mind

August 2016

CAO First Year offers

Enquiries

Telephone

Web

Admissions Office

+353 (01) 636 4200

admissions@ncad.ie

www.ncad.ie/study–at–ncad

International Enquiries

+353 (01)6364200 /4203

international@ncad.ie

www.ncad.ie/study-at-ncad

+353 (01) 636 4203

admissions@ncad.ie

+353 (01) 636 4206

sampsonm@ncad.ie

Cathy McCartney – Admissions Officer

+353 (01) 636 4204

mccartneyc@ncad.ie

www.ncad.ie/study–at–ncad

NCAD Access Scheme Finola McTernan – Access Officer

+353 (01) 636 4217

mcternanf@ncad.ie

www.ncad.ie/study–at–ncad

First Year Patricia McDonnell, Department Secretary

+353 (01) 636 4221

mcdonnellp@ncad.ie

www.ncad.ie/undergraduate/ first-year

Design David Bramley, School Secretary

+353 (01) 636 4271

bramleyd@ncad.ie

www.ncad.ie/undergraduate/ design

Education Helen Fagan, School Secretary

+353 (01) 636 4301

faganh@ncad.ie

www.ncad.ie/undergraduate/ education

Fine Art Angela Dennis, School Secretary

+353 (01) 636 4321

dennisa@ncad.ie

www.ncad.ie/undergraduate/ fine-art

Product Design David Bramley, School Secretary

+353 (01) 636 4271

bramleyd@ncad.ie

www.ncad.ie/undergraduate/ design

Visual Culture Neasa Travers, School Secretary

+353 (01) 636 4341

traversn@ncad.ie

www.ncad.ie/undergraduate/ visual-culture

CEAD – Continuing Education in Art & Design

+353 (01) 636 4214

cead@ncad.ie

www.ncad.ie/continuing-education

Graduate Study and Research

+353 (01) 6364362

admissions@ncad.ie

www.ncad.ie/postgraduate

Admissions – First Year Art & Design and First Year Education Postgraduate – Fine Art , Design & Visual Culture Enquiries Mary Sampson – First Year Product Design and First Year Visual Culture Advanced Entry Enquiries Postgraduate – Education Enquiries

www.ncad.ie/study–at–ncad

NCAD Dublin

Admissions Office, National College of Art & Design 100 Thomas Street, Dublin 8, Ireland. Tel: 353 (0)1 636 4200 Fax: 353 (0)1 636 4207 admissions@ncad.ie www.ncad.ie

The National College of Art and Design reserves the right to alter the form or content of the programmes or courses in this document without notice. The College also reserves the right to modify or cancel any statement in this document without notice and accepts no responsibility for any consequence of such modifications or cancellation. The contents of this prospectus are for information purposes only and should not be viewed as the basis of a contract between a student and this institution. No guarantee is given that courses, syllabuses, awards, fees or regulations may not be altered, cancelled or otherwise amended at any time. The making of academic awards in the case of each programme listed is dependent on continuing accreditation.

Student interviews by Bob Gray with Matthew Thompson Chenyi Ye, First Year Art & Design. Alex de Roeck, FourthYear Fine Art Print. David Rogers & Ciaran Kenny, Third Year Media. Fergal Styles, Third Year Painting. Dennis Shanky Smith, Fourth Year Sculpture. Sarah Mooney Wiegersma, MA Ceramics. Eimear Kinsella, Fourth Year Textiles Art & Artefact. Daniel Roden, Fourth Year Fashion. Gill Thorpe, Fourth Year Textile & Surface Design. Genevieve Howard, Fourth Year Metals & Jewellery. Stephanie McDermott, Fourth Year Visual Communications. Fabien Strunden, Fourth Year Product Design. Grรกinne Brennan, First Year Visual Culture. Avril Buttle, Fourth Year Education.