SESSION 1 GSA: The Complete(ish) Picture · dedicated workspace for students teaching takes place in shared studio space project-led curriculum peer learning and collaboration are

STAFF DEVELOPMENT DAY 2016 SESSION 1

SESSION 1

GSA: The Complete(ish) Picture

© McAteer


THE GLASGOW SCHOOL OF ART HISTORY“We are Scotland’s specialist university-level institution for the visual creative

disciplines and through the success of our graduates, the quality of our teaching and research and our heritage inextricably rooted in the work of Charles Rennie Mackintosh, we enjoy both global significance and influence as one of Europe’s leading centres for studio-based learning and research.” from GSA Strategic Plan 2015-18: Foreword


THE GLASGOW SCHOOL OF ART WIDENING ACCESS“As a community we are committed to creating and sustaining learning and working environments where difference is respected and the widest possible range of cultural and social perspectives are valued. We treat each other fairly, according to need, and minimise barriers to participation for all. ”from GSA Strategic Plan 2015-18: Equality Statement

GSA Strategic Plan 2015-18: GSA 2018 proposed stats


GSA UNDERGRADUATE TEACHING & LEARNING APPROACH

STUDIO-BASEDdedicated workspace for students

teaching takes place in shared studio space

project-led curriculum

peer learning and collaboration are integral learning outcomes

self-directed work is expected

student – tutor relationship is more discursive than instructive

STAGE 1 FULL SIZE BUILD PROJECT 2012Mackintosh School of Architecture


SPECIALISTfor all four years – no general Year 1 or foundation

further specialist pathways available within some subjects

subject-specific projects

dedicated technicians

industry input and engagement

many staff work in industry or sustain creative practice outside GSA

CASE ROOM WORKSHOP REID BUILDING, 2015BA (Hons) Communication Design

GSA UNDERGRADUATE TEACHING & LEARNING APPROACH


GSA STRUCTURE FOUR SCHOOLS

SCHOOL of DESIGN JOIN

T

7 UNDERGRADUATE

1 UG with UofG JO

INT 1 PG

with UofG

11 POSTGRADUATE

DIGITAL DESIGN STUDIO JOIN

T 1 PG with UofG

3 POSTGRADUATE

2 UNDERGRADUATECOMING SOON

SCHOOL of FINE ART JOIN

T 1 PG with UofG

3 POSTGRADUATE1 UNDERGRADUATE

3 SPECIALISMS

MACKINTOSH SCHOOL of ARCHITECTURE JO

INT 1 UG

with UofG

1 DIPLOMA + 3 POSTGRADUATE

1 UNDERGRADUATE

FULL- TIME

PART- TIME


GSA UNDERGRADUATE DEGREE PROGRAMMES

SCHOOL of FINE ART

MACKINTOSH SCHOOL of ARCHITECTURE

JOINT PROGRAMMES with University of GlasgowSCHOOL of DESIGN

BA (Hons) Fine Art3 programmes within 1 degree programme/school

Bachelor of Architecture (Hons)

Diploma of Architecture

BEng (Hons) Civil Engineering with Architecture

BA (Hons) Communication Design

BA (Hons) Fashion Design

BA (Hons) Interaction Design

BA (Hons) Interior Design

BDes (Hons)/MEDes Product Design

BEng (Hons) Product Design Engineering

BDes (Hons) Silversmithing & Jewellery

BDes (Hons) Textile Design

Fine Art Photography

Painting & Printmaking

Sculpture & Environmental Art


GSA UNDERGRADUATE DEGREE PROGRAMMES

SCHOOL of FINE ART

MACKINTOSH SCHOOL of ARCHITECTURE

JOINT PROGRAMMES with University of GlasgowSCHOOL of DESIGN

BA (Hons) Fine Art3 programmes within 1 degree programme/school

Bachelor of Architecture (Hons)

Diploma of Architecture

BEng (Hons) Civil Engineering with Architecture

BA (Hons) Communication Design

BA (Hons) Fashion Design

BA (Hons) Interaction Design

BA (Hons) Interior Design

BDes (Hons)/MEDes Product Design

BEng (Hons) Product Design Engineering

BDes (Hons) Silversmithing & Jewellery

BDes (Hons) Textile Design

Fine Art Photography

Painting & Printmaking

Sculpture & Environmental Art

a different perspective* or route

through ‘what’s on offer’* ie my perspective based on my work at GSA and using the info provided on the website - this isn’t scientific!


GSA UNDERGRADUATE A BALANCE

PROCESS TECHNIQUE


GSA UNDERGRADUATE A BALANCE

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PAINTING & PRINTMAKING

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SCHOOL DEGREE PROGRAMME (link to website)

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STUDENT NAME TITLE OF WORKexplanation of work

IMAGE OF STUDENT WORK FROM DEGREE SHOW 2016

http://www.gsa.ac.uk

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SCHOOL OF DESIGN SILVERSMITHING & JEWELLERY



This “programme aims to provide a broad, balanced programme covering aspects of body adornment and fine metalworking from the development of original design concepts through to the finely crafted finished work.”

“A strong emphasis is placed on the development of individual craft and design skills that increasingly allow each student the freedom to pursue and realise ideas in appropriate media.”

NAOMI SCOTT DRAPED GOBLET Britannia silver goblet with a lemon gold plated interior

http://www.gsa.ac.uk/study/undergraduate-degrees/silversmithing-jewellery/


“Similarly, silversmiths explore this interaction between fine metalworking and ideas, through the vehicle of the functional domestic object.”

“Contemporary studio jewellers continue to challenge perceived boundaries and use the artefact as a way of defining a personal response to social and cultural issues such as gender, relationships politics, and the environment.”

FREYA ALDER BRASS NUDE BROOCH SERIESAn illustrative series of brooches informed by classical female nudes but instead portraying a diverse and humorous array of modern women.

NAOMI SCOTT FURROW OLIVE DISHBritannia Silver


http://www.gsa.ac.uk/study/undergraduate-degrees/silversmithing-jewellery/

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SCHOOL OF DESIGN TEXTILE DESIGN


SCHOOL OF DESIGN TEXTILE DESIGN“Textile design is concerned with the design of cloth for Interiors and Fashion.”

MAJA BJÖRK AHMED & FARMORVisualisation of two embroidered portraits

“The programme promotes a culture that recognizes teamwork and interdisciplinary peer learning as well as independence as essential elements…“

MARIAM SYED PRAYER RUGS AND SCARVESWhen my son turned 7, I wanted to present him with his own prayer rug to cherish. To encourage my son to pray, I decided to design a prayer rug that was both exciting and encouraging for a young child.

http://www.gsa.ac.uk/study/undergraduate-degrees/textile-design/


“Structural Textiles include woven and knitted textiles where the structure and pattern of the cloth is formed from and by using yarn or thread.”

WEAVE KNIT

ALISON BAXTER

KATIE LANG

KAROLINE HERMANSEN

KATHRYN MCKERRALL

“There are two broad areas of Textile Design known as ‘Structure’ and ‘Surface’.”SCHOOL OF DESIGN TEXTILE DESIGN

http://www.gsa.ac.uk/study/undergraduate-degrees/textile-design/


“Surface Textiles include printed and embroidered textiles where pattern and interest is applied to the surface of an existing cloth using a variety of methods and processes.”

PRINT EMBROIDERY

EMILY STOPFORD

ROCHELLE CAMERON

NOOR-E-SEHAR SAJJAD

KATIE O’BRIEN all images from Degree Show 2016

SCHOOL OF DESIGN TEXTILE DESIGN“There are two broad areas of Textile Design known as ‘Structure’ and ‘Surface’.”

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SCHOOL OF DESIGN FASHION DESIGN



“Fashion Design is concerned with the design of clothing. Fashion Designers consider the shape, cut, silhouette and construction of clothing and tend to think more three dimensionally when designing.”

ALICE PINCHBECK

http://www.gsa.ac.uk/study/undergraduate-degrees/fashion-design/


“The programme is composed of two subject specialisms:

menswear and womenswear”

ASHLEIGH MILLER MENSWEAR FIONA SMITH WOMENSWEAR


http://www.gsa.ac.uk/study/undergraduate-degrees/fashion-design/


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SCHOOL OF FINE ART PAINTING & PRINTMAKING



SCHOOL OF FINE ART PAINTING & PRINTMAKING“The programme aims to equip

students with the necessary skills and expertise to realise their full creative potential and to pursue a career in the visual arts or other chosen professions… Students are provided with a sound knowledge of the theory and practice of their subject before developing personal study paths and self-motivated programmes of work in the final year.”SARAH COURTNEY ART DUEL #3

http://www.gsa.ac.uk/study/undergraduate-degrees/painting-printmaking/


SCHOOL OF FINE ART PAINTING & PRINTMAKING“An awareness of the history and

traditions of painting are fundamental to our programme of study.”

LOUISA LIVINGSTONE BASKETacrylic and emulsion

GEORGINA CLAPHAMIDEAL PORTRAIT OF A MANoil on linen

“Painting in Glasgow is understood as a vehicle of thought and an intellectual discipline capable of great expressive powers.”



SCHOOL OF FINE ART PAINTING & PRINTMAKING

“Printmaking is based on an exploration of visual representation allied to the materials, processes and formats of established and developing technologies.”

“For the student, an understanding of the continuing relationship between reproduction and expression, the original and the copy, fine art and printed information, will engender an awareness of the print as a primary form of visual art, whilst supporting the creation of work informed by critical debate.”

JADE STURROCK CELLULAR STANDINGscreen print & acrylic on canvas



SCHOOL OF FINE ART PAINTING & PRINTMAKING“ …students have the opportunity to extend their work, in addition to printmaking, into areas such as electronic media and photography.” and beyond

ELIZA HOPEWELL NO STORMS AND NO HEAT EITHERfour screen video installation

RUBY TAGLIGHT LADYwaxed fabric

ROWANNE LEE ALLOCATEinstallation

ROWAN FLINT THE WAY OF THINGScollage



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SCHOOL OF FINE ART FINE ART PHOTOGRAPHY FINE ART

PHOTOGRAPHY


SCHOOL OF FINE ART FINE ART PHOTOGRAPHY“The broad aim of the Fine Art Photography programme is to enable and nurture artists whose interests are based upon, and developed through, technology and lens-based media, the materials of photography and other related disciplines in fine art.”

“We believe in the tradition[al] methods and the latest technology. Our students are involved with the early 19th century technologies” as well as “the digital and moving image of the 21st century.”

STEVEN TAINSH TOUCHED SCREENLight hitting a touch screen device, exposing its used surface

“…photography is a medium for which a blend of art and technology is fundamental.“

http://www.gsa.ac.uk/study/undergraduate-degrees/fine-art-photography/


HANNA KOPP-YOUNG UNTITLED (Synthetic Topographies)An ongoing exploration into the possibilities of artificial representation.

SCHOOL OF FINE ART FINE ART PHOTOGRAPHY“There is also an involvement with audio-visual technologies, drawing, fabrication, installation, and with the possibilities of making artist book-works and publications.”

ZOE PAPIZ RIPTIDEink on torn paper

http://www.gsa.ac.uk/study/undergraduate-degrees/fine-art-photography/

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INTERACTION DESIGN

SCHOOL OF DESIGN INTERACTION DESIGNformerly Digital Culture


SCHOOL OF DESIGN INTERACTION DESIGN

“In Interaction Design we teach the fundamentals of code in an accessible manner alongside visual thinking and creative problem- solving.”

“The ability to mix code and procedural thinking, with aesthetic consideration and critical awareness, allows students to create interactive virtual and physical artefacts, and gives graduates access to the exciting and innovative world of digital art and design.”

SIMON SLOAN LOGISTICThis interactive piece places the user in control of an unstable ecosystem of islands and boats. The work is inspired by my own time growing up on a small island as well as the eventful history across all the Scottish islands. Throughout the project I have explored the natural, social and industrial events that have effected this larger network of islands.

http://www.gsa.ac.uk/study/undergraduate-degrees/interaction-design/


SCHOOL OF DESIGN INTERACTION DESIGN

“The discipline is fast paced and prone to constant flux so it is imperative that digital artists and designers keep up with current advances. They require a passion for technology and innovation, along with forward thinking imagination and the capacity to develop great ideas.”

CALLUM RITCHIE DATA CULTURESData Cultures is an interactive project that explores the realm of data visualization. It is an interpretative piece that plays upon the similarities between the emergent nature of ‘the social network’ (specifically Twitter), and the growth and spread of a bacterial species. As well as relying on Tweets as a conceptual Trigger, the piece also relies on Tweets as a literal trigger. As Tweets containing a specified word are received, they are visualised in the form of generative creatures, who’s attributes and resilience are based on the content their defining Tweet, and the creator’s profile. The project uses the visual metaphor of a petri-dish to frame and analyse a snapshot of real-time Twitter activity.See more here: www.callumritchie.com/data-cultures

http://www.gsa.ac.uk/study/undergraduate-degrees/interaction-design/

http://www.callumritchie.com/data-cultures


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SCHOOL OF DESIGN PRODUCT DESIGN ENGINEERINGjointly taught with University of Glasgow


SCHOOL OF DESIGN PRODUCT DESIGN ENGINEERING

“Our approach to design engineering education, balancing technical and human, theoretical and practical, has been widely acknowledged as innovative and has been extremely well-received by” industry.

“we seek people with a good imagination, who are conscientious and studious.”CLAIRE HARVEY POD+

For those with mobility difficulties, the benefits of swimming and hydrotherapy are extensive, yet access into pools can discourage users, with current pool hoists unappealing and unsafe. Pod + is a submersible wheelchair, which has been developed as an addition to the award winning platform lift the Poolpod, which lowers swimmers into the pool in a dignified way.

http://www.gsa.ac.uk/study/undergraduate-degrees/product-design-engineering/


SCHOOL OF DESIGN PRODUCT DESIGN ENGINEERING

“…bringing together … academic and creative abilities to design exciting and innovative products… The [PDE] curriculum is designed to develop creativity, exploration and expression of ideas, and to build confidence in applying the PDE design process. You will be involved in a wide range of activities including design awareness and aesthetics, drawing and visualisation, model-making and prototyping.”

CLAUDIA NORDGREN MODU-LIGHTSmart lighting urban system. Modu-light adjusts light levels according to ambient light and the presence of people. Modu-light will also form the basis of a modular system with seating, planters and a rain canopy. Finally it would be manufactured by a social enterprise using recycled/reclaimed timber. The Modu-light system has the potential to facilitate a renaissance of the tenement backcourt.

http://www.gsa.ac.uk/study/undergraduate-degrees/product-design-engineering/


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SCHOOL OF DESIGN COMMUNICATION DESIGN



“Never before has the communications arena had such fluidity for the realisation of student ideas and professional identity; whether it be simple or complex, witty or profound – Communication Design is a platform for the thinking of tomorrow.” TIERNAN CRILLEY LISTEN

Addressing the need for an open ended and fluid platform for discussion within creative institutions which avoids alienating gestures. This is a critical response to the rigid structures, which corrupt meaningful communication, and exist to manage the voices of a group of people under a bureaucracy.

http://www.gsa.ac.uk/study/undergraduate-degrees/communication-design/



“Students now incorporate the traditional skills of drawing, printing, photography and other graphic processes with video, sound, animation and other aspects of moving image and multimedia. Students are no longer defined by their specialism, but through their creative interpretations and articulation of the brief.”

MAURICE ANDRESEN EUROPA A virtual environment simulating the anxiety associated with immigration into a supranational union, utilising traditional video game aesthetics to communicate feelings of disparity and displacement.




“There are three distinct specialisms:

Graphic Design Illustration Photography”

NATALIE YUNG LANGUAGE TRANSITIONBased on my upbringing around two languages (Chinese and English), this jotter series explores the different writing systems I learned and the gradual stages of losing my first language.

TESSA MACKENZIE WALK TO SCHOOLA series of observation studies from Dunearn street to Renfrew street.

GAVIN MCCOURT ROLES OF IDENTITYThis work explores the variety of roles we perform within society, all which constitute towards our overall self.



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MACKINTOSH SCHOOL OF ARCHITECTURE ARCHITECTURE


MACKINTOSH SCHOOL OF ARCHITECTURE BArch/DipArch“The Programme is predominantly studio and project-based, supported, in the first three stages by lectures in… Architectural Technology and History of Architecture and Urban Studies.”

“Glasgow is one of the UK’s most architecturally stimulating cities and we use Glasgow within the context of contemporary, sustainable, Compact City theory.”

SHENG YEN PENG JAPANESE GRILL ON THE ROOF (Stage 3 BArch)The Japanese Grill is situated on the rooftop of the vibrant SWG3 in Glasgow, Scotland, offering extraordinary view to the River Clyde as well as the city view.

http://www.gsa.ac.uk/study/undergraduate-degrees/architecture-(barch)/


MACKINTOSH SCHOOL OF ARCHITECTURE BArch/DipArch

“The aim is for all students to develop an awareness of creativity within the discipline of architecture, and to learn the appropriate means to express their ideas in a confident and coherent manner. Students are encouraged to apply the principles of architectural technology as a means of expressing architectural quality and character. Architecture is set, both in the studio and lectures, within an historical, social and economic context.”ALEXANDER MACKISON

ARCHITECTURAL PROCESSION (concept model)ALTYRE POTTERY (visualisation) Stage 3 BArch

http://www.gsa.ac.uk/study/undergraduate-degrees/architecture-(barch)/


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SCHOOL OF FINE ART SCULPTURE & ENVIRONMENTAL ART SCULPTURE &

ENVIRONMENTAL ART


FINE ART SCULPTURE & ENVIRONMENTAL ART

TIMO AHO THE CROSSThe Cross is a colour mutable light sculpture, that holds a bold space “between”. With ambiguous reference to a broad range of signifiers; from a local pharmacy sign, to an upside down Facebook logo. This twisted crucifix, drawing from past and present, attempts to depict what is somehow unknown, yet universal to us. Is it rising, or on its knees? Aho directly asks us to imagine its purpose, just like ourselves, in a connected yet mixed up world. What once resembled something familiar, can no longer be explained or simplified in a singular way. “The Cross” becomes a beacon of potentiality in its known roots and uncertain future; catalysing upon the power and potential of visual language.

SCULPTURE “to develop the practical and philosophical understanding of the subject of sculpture; to develop practical skills and the ability to mediate ideas through materials and process; and to develop the ability and confidence to critique and communicate about sculpture, both historical and contemporary.”

http://www.gsa.ac.uk/study/undergraduate-degrees/sculpture-environmental-art/


FINE ART SCULPTURE & ENVIRONMENTAL ARTENVIRONMENTAL ART

“The Programme prepares students for working as artists in the contemporary world. While galleries and museums remain major places for art to be viewed, opportunities for artists to make work in and for other contexts and places have increased enormously. To this end, the course offers not only the opportunity to exhibit in the traditional sense, but also explores these other contexts.”

HANNAN JONES & RACHAEL SIMPSON GALLERY-UNIT,SAVOY CENTREBeginning as their 3rd year Public Art Project, these Environmental Art students rented a space in a Glasgow shopping centre to host community engagement opportunities, creative activities, and exhibitions. The gallery exhibited work by Hannan and Rachael in the Glasgow International 2016 .

http://www.gsa.ac.uk/study/undergraduate-degrees/sculpture-environmental-art/


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SCHOOL OF DESIGN INTERIOR DESIGN



“Interior Design involves the creation of imaginative and stimulating environments in specific places – often within existing buildings. The revitalisation, reuse and re-imagining of the latter requires a sensitivity to the particular qualities of a site, along with an understanding of the needs of the people who will populate the eventual construction.”

ESTHER JELLEMA PRODUCT EXPERIENCE BAKING STUDIODrawings of the first floor baking studio and food larder. This project explores the product experience of bread. The first floor houses the baking studio, a space the lends itself as a workspace, activity area and learning hub.

http://www.gsa.ac.uk/study/undergraduate-degrees/interior-design/



“In proposing fresh ways people might use a building, a skilled interior designer is able to creatively embrace the constraints of brief and context, engaging in a dialogue between existing architectural form, and contemporary approaches to the organisation, detailing, and decoration of a space.“

CECILIA SEVERIN THE PENCIL LABThe Pencil Lab aims to create a different type of exhibition; one where visitors can leave their mark. Each visitor is given a pencil and is encouraged to draw or colour on the surrounding panels hence transforming the space over time.

http://www.gsa.ac.uk/study/undergraduate-degrees/interior-design/


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SCHOOL OF DESIGN PRODUCT DESIGN



“Our notion of what a product is challenges tradition, encompassing everything from physical artefacts, to services and interactions, but with an emphasis upon creating tangible experiences. We aim to produce graduates who are able to apply their skills in response to diverse and evolving contexts, and can act as the creative and strategic link between technology and society.”

JOSEFINE LEONHARDT MOMENTS IN EMPATHYHow Can Design Nurture Empathy’s Innate Partiality? Within this project four possible approaches to empathy are explored, those being creating emotional awareness, nurturing curiosity, inspiring imagination as well as focusing on sameness, while embracing diversity. It is speculated that tackling one or more of the proposed intervention points, will help building towards a society that is better equipped for ‘Moments in Empathy’ - temporary emotional states that allow one to feel and think with someone else, being aware of a greater context than the given moment - to take place within. This is tested and explored through designed games.

http://www.gsa.ac.uk/study/undergraduate-degrees/product-design/



“Our students are encouraged to explore complex social, ethical and environmental issues as subject matter for design. They are asked to engage with and understand the people who will use and be affected by their designs, and learn to apply research methods and analytical skills from the Social Sciences in order to do so. … our students are taught to be explorative and to learn to think through making, resulting in designers who are both critical and creative thinkers.”

ZOË PROSSER COMMUNITY KINETICSCommunity Kinetics began as a project that would explore the meaning of ‘sustainable development’ throughout land reform in rural Scotland, and in doing so became a support group and service to help residents along this path. …In this time of prosperous change, I believe that design can play a key role in supporting communities who will soon function autonomously.

http://www.gsa.ac.uk/study/undergraduate-degrees/product-design/


Which courses are the most competitive and how many places are available?

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HOW MANY PLACES ARE THERE? Teachers and tutors often ask this question and it’s not just a difficult one to answer, but the answer changes every year. The answer depends on a number of factors including physical space, availability of resources, number of progressing students and crucially, funding.SPACE, RESOURCES, ETC? GSA offers dedicated studio space to most, if not all, of its students. Post-fire, the size, shape and scale of our physical campus has been in flux, so availability of adequate space may change on a yearly basis.Each year, students drop out, fail, graduate early or take a leave of absence. These instances may lead to more places in the course – usually for advanced entry. This is not how offers for advanced entry are determined, although it may play a part in how many offers are made.Unfortunately these aren’t factors we can predict too far in advance, yet when the campus is more settled, we should have a better handle on space.

THE ADMISSIONS PICTURE HOW DOES IT WORK?


FUNDING? When tuition fees were introduced for students studying and living outside of Scotland, Scottish Higher Education Institutions (HEIs) began to categorise applicants as Scottish, EU, Overseas or RUK (Rest of UK - not Scotland). Currently only those categorised as Scottish or EU are eligible for places funded by the Scottish Funding Council (SFC) through SAAS. *The EU funding is the bit that might change following ‘Brexit’ – for the time being it will remain. The SFC allocates a number of places for each HEI and this information is publicly available on the SFC website. This number has been going down with a few additional places awarded for articulation (advanced entry from college), widening participation (entrants from the most deprived socio-economic backgrounds as defined by the SFC) and a few specialist subject areas (eg. STEM subjects).HEIs that recruit more (or fewer) students than they have places are penalised by the SFC. Each HEI works very hard to ensure they don’t over or under recruit – yet it isn’t an exact science.

THE ADMISSIONS PICTURE POST-BREXIT*

http://www.sfc.ac.uk/funding/universities/university_funding_allocations.aspx


FUNDING IMPLICATIONS The variety of funding for applicants affects admissions processes in all HEIs, not just at GSA. The funding landscape is different in each HEI and changes on a yearly basis. Admissions strategies and ultimately decisions largely reflect this. We also have targets for applicants who meet criteria for Widening Participation (SIMD20 & SIMD40 postcodes + SHEP schools) and Articulation (HNC into Year 2 or HND into Year 3). These criteria are set by the SFC, not us, and applicants must fulfil the criteria in order to fill the additional place. COMPETITION GSA remains incredibly competitive and with limited funded places, the level of competition is increased for Scottish and EU applicants. The most popular courses have long been Painting & Printmaking (School of Fine Art) and Communication Design (School of Design). With 700+ applications each, this makes them incredibly competitive, so only around 12% of all applicants receive an offer. Even the courses with the fewest applicants offer a place to 35% or fewer overall – so all courses are competitive.

THE ADMISSIONS PICTURE SO?


THE CURRENT PICTURE The bulk of the first year class across GSA continues to consist of school leavers or those who have recently left school and attended a one-year college course (usually a portfolio prep). ARTICULATION IS HAPPENINGArticulation is new at GSA, but it is happening. Course leaders are more aware of applications from college and the appropriate level of entry. 2016 saw the largest number of offers for articulation on record. For school leavers unsuccessful on first application, college really does offer an alternative route into art schoolCONSIDER PORTFOLIO PREPArticulation numbers will never match Year 1 numbers, so outwith specific articulation arrangements, portfolio preparation courses or NC/NQ (SCQF Level 6) courses still offer the best chance for an offer. They also offer the extra time and exposure to a wider range of subject areas that many school leavers need.

THE ADMISSIONS PICTURE THE GOOD NEWS


CONSIDERthe range of applicant strengths, skills and talents when recommending course choice

courses beyond the most popular and most competitive ones

college course choices and articulation opportunities

appropriate year of entry

enriched understanding of range of courses through Open Day talks, website, Degree Shows and more

FIONA SMITH FASHION DRAWINGS

GSA THE COMPLETE(ISH) PICTURE SUMMARY

Documents

SESSION 1 GSA: The Complete(ish) Picture · dedicated workspace for students teaching takes place in shared studio space project-led curriculum peer learning and collaboration are