NCAD Prospectus 2015-16 by National College of Art & Design

National College of Art & Design Prospectus 2015/16

You have to make sure that whatever you make is relevant and it fits into an environment and a place, that itâ&#x20AC;&#x2122;s not just filling the world with more junk. Aine Coleman, Third Year, Product Design

Is the final piece going to be a sculptural form? Is it going to be wearable? It could be anything, really. That exploration is beautiful. Jeanne Dubois, Third Year, Ceramics

I think the goal has to be to affect society, change habits and change the norm of what people have come to accept. William Doherty, Fourth Year, Visual Communication

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, 52 Jewellery & Metalwork, 58 Visual Communication, 64 Product Design AD212, 70 Visual Culture: Visual Culture AD215, 76 Education: Design or Fine Art & Education (second level teaching) AD202, 82 CEAD, 84 Graduate Studies, 88 MFA Design, 90 MSc Medical Device Design, 92 MFA Fine Art, 94 Professional Masters in Education (Art & Design), 96 MA in Socially Engaged Art, 98 MA Art in the Contemporary World, 100 MA Design History and Material Culture, 102

About NCAD: Director’s Interview, 106 Why NCAD?, 110 Careers, Employability and Real World Learning, 112 Campus and Location, 114 Map, 116 Application Procedures, 118 Minimum Entry Requirements, 120 Portfolio Submission, 123 Finance and Fees, 126 Your Welfare, 128 Events and Information, 130 Important Dates for Applicants, 131 Enquiries, 132

Interviews: Aoife Slevin, First Year Art & Design, 4 Mellisa Ellis, Third Year Fine Art Print, 10 Avril Corroon, Fourth Year Media, 16 Michael O’Doherty, Third Year Fine Art Painting, 22 Cian O’Sullivan, Fourth Year Sculpture, 28 Jeanne Dubois, Third Year Ceramics, 34 Max Fox Philips, Fourth Year Textiles, 40 Gwen Cunningham, Fourth Year Fashion, 46 Rebecca Maddock, Fourth Year Metalwork, 54 William Doherty, Fourth Year Visual Communication, 60 Aine Coleman, Third Year, Product Design, 66 Jane Gleeson, First Year, Visual Culture, 72 Alanna Galvin, Fourth Year Education, 78 Quotes from an extended interview with Prof. Declan McGonagle, the Director of NCAD, 106

5 Interview: Aoife Slevin, First Year Art & Design

NCAD has definitely lived up to my expectations, if not surpassed them. I didn’t think it would be as hectic and wide ranged as it is, but here you’re constantly going and constantly doing things and getting involved with people in the College that aren’t even in our year. Aoife on her experience to date

Allumni: William Butler Yeats, Harry Clarke, Grace Gifford, William Orpen, Stella Steyn, Henry Pim …

You just become so social and the more you get to know people, the more you develop yourself and your work. It’s really versatile, I didn’t think that I would be able to do as much as I have, or learn as much as I have. I came in not being able to do a lot of sculptural stuff and now I’m dead set on doing Sculpture next year. First Year really opens your mind to new work and how you actually make great work.

cially when it’s really hectic. But also, what if other people on the street had to walk the same pattern as me how is that going to look and how is it going to feel? Or sound? It could be an interesting performance. On research

At NCAD you have to be constantly going and producing stuff. Initially it was about learning methods of primary, secondary and contextual research and how to incorporate this into our We are working with the city own ideas. Now it’s about doing, making and develonow. I am looking at how a city lives and breathes and is ping ideas. You constantly an organic thing. What we do edit down and then try to to and in it, is what makes it. find ideas you can really stick to and push further. It’s just If you go to any other city it’s going to be a completely constant observation really. different sensation because At the start you are all realdifferent people make that place what it is. So I am look- ly timid and you don’t really ing at the biology, microbiolo- want to question people much but the more you talk with gy and patterns in the city. other people the more you I was walking down Grafton Street and thinking learn and get input. It’s not just about looking, it’s about wouldn’t it be interesting if discussing things and finding I had to walk a certain way the best way to do them. to get around people, espeOn her current project

On First Year

First Year Art & Design AD101 Common Entry Common first year of Level 8 Honours Degree Places: 245 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 6th Feb 2015 Degree awarded: Common First Year leading to one of: BA (Hons) â&#x20AC;&#x201C; Fashion Design/ Jewellery & Metal Work/ Textile & Surface Design/ Visual Communication/ Fine Art â&#x20AC;&#x201C; Print, Media, Painting, Sculpture, Ceramics & Glass/ Textile Art & Artefact

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 analysis. Your curiosity is our starting point. You will build on the work you began in addressing the portfolio brief and the summer project. At the end of the first semester you will choose to study within the Faculty of Fine Art or the Faculty of Design. The second semester is Faculty based. This time will be spent working on projects which will help you choose your degree discipline. You will then spend some time studying in the Department supporting your chosen degree specialisation where you will undertake a series of skill acquisition projects and self-directed work. Education and Product Design students go through the same common First Year, the difference being that they will have chosen in advance which degree pathway they will take. Education students will decide through the course of First Year whether their degree in Education will be in conjunction with Fine Art 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.

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: Melissa Ellis, Third Year, Fine Art Print

I have an artist statement which kind of tends to ground me. My work is based on the juxtaposition of the beautiful and the strange, the weird and the sublime, the dark and the unnatural. It’s a process of cherry picking delicious pieces of weirdness and Melissa on her recent work

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

my particular lens. I began these in or around November of last year, which is the time that the Great Barrier Reef spawns, so there’s an explosion of life of micro-organisms flooding the place. You look into the print, more detail, more interesting little features. Just with the physical making, I can’t have the Great Barrier Reef explosion of life, but I can, if I create it in print. I can go to the Natu- I think there’s an awful ral History Museum lot of freedom in print and want to own these for somebody like me, who I wouldn’t things I can’t have. necessarily see as a I take ownership of them by making them conceptual artist. my way and through informing a context around them. I have two strands to my practice, making and copper plate etching. Etching is enormously time consuming, you have ten etches before you get what you want, but it gives you time to reflect on what you’re doing. Really great and wonderful things happen as it goes along. Then you get the plate, you print and print and print. So it’s a journey. On inspiration

On Fine Art Print

Fine Art Print BA (Hons) Fine Art/(MFA/MA) Duration: 3 Years BA (+ 2 years MFA/MA) 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 6th Feb 2015 Degree awarded: BA (Hons) Fine Art/ (MFA/MA)

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, screen-printing, 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 MA/ MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 89 for more details.

17 Interview: Avril Coroon, Fourth Year, Fine Art Media

My work has a difficult setting in NCAD because of its critique of the institution while engaging with the institution and using the facilities here and the architectural features. As part of a project last year I tied a 100 metre rope from my second Avril on working in and with NCAD

John Graham, Daniel de Chenu, Robert Armstrong, Alan Butler, Angie Duignan, Atoosa Pour Hosseini â&#x20AC;Ś

storey apartment on Thomas Street to the roof of NCAD. Being here for four years and living in that apartment for four years, working in the college both as a student and also working in the gallery and in the library means that my world is quite small and to actually put that rope up meant having a really uncomfortable, intense knowledge of the college and its workings. On concept

I was showing a conflict between the College as an institution to facilitate the art student and also as an institution that has several other boundaries where a student also has to be regulated. That brought up a conflict between the art student’s intentions and practice and also what is practical and what you are allowed do.

you are looking at my work you will be implicated all the time in Kerry Guinan’s piece and her performer will be moving around and so when you enter the room there will be a slight confusion of who owns what and how am I looking at this and what is its relationship to what I am standing on. The process has been really difficult, but also in some ways really enjoyable. Everything seems very heightened because at any point I could get an email that says I can’t do something, or I can, or I have to do something else to make it happen. On Fine Art Media

It has been fantastic, my work is so much about my experience in NCAD that it has consumed me completely. Working here in Media for the last three years has been the biggest learning experience I have On her degree show In the Blue Room of my degree show had. Fine Art has changed so much I am curating the room with Kerry in terms of having a Department that Guinan so both works will be inter- facilitates performance as well as vidrupting and intersecting with each eo and how these two can talk to each other. In my piece there will be an 80 other and how when you are making metre rope from a 12 metre flagpole your video and you understand the that will be installed on Red Square language of video, that shapes how and the rope will be coming across you make the rest of your work, and John’s Lane, through the window of how you switch between the two. the building and it will be attached On the future with the appropriate knot inside the I’m looking forward to getting me actual room itself. and my work outside of this institution and building on what I have I have been engaging with the learned here. I want to see what hapstructures here in order for this to pens next. I want to keep on working happen and then the room sort of welcomes you in, it has a sort of natu- and possibly get a studio. The aim is ral colour or a colour that recognises to have things to do all the time and the piece. The other piece by Kerry to keep going and keep learning. Guinan will be on the floor and when

Fine Art Media BA (Hons) Fine Art/(MFA/MA) Duration: 3 Years BA (+ 2 years MFA/MA) 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 6th Feb 2015 Degree awarded: BA (Hons) Fine Art/ (MFA/MA)

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 MA/ MFA programmes: MFA Art in the Digital World,MFA Art in the Contemporary World, MFA in Fine Art. See page 89 for more details.

23 Interview: Michael O’Doherty, Third Year, Fine Art Painting

My last series of paintings were titled ‘Road Rage’. The final art work consisted of a tryptch of three solid MDF circular paintings which were finished in a high gloss sports car paint coating. In short the carvings represent the mangled metal of cars in collision. In my work so Michael on his recent paintings

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

far, the approach I take follows a sequence whereby I start by viewing the physical site/object influencing my work and I record the physical representation in a series of photographs. This forms the basis of my linear drawings from which I develop abstract shapes and finally the sculptural structure of the paintings. In the finish, I try to utilise materials which are representative or relevant to the subject matter e.g. car spray paint for the Road Rage series. On research

The importance of foundational research and personal exploration is what I have primarily learned. In looking at artists from Picasso to Koons, I am observing what I view as a developing methodology for success in the contemporary art world. However, I think this is very much a personal journey of exploration and understanding that no one can teach you. What’s interesting is that all of these artist bar none, were passsionate about their work and didn‘t require ‘success’ in their time in order to feel successful. On influences

The key influence of all of this was to encourage me to draw

on all of my life and work experiences and to develop a way of working that comes from the essense of me, the carpenter, the worker, the builder. My personal journey from a young lad hungry to learn how to build and construct and to draw and entertain to a mature, draughtsman, master carpenter. This is reflected in my use of construction and design, materials, carving and paint work. I still understand I need to sharpen and professionalise my approach. On his NCAD experience

My experience so far has been nothing short of fantastic. As a mature student, coming from a background of 28 years in the construction industry, I really never dreamed I could end up living the dream. NCAD has given me many opportunities to grow and develop both as a person and artist. The blend of tutors, lecturers and co-students has been paramount to my experience. On his next steps

What I am aiming for now is to create an outstanding end of degree show which will ensure the first steps in establishing myself in a professional capacity in the contemporary art world.

Fine Art Painting BA (Hons) Fine Art/(MFA/MA) Duration: 3 Years BA (+ 2 years MFA/MA) 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 6th Feb 2015 Degree awarded: BA (Hons) Fine Art/ (MFA/MA)

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 MA/ MFA programmes: MFA Art in the Digital World, MA/MFA Art in the Contemporary World, MFA in Fine Art. See page 89 for more details.

29 Interview: Cian O’Sullivan, Fourth Year, Fine Art Sculpture

I think everything’s been blowing around Zen for a while. I think there are these moments that happen to everyone where maybe for a second, things come into focus or from some mundane task or something, you get a moment of clarity, you see everything as it is. I‘m Cian on moments

Oisín Kelly, Oliver Sheppard, Amada Coogan, Gabriel Hayes, Corbon Walker, Kathy Prendergast …

trying to set up situations where people get those moments and where they happen naturally. So a lot of it’s about celebrating the now and making people realise they’re in the present. There’s no set way of doing it, it’s more about finding the best way for these moments to happen for people, in whatever space that they have to happen. On the box

The basic premise is that I’ve set up a camera in front of the Box that looks directly across from the Box. (The Box is a portacabin located in red square in NCAD, it’s painted white and set up inside like a living room.) The camera’s pretty much looking out where the window would be, at what you would see from inside the window. The camera records certain situations that happen that I set up in front of it. The thing is you go inside the box and it feels like you’re looking out a window and then maybe you just think, I’m missing all this stuff outside, but none of it’s actually happening, and it doesn’t matter if it was happening or is happening, you’re missing it anyway. Then there are some other things thrown in, there might be a conversation, there might be ten people having a conversation, ten different conversations and you hear one of them inside the Box maybe being played out loud, because it’s been recorded, and you’re left figuring out, which conversation is happening.

The thing is if you’re brought to an exhibition, you think everything has some sort of meaning. So let people look at people sneezing and tell them it’s really, really good, not because it’s not good, because it is, people just don’t think it is. On research

A lot of my research has come from doing my thesis on Zen and studying eastern philosophy. It’s about being constantly in the moment and not living in the past or the future. I always thought that was very important. On influences Wolfgang Laib does very nice work where he collects pollen; he goes on long walks from his house and collects pollen in jars. He collects masses of pollen, and then spreads them out in a gallery space in a big square or shape. My dad always said that the lay person has to understand it, that you gotta make work that anyone can relate to. We have a neighbour who goes up and down the lane, he’s a farmer. Dad always said, you know, if he wants to come to your exhibition, he’s got to know what’s going on with it, you can’t leave him out, kind of thing. I have always thought of him as being the kind of person who doesn’t care about art and it doesn’t bother him, but he doesn’t necessarily have a bad opinion about it, it’s just, he’s doing his own thing and I suppose likewise, I’m doing my thing.

Fine Art Sculpture BA (Hons) Fine Art/(MFA/MA) Duration: 3 Years BA (+ 2 years MFA/MA) 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 6th Feb 2015 Degree awarded: BA (Hons) Fine Art/ (MFA/MA)

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 MA/ MFA programmes: MFA Art in the Digital World, MFA Art in the Contemporary World, MFA in Fine Art. See page 89 for more details.

35 Interview: Jeanne Dubois, Third Year, Ceramics

I wanted to be abroad and to practice my English and to work in another environment and I wanted to come here. Jeanne on Dublin, Ireland and NCAD

Brian Keaney, Roisin de Buitlear, Karen Donnellan, Eoin M Lyons, Muireann Walsh, Sadbh McCormack â&#x20AC;Ś

I am working with carbon, I picked this element because it is one of the elements necessary to create life. I became very On her current project

interested in the structure of carbon and the different types of carbon, especially flourine. I tried to understand itâ&#x20AC;&#x2122;s shape and create new structures with it. It can change completely you just have to change the angle and the form is completely different. I was thinking the way to present this maybe, was to have different structures and make an evolution in form and therefore give it the sensation of movement and life, if I can. The entire project becomes organic, we can begin to see mutation and its permeations from that mutation. On Buckminster Fuller

I didnâ&#x20AC;&#x2122;t know him before and I am very glad I know him now. When I was doing research on different types of carbons, structures like diamonds and graphite, I found Buckminister Fuller. He made all those geodesic domes. My flourine structures can create those domes. They are such static objects, but there is also that element of movement in them which is really interesting for me. I think they made a lot of geodesic domes in the world, maybe 300,000, something like that, as shelters. It is all a technique he invented and

my work is constantly referring to this concept. On exploration

With every process you are learning something new and yet as I mentioned, it is still strengthening the original concept. There is beauty in the process, I suppose. Is the final piece going to be a sculptural form? Is it going to be decorative? Is it going to be wearable? It could be anything, really. That exploration is beautiful. My pieces could be anything as I said, but I am really thinking more like an evolution of small sculptural objects. On NCAD and play

At NCAD I had the possibility to start something new. I am enjoying it so much and it is really what I wanted to do. The most difficult part for me was using materials that I didnâ&#x20AC;&#x2122;t know. Originally I used porcelain not clay, so it is totally different. But that is the interesting thing with materials, it is the process of learning and of playing, you just want to play. It all comes back to the basic fibres of life and play and freedom and enjoyment and how we can relate that to all of these different kinds of things we make.

Ceramics & Glass 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 6th Feb 2015 Degree awarded: BA (Hons) Ceramics & Glass/(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 and 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 and leave with an MFA Ceramics or Glass. See page 89 for more details.

41 Interview: Martin Fox Philips, Fourth Year, Textiles Art & Artefact

Well the whole thing, started from my thesis research which was about the emotion of disgust and how it’s kind of come on a weird evolutionary path. Its about instincts versus knowledge. I was just trying to play on that. What happens when we remove the emotion of Martin on his final year show

Orla Kiely OBE, Theresa McKenna, Nigel Cheney, Ciaran Sweeney, Rachel O’Connell, Aisling O’Neill …

disgust? Why can’t we appreciate pigs and rats that are closely associated with disgust and death and disease? By removing the emotions through process, such as re-colouring it can change our whole reaction to something.

some people find it fun. It’s about how we’re conditioned and asking the question, is it ok to look at it? It’s the idea of bringing the glass wall to the abattoir. On NCAD

The best thing I’ve taken from the College is just to think I am trying to challenge the differently, to analyse things. staus quo. I looked into meI’ve been doing other prodieval times, you know, public jects outside of College and I executions, public beheadings wouldn’t have done them if I and that was just the norm. I‘m hadn’t been trained to think just trying to challenge what’s about things the way I now do. happening nowadays that maybe shouldn’t be happening. I’m trying to set up a microThat’s the whole point, getting brewery at the moment, I have people to rethink why they already started a t-shirt company and I have possibly got take things for granted. an internship over the summer I feel my work is being divided with a printing company in London, just for a month, just into those two parts, it’s making things that are physically to get my head around different disgusting, or whether it’s ma- methods of printing. king disgusting things and put- I do want to set up my ting them on nice material. It’s own, label, further down the that tension between autopsy line. I also intend travelling for and humour, or gore two years. It’s a big research and seduction. thing, that’s the whole point of going. Something that is insDifferent people have different tinctively taught to you in First Year is that everything’s interestrigger points. Some cannot look at any of this work, other ting and you should always ask, how would you do it? people are excited by it and On concept

On what’s next

On approach

On reaction to the work

Textile Art & Artefact 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 6th Feb 2015 Degree awarded: BA (Hons) Textile Art & Artefact (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 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 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 and leave with an MFA in Textile Art & Artefact. See page 89 for more details.

47 Interview: Gwen Cunningham, Fourth Year, Fashion

My collection is called ‘Alles van waarde is weerloos’ which is a Dutch saying that means ‘Everything is worthless again’. It was inspired by three things – the time I spent in Rotterdam working with a designer, my thesis which was around gift economies and some time Gwen on her degree show inspiration

Daryl Kerrigan, Philip Treacy, Daniel Kearns, Edel Tucker, Alan Taylor, Claire Lynam, Simone Rocha …

of the garments, the production stage might be embroidered flat patterns of the garments. The life stage, that was always yellow in my mind. I just associate life with yellow and staining, how we touch clothes when we wear them again and again. Then the death stage would be this mess, this crumpled black thing. I thought it was just going to have a really clear narrative from beginning On her thesis to end but I realised that wasn’t the way In my thesis I argue that there is a new kind of gift economy emerging because to approach it. As a designer it was very of the internet. People are sharing infor- limiting to just think of one shape again and again but it took me a while to come mation and skills more freely. I was looking at how you could share clothes to that conclusion. I was intellectualising it probably far too much. but obviously the fashion industry is built on this continual cycle where you On influences One of my biggest influences was the need to keep buying, buying, buying. summer that I had in Holland. By the Jonathan Chapman talks about ‘emotional durability’ which is based on end of the summer I realised the lady I was working with was not a fashion how you value something more if it is personal and has a personal significance designer but an artist, she was so free. to you. You are therefore more likely to I’d spend, you know, two days making this perfect twill for her and the model keep it and look after it and this has an environmental knock on effect. Discussi- would come in and we would put it on and then Margo would get out a scissors on around fashion at the moment is and start hacking into it and I’m like all about fabrics and sustainability, but if you work on an emotional level I think ‘Oh God like my life has ended, I just spent so much time on that’! That really that’s really interesting. What would opened my eyes. I just came back thinkhappen if we could make clothes that ing clothes are just clothes, you know, have more personal significance? and that was a huge turning point for me. You are also seeing new practices I used to be really nervous about putting emerging like a renewed interest them on bodies, that’s just in vintage and second hand such as clothing libraries in Sweden where you ridiculous. rent clothes for three weeks at a time On next steps I’m moving to Holland to work with a and you pay a monthly fee. designer for a year and then maybe apply On her degree show collection When I started the collection my initial for a masters. It’s a different designer and idea was that I would have one garment, she works very differently, very technical one shape that was going to go through and her stuff is tailored but she is still the six different stages, the design stage playing with really interesting ideas. might have a very kind of loose drawing I spent on Henrietta Street interviewing a bunch of artists. All of those things started me thinking about how we use clothes and the life cycle of the garment and I wanted to create a collection that told the story of its own life. I decided to divide the system of fashion design into six parts to make it easier for myself – inspiration, design, production, sale, life and death.

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 6th Feb 2015 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. 10. 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 89 for more details..

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 6th Feb 2015 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 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 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 89 for more details.

55 Interview: Rebecca Maddock, Fourth Year, Metalwork

For my show I started looking at hair and how it’s intrinsically linked to our personalities. My pieces are asymmetrical but simple, it’s almost like the hair is floating. Most of the pieces use stainless steel wire, It’s a secondary element but I think it enhances the chunkiness Rebecca on her final year project

Brian McGuinn, Anna West, Sarah McEvoy, Laura Caffery, Catherine Keenan, David McCaul, Alan Ardiff …

of the hair. With the pieces I am highlighting the idea of hair being a a ritual symbol or memorial piece. I’m trying to modernise it and bring it into the public eye. Hair is one of those things that is, on one hand valued but in another way is completely vile and you know, you find it in the plughole. It was suggested I make them more vile and accentuate the ugly. I wanted them to be respectable and tactile, I wanted people to be intrigued and a little bit taken aback at the same time.

sculptures of Alexander Calder, he was a major inspiration for me in forming the pieces. It’s been an experiment but I think it’s been challenging and rewarding at the same time. On the future

Our year were all so dedicated, we’re so enthused about what we’re doing, we’re having a great time with it, there have been some tears and some stress but I think we’re going to have a really good show. As well as the show we’re attending an expo called New Designers in Islington in London, it’s quite a great springboard for Well it’s been a very long us into the world of either time in the making. I had a completely different idea contemporary jewellery or silversmithing. Hopefully at the start of the year. I we’ll stay in touch after that. experimented with some felt, but it was safe and easy, No matter what happens though, NCAD has all been so I moved to hair. I started to try and dreadlock the about shared learning and hair into these long, woven, shared experiences and I feel like no matter where I cigar-like structures. But go, I’m always going to have they were not malleable, a connection with artistic they don’t curve and curl. people and creative people. I was also looking at the On her process

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 6th Feb 2015 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. 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.

61 Interview: William Doherty, Fourth Year, Visual Communications

I am looking at Irish wake traditions and how death was more integrated into our lives in the past. My research process was conducted through a lot of interviews and surveys. I also think death is the worst designed area, you get those cards with a generic picture of a meadow, William on his degree show project

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

but maybe it would be more meaWakes. I’m doing a short documentningful if you got something that was ary film on that and there’s going to related to that persons life instead. be a book that goes along with it. The typeface I am making is based On research I interviewed people first in the west on my early stage research in graveof Ireland and then my second stage yards. It’s going to be used in the film, of research was going to urban areas, book and in the whole brand. The furniture design is the and interviewing people, in Dublin part that I hope is going to address and interviewing undertakers here. The use of furniture in the house was the issue of integrating death into people’s lives. something new to me, I discovered some families had stools and wake On Visual Communications I’m very much a 3D kind of maker. I tables. In the city you would have always try and make at the start and a circular dining table and when folded down – it was exactly the same through my making I always discover size as a coffin. In the country it was something that I can bring back into more benches and stools which were the 2D or even just photograph. It’s a constant learning experience. That’s used for playing games at the wake to pass the time. So that’s where the what I love about designing. It’s not something that is set in stone. Design idea came from for my furniture. is open. Design can be whatever you Another path my research led me to was death on social media and want it to be. the whole question of ownership. On his place in the world This brought me towards my project I think the goal has to be to affect society and change habits and change ‘Legacy’ and what we leave behind. the norm of what people have come You may not have left anything to accept. I don’t need to fit-in but behind in the past but now everyone’s going to leave something behind hopefully there’ll be a place for me. I through Twitter, Instagram or Face- suppose it’s unknown at the minute book. What’s going to happen to this but there might be something good in content when you die? There’s been a that too. I’m not really tied to staying lot of legal issues arising around who in Ireland. I really want to get some owns this content. Facebook was built more experience in Europe and then for the living but the users also die, come back here in a few years. it’s a problem that’s happening and On NCAD needs to be addressed and that’s been This is the place to fail. You learn something that’s come out of my from your failure. But that’s why I design process. just try to make and do and then fail and then fail better next time and On output My final outputs are to try and keep going. I’ve definitely learned document this lost tradition of Irish a lot like.

Visual Communication BA (Hons)/MFA Duration: 3 Years BA (+ 2 years MFA) Places: 50 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 6th Feb 2015 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 89 for more details.

67 Interview: Aine Coleman, Third Year, Product Design

Product Design is so spatially aware as a course, you have to be very aware of where things are in the environment which I really am drawn to. You have to make sure that whatever you make is relevant and fits into an environment and a place, that it’s not going to be a Aine on why Product Design

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

waste or it’s not just filling the world with more junk. I really love making, something that I got to do especially last year was explore forms using moulds or foam and different materials. Just getting a piece of wood and hacking into it was really nice and quite relaxing. Yeah it’s really enjoyable. I like that side of things where you can just make a craft piece and make something really nice and unique and sometimes you get to nearly obsess over little details. You sort of get lost in your own world and that’s really nice but I also like the side of it that’s more like a social kind of designing for an environment. On her most recent project

At the moment we are working on a new project that is based on improving the dining experience which is pretty cool. Instead of doing a traditional product I had the idea of doing a book, like an instruction manual. I really try to branch out as much as I can and look into different areas. With this project I will be researching bookmaking and binding. On material research That’s the fun side of it, can you make it something that is lovely and tactile. It could be anything like smelly paper, or edible paper? Chapter 1…gone! I definitely will need to anchor the book itself in the dining experience. I now have to narrow it down, focus on the proper bits and pieces. What’s going in it? What’s it about and how is it going to be used? Sustainable materials would also be a deciding factor on how I would develop as a designer. Whatever I make I want it to be something that people actually need.

where somebody wants to be instead of a space you just have to be in. This summer I’m going to Copenhagen to work in an architect’s office. It’s an architect’s office but there are other people working there, like industrial designers, product designers and interior architects. Their approach is very much people focused and at the end of the day it’s all about people. I think it’s important that we can feel something from an object or an environment. I know small scale and I know I like working in it but I have this dream of working on a big scale as well so I’m going to see if I can do it, I’m going to try. It’s a challenge definitely so it’s scary sometimes but also it’s really exciting, really exciting. On collaboration

Group projects can be amazing and also very challenging. Our last collaborative project was a sustainability one. We were all given pieces of junk at the start and told to research them and where they came from, are they recyclable? and all this kind of thing. We did lots and lots of concept generation and sharing of ideas. I was in a group that was looking into recycling and recycling centres. We looked at the Poolbeg Incinerator in Dublin. We came up with a proposal to build a new sorting facility there. It would have an area for companies to dump loads of plastics and excess bits and pieces and there would be access for NCAD students to wander down there and get loads of material for free and just use it up. On experience

What we are being taught is how to observe and how to look at the world around us in a different way, in a different light. We are I want to be doing things that definitely improve the user experience or the collective looking in-between things and sometimes when we look in-between we go ‘Wouldn’t experience. For instance Thomas Heatherit be interesting if I put that in there?’ It is wick has a concept of a bridge across the Thames that’s also a garden. The whole thing nice creating something for its longevity and is covered in plants and trees and the idea is it is important that somebody can become that it’s just a slow way of getting to work or attached to it, whatever it is a place or an oba slow way of getting somewhere. That’s the ject, a love for something is really important. way I would like to work with ideas of a space On the future

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 6th Feb 2015 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 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 Product Design or one of our other Design masters. See page 89 for more details.

73 Interview: Jane Gleeson, First Year, Visual Culture

Jane on Visual Culture

I did a lot of things before I decided to choose Visual Culture at NCAD. Originally I studied History of Art and then I thought I wanted to go to Art College but struggled with producing art. For the first time ever this course was one that instantly appealed to me. It was

unlike other visual culture courses that I had looked at, they were very business and administration based. While for others you needed to do some aspect of art and art production. This one seemed very creative and productive and designed for working in the arts industry. On connecting with artists and designers

The environment, the visual culture of NCAD is alive. We’re encouraged to connect with the studio based students because eventually we will be working with them quite closely say as curators or gallerists, we are going to help promote their work. We are getting to know these artists of the future. I am hoping to get into journalism because that’s another aspect of what we do. For some reason I have been concentrating on Design a lot. Most of my class actually seem to be going along the route of Fine Art and Art History but I have chosen the Design path and for most of my recent assignments I have actually looked at things like fashion and architecture.

photography and Terry Richardson who would be seen as completely opposite to her. I got really interested in Terry Richardson’s aura and his attitude to his working environment. Is it his celebrity status that people are trying to attain? Do people hire him because he’s controversial? You know, everybody wants a bit of the limelight, the money. On research

Well our library is fantastic, I found a book in the library about Terry Richardson’s first solo exhibition called Terrywood. He was originally a fashion photographer and is very interested in Hollywood glamour. You could really see that from his exhibition. We are encouraged to be more critical about things as opposed to giving our personal view on it, but I don’t know sometimes I think I like to see a personal review of something. I suppose you need to stay on top of your game. In Ireland for example Dublin is probably the perfect place to be because we are constantly going to exhibitions and we are constantly learning and interpreting the visual world. Of course what’s going on outside We were asked to research some- of Ireland is extremely influential thing that we were interested in to what’s going on here as well. and I chose Diane Arbus and her On future paths

On her current project

Visual Culture Ba (Hons)/MA Duration: 3 Years BA (+ 2 Years MA) Places: 25 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) Visual Culture/(MA)

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 interactive and popular culture. 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. This is a new degree available in NCAD for the first time 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 Visual Culture History of Visual Culture Introduction to Professional Practice History of Art & Design I Technologies of Visual Culture Year 2 Visual Culture II Professional Practice II History of Art & Design II Understanding Digital Culture Culture & the Market Year 3 Work Placement Research Methods for Visual Culture Curating Contemporary Art & Design Professional Practice III Final Project

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 modern and contemporary 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. Future 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 in one of a number of MA programmes: MA Art in the Contemporary World or MA Design History and Material Culture. See page 89 for more details.

79 Interview: Alanna Galvin, Fourth Year, Education

I don’t want to just be an artist, I want to be an artist that works with people. I absolutely love teaching. You can get a real energy from other people. Talking to them about their ideas can spark off your own ideas and feed into your own personal work, there is a Allanna on teaching

Mary Devenport O’Neill, Tracy Brady, Orlaith Ross, Aoife NiCheannabhain, Michelle Brady, Aideen King …

kind of symbiotic nature between my work and teaching. When you are out teaching and on placement you have to really reflect on your work as a teacher and analyse each class, that makes you analyse and reflect on your personal practice as an artist as well. You are encouraged on the course to learn about the world through the lens of art, to get a new understanding or perspective on it. Your pupils will then come out with their own opinions on certain topics through their own art work. So it is a great access point to learn about the world. On inspiration

Sometimes I get inspiration from the pupils themselves and their personal interests and thinking about what they are interested in. Sometimes they might say something and it will spark me off as well, or it could be something they are learning in other classes. They could be learning about a topic in science or a poem in English or something like that. On science

There is so much in Science, like the elements, crystals, compounds they are just amazing. It’s the route of everything and can send you in so many directions. I did Chemistry and Biology in school. Even in my portfolio there was a lot of chemistry elements to it. I would get metals

and react them with different acids and make my own mixes and make experiments through both art and science, I learned a lot from that. I am currently working with the periodic table and the atomic structures of all of the elements, where they come from and what they are used in. A lot of my work has been designing how they should look and what kind of composition they could have, I’m redrawing them. On technique

I usually do my paintings in acrylics and then oils and then I did a few in watercolours and I really liked them, there was a freedom and a kind of a naturalness to them. I want people to see the elements in a new way. I can’t help but think about the materials I am using to make my pieces, that is what I am physically using to make them. I am drawing them from carbon and I have carbon paper and there is titanium oxide on the boards and I keep thinking of all the elements and compounds that I am actually using or making and it really gets you thinking, learning. That’s the thing about teaching, you never stop learning yourself. It makes you make, it makes you want to make and that’s the best way to learn something. It’s infectious actually. On what’s next

I want to go out and teach.

Design or Fine Art & Education BA (Hons) Duration: 4 Years Places: 25 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 6th February 2015 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 MA or 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, bronze-casting 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

mfa design

The MFA Design provides an interdisciplinary scholarly framework for students who wish to master their design discipline in a studio setting.

A major objective of the masters is to production of a major studio project for exhibiprovide an environment that is broad, tion, commission or industry application. Students develop a personal creative and professional identity yet with enough rigour and focus to and proficiency in design and technique, and learn enable students to engage with the through a mixture of workshops, lectures, tutorials challenges of contemporary creative and, most importantly, through their own creative practice in the design professions. The practice as emerging professionals. programme encourages students to Opportunities to Engage integrate research, creative practice and critical theory, leading to a body The MFA Design has extensive industry links and a visiting lecture programme of leading industry and of professional work that positions creative practitioners, the programme aims to create the student on an international stage. a cadre of students with the entrepreneurial skills to The programme aims is to create become employers as well as employees. a design culture that thrives on new Student work is exhibited through work in progress and final shows, all are encouraged to ideas, new ways of doing things exhibit their work in appropriate gallery and and new areas of exploration. We encourage our students to experiment industry contexts. Students have the opportunity to undertake short placements and live projects and take risks in order to trace new with cultural and industry partners working with aesthetic paths and make technical fellow students across the College. innovations within and beyond their design discipline. Facilities What to Expect The MFA Design is a two-year taught studio programme across a range of design disciplines with distinct pathways in Product Design, Communication Design, Fashion Design, Textile & Surface Design and 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

The College offers an excellent range of supports and facilities for realising work. MFA Design students have access to individual work space and workshops as appropriate, students also have access to an experienced team of workshop technicians as well as other College facilities such as the Edward Murphy Library and the National Irish Visual Arts Library (NIVAL). Other College facilities includes 3D printing, 3D Scanning, CNC routing, laser cutting, digital print, screen print, transfer print and weaving, computer-aided weaving and multi-head embroidery.

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 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 (acting) 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 (acting) 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.

MFA Design Two-year taught studio based masters degree

Programme Contact David Bramley, Design School Administrator bramleyd@ncad.ie

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.

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

msc Medical Device Design

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).

After Your Degree

Eligibility

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, Cook Medical, Dyson, Boston Scientific and Trulife.

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.

Programme Leader What to Expect

Opportunities to Engage

The programme consists of 9 modules combining taught modules and studio based project work. Week long intensive modules in Biomechanics and Rehabilitation Engineering are taught at UCD. Basic Medical Science is taught one afternoon a week at TCD for the first semester. Bioinstrumentation, Human Factors and History of Medicine are taught modules delivered at NCAD. 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. Final designs are usually presented to senior company management. 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. 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.

Our industry partners include medical device companies such as Cook Medical, Hollister Tyndall National Institute, Stryker and Neo-surgical. There is an opportunity for students to work with these companies along with hospitals and other institutions during the course. The progammes’s academic partners are UCD and TCD. 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.

Facilities The programme is based in a dedicated Medical Device Design Studio on the NCAD campus on Thomas Street in Dublin’s city centre. There is access to a workshop with prototyping facilities such as 3D printing, laser cutting and CNC, students also have access to Solidworks software.

Enda O’Dowd BSc. MSc. – Lecturer and Course Coordinator Medical Device Design 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 sustainability and human behavior.

MSc Medical Device Design One-year taught masters degree

Programme Contact Enda O’Dowd odowde@ncad.ie

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.

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

mFa fine Art

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

The advanced study required at masters level will On this programme we are interested as visual artists be significantly informed by contemporary practice in discussing, making and framing those things that based co-ordinates delivered by Dr Declan Long and Dr Francis Halsall and complimented by leading encourage you to look or listen again - the things staff and professionals in the field, including artists, that alter how you see the world – things that you curators, writers and those from other relevant and we mentally refer to and reflect upon. This is backgrounds. There is a weekly commitmnet to crits advanced in relation to negotiating and developand discursive forums, trialing forms of student ing your personal inquiry in the visual arts and in presentation in a supportive peer environment. finding new ways of externalising, modelling and The MFA Fine Art is offered through the connecting this knowledge to the professional field disciplines of Fine Print, Media, Painting, Sculpture, of the visual arts and in relation to people, situations Textile Art, and Ceramics & Glass. and peers. Of course the roots of and routes to creative The School also offers: contemporary art practice are complex, nuanced, MFA Art in the Digital World, for students who wish particular and rarely encountered as a straightforto explore how contemporary art practice responds ward progression. This taught masters in Fine Art to the digital world and gather the skills needed to (MFA) offers a means to connect into the moharness the creative possibilities provided by new mentum, energy, ambition and opportunity that technologies. this changing contemporary culture offers. This is achieved through the structuring of your active MFA Art in the Contemporary World (with the participation in a discursive and ‘open source’ peer School of Visual Culture). Students who successfully enviromment of trial and test, where creative risk complete the taught elements of the MA Art in the taking is supported alongside the professional Contemporary World can proceed on the basis of a development of the artist. suitable portfolio to a second year of studio based The spine of this programme is centred upon an interdisciplinary experiential art practice engage- study towards a MFA degree. ment with strands that explore research methods and contemporary practices. The programme affords Opportunities to Engage pathways to deepen and broaden cultural perspecThese programmes have their foundations in a tives, building both specialist and more broad based consistent commitment to the ’publication’ of platforms for inquiry, accessed from across a specpractice through exhibittion. These moments trum of perspectives on offer. The course will also of public exhibition come both through clusters foster your ability to know and to name the kind of testing work within and outside the academy, of knowledge being produced and has a written but also in the public exhibition of the student’s reflective component through which you will be major research project at the end of their studies. helped to critically contextualise your art practice. These exhibitions have been developed in different

What to Expect

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.

Programme Team

Facilities

MFA Fine Art/ MFA Art in the Digital World /MFA Art in the Contemporary World

Each area of specialism - painting, sculpture fine print, textiles, ceramics & glass, digital world offers on-going studio supervision and key tools for the production of art work of the kind you would expect – studios, technical support, well equipped workshops, spaces to test practice beyond the studio. Each area shares bookable digital resources including cameras, sound and projection equipment. Students are offered studio spaces amongst peers where dialogue and experiment can be fostered. NCAD possesses a superb contemporary art library that is recognised as a national resource.

After Your Degree Masters study is becoming ‘the new normal’ in terms of those wishing to be active players and participants across culture. Many of our students have developed an entrepreneurial ability. Our graduates can be found as artists and exhibition makers, studio group initiators, residency holders, writers and commentators, teachers and lecturers, award winners. The course has a vivid alumni of practitioners. Some students have chosen a practice based PhD Pathway. Dublin and Ireland have a vibrant visual arts sector that embraces contemporary art museums, formal gallery spaces, private galleries, artist initiated/artists run spaces. Dublin is home to a smart dynamic, curious, friendly and youthful population which contributes to its reputation as an active, engaging and outward looking, connected European City.

All staff across the Fine Art area have national and international profiles in relation to their work. These encompass a wide variety of specialisms and skills across a spectrum of contemporary art practice. The on going effort to resource their research, to develop and exhibit work and to be a part of contemporary debate in all its forms, are all understood as critical to contributing to effective and informed teaching. Programme Leader: Professor Philip Napier, Head of Fine Art at NCAD.

Two-year studio based taught masters degree

Programme Contact MFA Fine Art Philip Napier napierp@ncad.ie

Programme Contact MFA Art in the Digital World Leah Hilliard hilliardl@ncad.ie

Programme Contact MFA Art in the Contemporary World Dr Declan Long/ Dr Francis Halsall longd@ncad.ie / halsallf@ncad.ie

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. 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.

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

Professional Masters in Education (Art & Design)

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 teaching qualification 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.

Facilities The PME is based in the Education Faculty NCAD where a home –room and workshop facilities are provided. A feature of the PME is the group collective experience, with peer teaching and learning a prominent element.

After Your Degree 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.

Programme Leader

Eligibility

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.

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.

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”

Professional Masters in Education (Art & Design) Two-year taught masters degree

Programme Contact Dervil Jordan jordand@ncad.ie

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.

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

ma Socially Engaged Art Further, Adult and Community Education

What to Expect The MA Socially Engaged Art (SEA) is a two year, Level 9, taught masters degree focusing on the dynamic relationship between socially engaged arts practice and pedagogy. Embedded in this programme is a further education teaching qualification, necessary for those considering a career as a teacher or facilitator of learning within an increasingly diverse further education sector. 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. 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 MA is provided through taught classes in NCAD on two evenings per week, students are required to undertake a practicum within a formal and informal educational setting with some additional day-time blocks for workshops, field trips and seminars. In Semesters 2 and 3, students also engage in practice placements. Semester 4 centres on student-led research through a major project. Students critically engage with the creative and pedagogical approaches learnt on the course, building a capacity to research, plan and develop a significant body of self directed work.

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.

The programme offers two rich rewards to graduates: 1 2

A fulfilling academic experience in socially -engaged practice, incorporating practical applications and theoretical reflections; and Professional qualification for teaching in the Further Education sector, accredited by the Teaching Council of Ireland.

Opportunities to Engage The MA in Socially Engaged Art offers a range of engagements off campus. As well as the practice placements, NCAD has established working relationships with a range of community and education organisations. In particular, key organisations in the Rialto area of inner city Dublin offers students the opportunity to immerse themselves in rich sites of context based learning. Another feature of the course is a field trip to Donegal/Derry where students are exposed to a range of cultural and arts practice operating in a cross border context between Northern Ireland and the Republic of Ireland. The course is committed to staying connected to the international field of Socially Engaged Art and in Year 2 of each rotation, the student group connects with an international artist or organisation to engage in a critical enquiry into key issues that face their practice. For example, the staff team are currently developing a relationship with The Stockyard Institute in Chicago to develop a critical project for the current student group. Additional inputs to the course include an annual live screening of the Creative Time Summit from New York and a range of other external connections.

Facilities

Eligibility

The MA SEA is based on the NCAD Campus in Dublin, where lectures and seminars are located and workshop facilities are provided. A feature of the MA SEA is the group collective experience, with peer teaching and learning a prominent element.

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.

After Your Degree

The MA SEA is a new course in 2013 and currently in its first rotation. However it 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 many others moving on to work in arts administration, arts management and within the community and voluntary sector. Graduates are also eligible to progress to PhD, or professional development opportunities.

Programme Leader / Team The MA SEA has a strong staff team combining established practitioners from the field of socially engaged arts with core NCAD Etducation staff. The course is directed by Professor Gary Granville and coordinated by artist Fiona Whelan (G Dip., MA) and Nuala Hunt (MA,MSc,G.Dip), Head of Continuing Education in NCAD. Other staff include: artists Chris Maguire, Glenn Loughran, Ailbhe Murphy, Marie Barrett as well as adult educator Anne Gallagher and community worker John Bissett.

MA Socially Engaged Art Two-year taught masters degree

Programme Contact Nuala Hunt huntn@ncad.ie

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

ma art in the Contemporary World

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

Facilities

MA Art in the Contemporary World

Students have access to an incredibly wide range of resources. As well as having access to the National Irish Visual Arts Library (housed on site at NCAD) and the NCAD library, the most extensive collection of art and design books and journals in Ireland, students have access to Trinity College Library and all libraries and collections which are part of the ALCID network.

One-year taught masters degree (A part time option is also available)

After Your Degree

Course content is divided into four thematic The course offers an opportunity for strands: (i) ‘Practices’ explores the range of current focused engagement with the varied international art practices; (ii) ‘Situations’ is challenges of today’s most ambitious comprised of elective options addressing social art, bridging the relationship between and cultural contexts for art practice today or theory and practice by creating occasions of interdisciplinary crossover with other fields (iii) ‘Theories’ is a series of seminars focusing exciting study options for artists, on key theoretical approaches relevant to contemcurators and writers. We welcome porary art; (iv) ‘Writing’, which explores different graduates from a variety of backmodels and strategies for writing on art. grounds, including: fine art; art Students on the MA Art in the Contemporary history; philosophy; literature; World take two taught semesters and then embark film studies; architecture; commuon a period of independent research. nications; or design. We are actively interested in recruiting from across Opportunities to Engage Art in the Contemporary World regularly collaba range of disciplines in order to orates with key cultural institutions in Ireland, generate a dynamic mix of student running courses and events with the Irish Museum research interests.

What to Expect Art in the Contemporary World is a taught MA 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, bridging 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.

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, 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.

Graduates from the MA 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.

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 Ireland’s leading contemporary art venues. In 2013 he was a member of the judging panel for the Turner Prize. Dr Francis Halsall, MA PhD Francis is co-director of the MA Art in the Contemporary World and a lecturer in 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 thinking, writing, talking, 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.

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Programme Contacts Dr Declan Long / Dr Francis Halsall longd@ncad.ie halsallf@ncad.ie

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.

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

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.

What to Expect

Facilities

Through seminars and guided research, students are equipped with skills enabling them to conduct research on, analyse and write about the material world in its various historic and contemporary contexts. The duration of the programme is 12 months for full-time students, and 24 months for part-time students. Full-time students attend lectures on Mondays and Fridays while part-time students attend on Fridays in Year 1 and Mondays in Year 2. Students attend classes from September to June. Full-time and Year 2 part time students submit a major piece of work in late September.

Students on the MA DHMC have access to an incredibly wide range of resources. Students benefit from close relationships with artists, designers and commentators, together with curators and archivists in many museums and archives, including for example the National Museum of Ireland and the Victoria & Albert Museum, London, where behind the scenes visits, object handling sessions and seminars delivered by curators give students access unrivalled access to collections and relevant expertise. As well as having access to the National Irish Visual Arts Library (housed on site at NCAD) and the NCAD library, the most extensive collection of art and design books and journals in Ireland, students have access to Trinity College Library and all libraries and collections which are part of the ALCID network.

Opportunities to Engage Alongside interacting both formally and informally with studio staff and students in other departments at NCAD, MA DHMC students benefit from external engagement arising 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 National Library of Ireland, UCD School of Art History and Cultural Policy, NUI Maynooth Department of Anthropology and others. Some students wish to gain relevant work experience and the DHMC course team has been instrumental in assisting them in organising internships at appropriate institutions.

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 in educational roles within the university sector, galleries, museums, government bodies responsible for arts/craft promotion, historic houses, while others are engaged in further study. As well as engaging in further academic studies, many students return to their previous roles in the fields of design, film, art and museum management, while other students pursue new roles in publishing, curatorial practice and design related roles.

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. All members of staff have published extensively and presented at numerous conferences. Dr Lisa Godson, MA PhD, Course Coordinator (acting) 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) 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 University Press 2015), Art and Architecture in Ireland (Royal Irish Academy, Yale University Press 2015) and Allgemeines Kunstlerlexikon (De Gruyter).

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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 the interaction between people and objects during the eighteenth century and has published extensively, she recently edited Love Objects: Emotion, Design and Material Culture, a collection of essays published by Bloomsbury Academic Press in August 2014. Anna was a member of the Editorial Committee of Artefact journal and is now a member of the Editorial Committee of Irish Architectural and Decorative Studies.

MA Design History and Material Culture One-year taught masters degree (A part-time option is also available)

Programme Contact Dr Lisa Godson godsonl@ncad.ie

Application To find out more about the entry requirements, application process and tuition fees visit www.ncad.ie/study-at-ncad

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107 Director’s Statement: An expanding academy: ‘A New NCAD’ Quotes from an extended interview with Prof. Declan McGonagle, the Director of NCAD, An tOllamh Declan McGonagle Stiúrthóir.

When I came to the College in 2008, I picked up on a definite agenda for change. My sense of the College and the culture in general was that it needed to question a lot of the inherited models of practice. There needed to be a shift in the inherited basis of educational Declan on learning

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

learning – what it’s for? And who it’s for? And what are the models that are being promulgated within the educational process about who and what an artist designer is and what art/design is for? NCAD is a leading college in this culture. It is the National College of Art and Design and should be the place that leads change and leads argument and discourse around change in response to a changing world.

users, that it creates value. It’s a downstream issue as well as an upstream issue. It’s about application and engagement wherever the work finds or creates its place as art and design, or negotiates its place in the world. On our connection to the world

Agility and negotiating skills, communication skills, critical thinking, real world understanding and experience are just as important for the artist/designers of the future as holding the pen, pencil, brush or stylus. This On department models I wanted to challenge any idea that education was only is not to say skills don’t matter but is to say that what is about skills acquisition, and that you acquire the skills important is why you use these skills. This must include and then work out what to do with them. For me, this an understanding of where these skills have come from. inherited institutional model, despite the work of indiIt is impossible to pick up a certain kind of paint brush and not be connected to the Renaissance. The Painter viduals to challenge this, was even reflected in how the Jackson Pollock was asked why he didn’t paint nature, departments were named - mostly on the basis of and he answered ‘I am nature’. It’s that kind of learning. a medium. You can’t say ‘I am skilled so now I’m ready for the world.’ They’re named on the basis of how, not on You should already be in the world in Art College. That’s the basis of why, and some of the questions I asked, was ‘What if we had a Faculty of Time, a Faculty of the Body, the feeling I would like to be present in the College so that it is not understood as a rehearsal space. That’s the or a Department of City,’ with the learning which took place then starting with a theme rather than a medium? change in this era that we should be about. We should design the institution to enable that and still fulfil our Our subject should be the world, it should be what ‘s obligation as a state institution drawing down public going on and how students and graduates are equipped funding. The task in this period is to create the instituto negotiate what’s going on. On learning challenges tional model that survives as an institution in a very In terms of tangible procedural matters, I started conver- difficult period but does not suffocate the creative dynamics that need to be present also. sations with the Heads of Faculties about a response to On culture the Bologna Agreement. I was very curious to learn what Heads thought of this which is essentially a pan European My definition of culture is what people make and do to add value to the quality of their lives. For me, therefore, agreement about the mobility and legibility of qualifiit can take any form and it can be present in any place. cations. The college operated a 4+1, 4+2 structure. If Bologna could be interpreted as 3+2 what would that be That learning isn’t just present in College nor only in the like? As research I read a number of texts, one by Edward museum or cultural programming. This brings us back to the fundamental question of ‘What for?’ and ‘Who Bird, and for me he absolutely pinned the central issue for Art and Design – that the reason why Art and Design for?’ Because NCAD is a public institution, those quesEducation was weak in the field, and, therefore, weak in tions should be absolutely central for us. The connection the culture was because Art and Design in education had with UCD in the existing alliance and in the proposed not embraced the research agenda the way that other merger gives us access to a suite of humanities and lab (studio) based disciplines had, like architecture and science disciplines that we could not provide unilaterally. medicine. If negotiated and developed strategically this period of The issue for me was not about 3+2 itself but change can be turned into a fantastic opportunity for the question of what is the role of Art & Design in the students and researchers. culture and in the society now and in the future. The On new knowledge model of a nineteenth century artist or designer as the I’m beginning to use the word ‘street’ to capture that signature solo genius, cannot and should not be the only sense of ‘Beyond College’ as a transitional space. The idea model we provide for today, and NCAD’s provision is of ‘street’ needs to be in the academy and the academy indeed wider than that. It’s not a question of erasing needs to be more in the street. These spaces represent that inherited model but it is a question of adding other different kinds of knowledge, different kinds of learning models to it. which can meet here in this institution. That is a dynamic moment, because it’s bridging to new fields rather than On value What we have to understand is that this inherited model bonding within the existing fields. I am much less interfocuses on production and the necessary skills to produce ested in an art or design process that is surrounded by artefacts and products. Production therefore seems like what we know already. the end game. This means that value can only exist in NCAD should be about generating an ecolothe studio as metaphor for production in general. But it gy within which students/graduates are empowered to is actually only when work comes out of the studio and explore what it is they don’t know! into the distribution zone where it meets its public, or its

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? Why NCAD?

Studying at NCAD is about your journey as a student which we hope will be full of delight and discovery. We hope you will be enriched by the experience of working within a creative community, exploring your own creative response to the world around you and being actively engaged socially and culturally with your peers and the wider world. It is about excellence in art and design. We encourage diversity and difference in our students in an environment that will challenge your creativity and talent. Our goal is that you will graduate with the skills, knowledge, and ambition to flourish in your chosen career. There are many reasons to choose NCADâ&#x20AC;Ś The National College of Art and Design has been the most significant provider of Art & Design education in Ireland for over 250 years. Our Thomas Street 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. Our campus facilities include; studio space, lecture theatres, the Edward Murphy Library, the National Irish Visual Arts Library (NIVAL), the NCAD Gallery, Origin8,an incubation space for start ups, the student concourse and studentâ&#x20AC;&#x2122;s union area, the student gallery, and Red Square for sunny days. The Luncheonette restaurant is a great new addition to the NCAD campus and to Thomas Street. Created and run by NCAD graduate Jennie Moran, the Luncheonette provides wonderful food in a beautiful space at a very reasonable cost.

NCAD is a single discipline college, our focus is excellence in art, design and visual culture at undergraduate and postgraduate level an in research. You will gain a university degree, NCAD is a Recognised College of University College Dublin. You will be taught by a committed staff who are themselves experienced and practising visual artists, theorists and designers. NCAD provides a learning experience based on practical studio work combined with a theoretical context, you will be challenged intellectually and creatively. In NCAD you will experience small learning groups in studio, tutorials and seminars, we believe you learn as much from your peers as from your tutors and lecturers, and that the creative process is a collaborative activity. All students participate in end-of-year exhibitions or the Fashion Show. Students are also encouraged to engage in other student or staff-led initiatives and opportunities to enter competitions and exhibit.

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Careers, Employability and Real World Learning 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 professionalpractitioners, 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.

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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 Gazel, a contemporary homeware brand, and 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

Campus and Location Campus and location

NCAD is in a prime location right at the urban centre of the city of Dublin. The College campus in Thomas Street 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, are easily accessible to students. The College has its own gallery, itself a significant architectural addition to Thomas Street, and has programmed exhibitions, projects and events on the work of emerging artists and major Irish and international figures in art and design, including the work of historical artists and designers. The NCAD Gallery will play an even more important role in the learning scenarios now being planned and developed by staff and students from 2014/15 on. NCAD is a Recognised College of University College Dublin. This Academic Alliance has opened up possibilities for connections to be made and course activity to be shared or jointly created. Some of this shared and joint course activity is housed in Newman House on St. Stephen’s Green, in the very centre of Dublin and close to NCAD in Thomas Street.

Studio and Workshops All NCAD students registered on a studio based programme are allocated studio space and have access to extensive workshops. We believe that working in studio and workshop settings, within a staff tutorial and seminar system, enables the development of ideas, working methodologies, and competencies, to the highest level. Working in this way will also help you to gain a full awareness and understanding of how artists, designers and educators work creatively.

The Edward Murphy Library The College library has an unrivalled collection of over 93,000 books and exhibition catalogues. The major emphasis is on 19th, 20th and 21st century art and design, but material from a large number of other subject areas is also acquired. The collection is chiefly open access, but there are closed access special collections of rare and valuable books, and of materials relating to Irish art and design. The library subscribes to about 300 magazines and these offer an international view of the subjects taught in the college. Comprehensive back runs of many of these periodicals are available and the library’s bibliographic online databases gives access to these and others that we do not hold. Users also have access to a significant image database. They can download these images for study or teaching purposes. NIVAL The collection of material relating to Irish art and design is of major national importance and is used by researchers from Ireland and abroad. This is held in a special collection known as the National Irish Visual Arts Library (NIVAL), which is a partnership initiative between the College and the Arts council. A number of databases are available including one which has information on about 4,000 Irish artists. This is continuously updated. Learning Centre An important part of the library service is the Learning Centre. There is help here for users who wish to utilise the library’s bibliographic services. The catalogue of the library’s holdings is in computerised form. Access to this is available locally through the College website or on the internet, as are the library’s bibliographic resources. Introductory tours of the library are given to all new students. In-depth tutorials on information retrieval are provided for students who are commencing major projects and thesis.

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Within 15 minutes walk from NCAD / 5 minutes cycle from NCAD

Cross Gallery, 1

Smock Alley, 5

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

Monster Truck, 8

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 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

AD212 Product Design

AD215 Visual Culture

Applicants for September 2015 must submit a portfolio by Friday 6th February 2015 in accordance with the NCAD Portfolio Submission Guidelines 2015. Further information on the portfolio guidelines and on submitting and collecting your portfolio can be found on page 123.

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 2015 must submit a portfolio by Friday 6th February 2015 in accordance with the NCAD Portfolio Submission Guidelines 2015. Further information on the portfolio guidelines and on submitting and collecting your portfolio can be found on page 123.

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 closing date for Advanced Entry applications is 31st March 2015. 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 as Minimum Entry Requirements (page 120/121). other applicants. Mature students should include on their CAO application form information EU Applications on previous learning and/or any relevant work Applications from residents of other member or other experience that might support their states of the European Union (EU) are conapplication. Please send any supporting docusidered on the same basis as those from Irish mentation such as transcripts or CVs to the CAO residents. Information on entry requirements marked clearly with your CAO number. Mature based on school leaving examinations from other students who achieve a sufficient portfolio score countries can be found at www.nui.ie to warrant an offer but who do not otherwise meet minimum academic entry requirements International Applications will have an opportunity to matriculate on Applicants from outside the EU are welcomed mature years. These applications will be reviewed and will be considered on an individual basis. based on information and documentation Details of educational standard required and submitted to the CAO. and you may be invited to entry procedures can be found at www.ncad.ie/ attend for interview, you will be informed of the study-at-ncad/international outcome of your application in April/May. English Language Requirement Programmes are taught through English in the National College of Art and Design, therefore all applicants are required to demonstrate a high level of competence in English language. Applicants who have not passed English as a subject in the Irish Leaving Certificate or an equivalent Examination must provide evidence of equivalent competence in English language through their school leaving examination or matriculation examination or by achieving the minimum standard in a recognised English language test. Full details of acceptable tests and the standard required can be found at www.ncad.ie/study-atncad/international Age at entry to NCAD The minimum age for admission to NCAD is 17 years by 15 January the year following entry.

AD215: Mature applicants to AD215 Visual Culture should apply through the CAO by 1st February and should include on the CAO form information on previous education as well as any relevant work or other experience that might support your application. Please send any supporting documentation such as transcripts or CVs to the CAO marked clearly with your CAO number. Mature applications will be reviewed and you may be invited to attend for interview, you will be informed of the outcome of your application in April/May.

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Minimum Entry Requirements Minimum Entry Requirements

Undergraduate Degree Programmes First Year Entry 2015

Code/title

FETAC Level 5 or 6

5 Distinctions Full Award

6.2.2015

3 20

AD101 First Year Art & Design (Common Entry)

6 2

AD202 Design or Fine Art & Education

5 Distinctions Full Award

6.2.2015

6 2

OD3 OD3 – OD3

OD3 OD3 OC3 or HD3 OD3

OD3 OD3 – OD3

AD212 Product Design

5 Distinctions Full Award

AD215 Visual Culture

5 Distinctions Full Award*

6.2.2015

–

AD101 First Year Art & Design (Common Entry)

AD202 Design or Fine Art & Education

AD212 Product Design

3 245

4 25

3 30

Leaving cert minimum requirements Subjects* 6 Honours 2

6 2

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

Years Places

Portfolio submission

6.2.2015

fetac Entry Requirements

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FETAC Entry Requirements

AD215 Visual Culture

Other requirements

Must satisfy Maths leaving cert subject requirements.

Portfolio submission

6.2.2015

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

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. Applicants may be accepted on the basis of exceptional talent or industrial experience supported by a portfolio of personal work. AD101/AD202 & AD212 are restricted on the CAO system. Late applications will not be accepted.

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 6.2.2015

* 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:

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.

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.

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 NCAD Access Scheme programme you are applying for and asked to NCAD operates a supplementary admissions provide a reference from a tutor or other person. route for school-leavers with a disability or from The CAO application will allow you to include socio-economically disadvantaged backgrounds. up to nine course choices from different HEIs. Details of the NCAD Access Scheme are sent to You are advised to study the NCAD Prospectus all applicants who successfully pass the portfolio carefully and to consider how your previous stage, or in the case of AD215 Visual Culture, educational and other experiences relate to information is sent to all applicants. (The the programme of study you are applying for. Portfolio submission for AD101 and AD202 is Applicants who are shortlisted will be marked out of 1,000, the passing grade is 400.) asked to attend for interview and to bring a Applicants who feel they meet the qualifying portfolio of work with them. Interviews take criteria for the Access Scheme are invited to place in April / May and offers are sent out in make an application. NCAD reserves 15 places May/June. in Year 1 for Access students. To receive an The closing date for Advanced Entry Access offer you must meet the minimum entry applications is 31st March 2015. The first round requirements and have passed the portfolio / of offers will be made to applicants who apply interview stage. For further information visit by that date. After that date applications will www.ncad.ie/study-at-ncad 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 First Year 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 6th 2015 Important Note: The application process for Product Design has changed. For entry 2015 you should submit your portfolio by Friday 6th February (see Portfolio Submission Guidelines for Entry 2015, 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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Portfolio Submission Applicant Guidelines 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 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 6th February 2015. 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 When can I collect my portfolio? published on the website in March/April each Portfolios can be collected from NCAD for up to year, copies are also available from NCAD by 3 weeks after the end of the portfolio assessment. contacting the Admissions office (admissions@ You will be given information on collection dates ncad.ie). First Year staff run a number of Portfoand times. If you need to collect your portfolio lio Information Sessions in November each year. early please let us know and we will arrange Details will be posted on the NCAD website to 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 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 2014/15 on the College website www.ncad.ie/study-at-ncad/fees Student Contribution Charge The Student Contribution Charge has been set at €2,750 for September 2014, it is expected that this charge will increase for September 2015. If you qualify for the Free Fees initiative you must pay this fee. EU students who do not qualify for the Free Fees initiative must pay the full programme fee which includes the Student Contribution Charge. Information on fees can be found at www.ncad.ie/study-at-ncad/fees

College Studio Levy The College Studio Levy is a student contribution towards the cost of materials and equipment used by students in the studio and workshops. All studio based students are liable to pay the College Studio Levy which has been set at €100 for 2014. (This charge may increase for 2015). The College Studio Levy must be paid on registration in September. Additional Costs – Department Materials Levy Students will be required to meet the cost of additional materials and equipment. These costs will vary depending on the programme and year 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). Applications are made online and students who wish to apply for a grant are advised to apply early. You can start the application process before you receive your CAO place offer and have confirmed your acceptance. To find out more about the students grant and eligibility criteria you should visit the following websites: www.studentfinance.ie or www.susi.ie To make an application for a grant go to the SUSI online grant application system www.grantsonline.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.

The Student Contribution Charge may be Students from England, Scotland and Wales paid by the exchequer for students who qualify Students from the UK who register at NCAD under the Higher Education Grants scheme. may apply to the UK student loan scheme. Students have the option of paying the 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

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. NCAD’s full-time programmes are included on the register of approved programmes for non-EU/EEA/swiss students access to employment (the internationalisation register of the Department of Education and Skills). Portfolio Preparation Scholarship Programme Twelve scholarships are awarded by the School of Education to CEAD’s Portfolio Preparation course for pupils who attend designated Access schools. Contact Finola Mc Ternan, Access officer, mcternanf@ncad.ie for further details. Financial Assistance Fund and Childcare Support Fund The College operates a Financial Assistance Fund and a Childcare Support Fund for cases of particular hardship. Contact Finola Mc Ternan, Access Officer, mcternanf@ncad.ie for further details.

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Your Welfare 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. Much of the study related support for students with disabilities is financed through the European Social Fund for students with disabilities. 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. Learning Support The Writing and Research Skills Service forms a major part of the College’s support provision for all students who may have difficulties in the core area of writing and research skills. It is a comprehensive service that provides not only a support service for undergraduates and postgraduates in general writing and research skills, but, in addition, incorporates a specialist support service for students with specific learning difficulties. 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 the Digital Hub’s Learning Programme, specifically through the Future Creators Project. If you are a registered fulltime 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. 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.

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 support you in commencing a challenge through the Access Office. Contact mcternanf@staff.ncad. ie for details. Student Accommodation Students from outside the Dublin area are advised to arrive at least a week in advance of the beginning of the semester to allow them time to find accommodation. NCAD Students’ Union may be able to assist students in obtaining accommodation and provides a list of hostels. NCAD has no student residences and does not have an accommodation service. Student Medical Service A doctor attends the college during term time on three days each week. Student Counsellor A counsellor provides a confidential counselling service. 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

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 those from under-represented socio-economic groups. There are up to fifteen additional places available in First Year for the Access Scheme. Information Sheet and Application Forms for this scheme can be downloaded from the NCAD website: www.ncad.ie/study-at-ncad/undergraduate-year-1/ncad-access-scheme

Careers Advisory Service The NCAD Careers Advisory service is available to all our students and provides information and or contact Finola Mc Ternan Access advice relating to career choice, employment Officer for further details. 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. Students’ Union 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. 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.

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Events and Information

Important Dates for Applicants Important Dates for Applicants

Date

Event

Who should attend

8,11 &12 November 2014

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 2015.

26 November 2014

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 2015

First Year Studies Exhibition 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 2015. Applicants thinking of applying to First Year NCAD for 2016.

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.

March 2015

Portfolio Submission Guidelines for entry 2016 – www.ncad.ie Portfolio results and offer letters (September 2015) for AD101 First Year Art & Design AD202 Design or Fine Art & Education and AD212 Product Design

Postgraduate Symposium

Anyone interested in graduate study or research at NCAD

April 2015

Advanced entry interviews Year 2

May 2015

1 May – Late closing date for AD215 Visual Culture Advanced entry offer letters (September 2015)

July 2015

1 July – Closing date CAO change of mind

August 2015

CAO First Year offers

12 June 2015

2 July 2015

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.

Date

March 2014

Portfolio Submission Guidelines for entry 2015 – www.ncad.ie

November 2014

Portfolio Information Sessions for entry 2015 8, 11, 12 November 2014

November 2014

Wednesday 26th November – NCAD Open Day, 9.30-3.00pm

February 2015

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

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

Friday 6 February – Portfolio Submission deadline for AD101 First Year Art & Design AD202 Design or Fine Art & Education and AD212 Product Design

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enquiries

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

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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.

Enquiries

Telephone

Web

Admissions Office

+353 (01) 636 4200

admissions@ncad.ie

www.ncad.ie/study–at–ncad

International Enquiries

+353 (01) 636 4200

international@ncad.ie

www.ncad.ie/study-at-ncad

Debbie Reddin – First Year Art & Design and First Year Education Postgraduate – Fine Art , Design & Visual Culture Enquiries

+353 (01) 636 4203

reddind@ncad.ie

www.ncad.ie/study–at–ncad

Mary Sampson – First Year Product Design and First Year Visual Culture Advanced Entry Enquiries Postgraduate – Education Enquiries

+353 (01) 636 4206

sampsonm@ncad.ie

www.ncad.ie/study–at–ncad

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 Seliena Coyle, CEAD

+353 (01) 636 4214

cead@ncad.ie

www.ncad.ie/continuing-education

Aoife Slevin, First Year Art & Design Mellisa Ellis,Third Year Fine Art Print Avril Corroon, Fourth Year Media Michael O’Doherty, Third Year Fine Art Painting Cian O’Sullivan, Third Year Sculpture, Jeanne Dubois, Third Year Ceramics Max Fox Philips, Fourth Year Textiles Gwen Cunningham, Fourth Year Fashion Rebecca Maddock, Fourth Year Metalwork William Doherty, Fourth Year Visual Communication Aine Coleman, Third Year, Product Design Jane Gleeson, First Year, Visual Culture, Alanna Galvin, Fourth Year Education

Graduate Study and Research Margaret Phelan, Administrator

+353 (01) 6364362

phelanm@ncad.ie

www.ncad.ie/postgraduate

Director: Professor Declan McGonagle

Photography by Matthew Thompson Printed by Plus Print

NCAD Dublin

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

Student interviews by Bob Gray with Matthew Thompson