NCAD Prospectus 2014 by National College of Art & Design

National College of Art & Design

Prospectus 2014/15

Sinéad Onóra Kennedy, Fourth Year Fashion

Fashion is not just about wearing clothes, it’s a comment on the world. Nigel Holohan, Fourth Year Painting

It’s not painting, it’s making a painting. Diane Meyler, First Year Art & Design

Conversation about your ideas is one of the most important parts of inquiry.

Admissions Office, SS&A, National College of Art & Design 100 Thomas Street, Dublin 8, Ireland. Tel: 353 (0)1 636 4200 Fax: 353 (0)1 636 4207 fios@ncad.ie www.ncad.ie Office Hours 9.30am to 12.45p.m and 2.00pm to 5.00pm

Contents

Course information: First Year Art & Design (Common Entry) AD101, 10 Fine Art: Fine Art Print, 16 Fine Art Media, 22 Fine Art Painting, 30 Fine Art Sculpture, 36 Design: Ceramics & Glass, 42 Fashion Design, 50 Jewellery & Metalwork, 56 Textile Art & Artefact, 62 Textile & Surface Design, 64 Visual Communication, 72 Product Design AD212, 78 Visual Culture: Visual Culture AD215, 80 Education: Design or Fine Art & Education (second level teaching) AD202, 86 CEAD, 88 Postgraduate Studies, 92

About NCAD: Director’s interview, 96 Why NCAD?, 100 Careers, Employability and Real World Learning, 102 Campus and Location, 104 Map, 106 Application Procedures, 108 Minimum Entry Requirements, 112 Product Design Applicant Guidelines, 114 Portfolio Submission Brief Guidelines, 115

Finance and Fees, 116 Your welfare, 118 Events and Information, 120 Important Dates for Applicants, 121 Contact Information, 122

Interviews: Diane Meyler, First Year Art & Design, 6 Rian Coulter, Third Year Fine Art Print, 12 Gwen Burlington, Fourth Year Media/Joint Course, 18 Nigel Holohan, Fourth Year Fine Art Paint, 26 Darragh Coyle, Fourth Year Sculpture, 32 Meadhbh McIlgorm, Fourth Year Glass, 38 Sinéad Onóra Kennedy, Fourth Year Fashion, 46 Lara Mesanza Burke, Fourth Year Jewellery & Metalwork, 52 Orlagh O’Neill, Fourth Year Textiles, 58 Sarah Furlong, Third Year Visual Communication, 68 Stephen Williams, Medical Device Design (MSc), 74 Eileen Mooney, Fourth Year Education, 82 Quotes from an extended interview with Prof. Declan McGonagle, the Director of NCAD, 96

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.

National College of Art & Design

Prospectus 2014/15

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 & articulate graduates with an ability to creatively enrich culture, society and the economy.

Welcome to NCAD

Interview: Diane Meyler, First Year Art & Design

Artists and designers have, for millennia, designed for living and exchanged proof of existence for the means of existence.

Diane on process

In reality, the process of research could be endless. Iâ&#x20AC;&#x2122;ve learned that there is rarely one incredible idea that stands out alone because, given enough thought, any idea can become a great piece of work. Allumni: William Butler Yeats, Harry Clarke, Grace Gifford, William Orpen, Stella Steyn, Henry Pim â&#x20AC;Ś

On mistakes

When it comes to producing any final piece that might be required of the brief, I have accumulated a mass of research that backs up my entire thought process, and the origin of my ideas is evident. One thing that helps the realisation of an idea more that anything else is

knowledge and experiences, you’re led to more defined and relevant outcomes. Everyone has their strengths and weaknesses so it seems obvious that only by collaborating can you achieve the best results, lending your own skills and thoughts to the process. What you get is a pool of All mistakes should be recorded and ideas, the strongest of which float presented as equal parts in a project to the top and become apparent to final pieces. throughout your work. No great idea comes from one person’s On first year I’ve learned more about process, mind without their experience concept and research in First Year or influence from another source. than I’d ever known before. With On her final project each module different brief, experimentation, My final project is centred Observation,came analysis, a research, process, invention, making, materials, inspiration,on collaboration … a different set of tools and equiprevitalising the past, transforming book-making, and manipulation. ment to use, and a new way of seeing and making art. My idea of My research involved craft work art and design evolved as I gained using a scalpel to create textures a deeper understanding of concept and shapes on different materials, and how important it is to any manipulating typical structures project. When realising an idea, of books, and inventing new ways the thought process itself involves of using them. I explored such conbreaking down conventions and cepts as conventions in family hisexceeding the norms. I’ve learned tory, rumours and altered traditions new skills and experimented in of the past. I used my craft knife as areas that I’d never experienced much as my pencil, making paper before like print and metals. It was models and learning from mistakes. a quick moving year because every I consider the content of the reseweek brought something new, arch in my notebooks and worksWhat opposite which is exciting, and NCAD is al-is the heets as equally important as the of a fish? finished pieces at the forefront of ways an interesting place to be in. the final show. On collaboration Conversation about your ideas is one of the most important parts of inquiry. Through bouncing ideas off each other and sharing insights, discovering things that won’t work. This leads to new ways of thinking and it’s where some of my best ideas come from. I’d say making mistakes is not only enjoyable, but it’s imperative in any good, well researched work I carry out.

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, Print and AD101 Sculpture. It is also a gateway to studying Common Entry Design in Ceramics & Glass, Fashion, Common first year Jewellery & Metalwork, Textiles, and of Level 8 Honours Visual Communication. The working week is divided between Degree studio practice and Visual Culture. It is a full-time programme and runs over a five Places: day week, four days in studio and one day 200 in Visual Culture. When you arrive in NCAD you will be divided into random Applications: groupings and will share the studio with CAO AD101 First a wide mix of your peers. This is a great Year Art & Design opportunity for you to experience diversity (Common Entry) in art and design thinking and working Entry requirements: methods, and to discover your particular strengths. Leaving Cert: 2HC3 + 4OD3, What will I study? English, Irish and First Year begins with a period of interdiscia Third Language plinary art and design research, observation or Art and analysis. Your curiosity is our starting point. You will build on the work you or began in addressing the portfolio brief and the summer project. At the end of the FETAC: first semester you will choose to study 5 Distinctions within the Faculty of Fine Art or the Full Award Faculty of Design. The second semester is Faculty based. Portfolio This time will be spent working on projects requirement: which will help you choose your degree NCAD Portfolio discipline. You will then spend some time Submission Brief Friday 7th Feb 2014 studying in the Department supporting your chosen degree specialisation where you will undertake a series of skill acquisiDegree awarded: Common First Year tion projects and self-directed work. Education and Product Design leading to one of: students go through the same common First Year, the difference being that they BA (Hons) â&#x20AC;&#x201C; will have chosen in advance which degree Ceramics & Glass/ pathway they will take. Education students Fashion Design/ will decide through the course of First Jewellery & Metal Year whether their degree in Education Work/Textile Art will be in conjunction with Fine Art or & Artefact/Textile Design and with which Department in & Surface Design/ Fine Art or Design. Visual Communication/Fine Art â&#x20AC;&#x201C; Print, Media, Painting, Sculpture First Year Art & Design

The key areas of study in First Year are: Observation: descriptive, explanatory, analytical and inventive skills through drawing, making and recording. Materials: Development of the physical and aesthetic behaviour of materials such as paper, clay, wood, plastics, metal, plaster, wax, fabrics, card, pigments, charcoal, graphite, paint, commercial products and digital media. 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. 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. How will I be assessed? Assessments occur at the end of each module. In Visual Culture and Professional Practice assessment is based on essay writing and assignments. Formal assessment results are issued at the end of First Year. 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 the theory of visual culture there is an opportunity to take a Joint Honours Degree in Design or Fine Art and Visual Culture. Students make this choice at the end of First Year.

Interview: Rian Coulter, Third Year Fine Art Print

NCAD must resonate, engage and contribute functionally, economically and culturally to society.

Rian on process

My work starts off with photographic images I take on my camera phone. They’re images of fairly innocuous, everyday mundane objects. What I’m working on at the moment is the pavement and concrete. After water it’s the most used resource in the world. So I am documenting the different characteristics that concrete and cement can have. Aine O’Gara, Fiona McDonald, Joe Hanly, Catherine Bowe, Alice Hanratty, Piia Rossi, Catherine Lynch …

I transfer my images onto photosensitive metal plates, expose them under ultraviolet light and make

plates from using a chemical solution. The resulting black and white image is faithful to the photograph and can be inked and transfered to paper to create your printed image. On influences

When you print something, what you are getting is interference, interupption, a spontaneous result that you didn’t necessarily legislate for in the first place. You get happy accidents. The transfer, the transaction and reaction produces unique results and these become areas of discoveries.

What’s happening in the world is an inspiration for most people’s work. I don’t think you can just sit in your studio, pick up a pencil On progress There’s a definite distinction in and produce something with no reference. In general I think people how my work is progressing from are looking with a very critical eye skills to developing conceptual and intellectual acumen. A lot of towards materials and the built environment. We’re analysing and my work is to do with collecting Exploration, process, expression, reflection, research, develop, discover, engage, create & connect. in flea markets, car boot sales, junk examining how we use them as shops that kind of thing. My phone consumers. For example you can look at a Michelangelo or Carriva- is a fantastic resource, I have ten gio and admire the supreme execu- thousand photos in there. It’s all a tion and skill. You can easily appre- part of my artistic awareness. ciate this. Whereas, if you look at On NCAD Warhol, his output invokes a difI came in here only knowing one ferent reaction because it’s a social person and now I am about to commentary on fame rather than become vice president of the being evocative of social patterns. student’s union. NCAD is a very That’s the unique aspect of fine art. inclusive and welcoming environment. It extends to what Joseph On learning Critical thinking in NCAD is really Beuys called social sculpture. People who create anything, be it unique. You’re not just learning something somebody else has a cake or dress or whatever, if they done, you’re trying to produce it with care How can youdo reference the and conviction and something of your own.everyday urban in their own way then they are a landscape sculpture and contributing in yoursocial work? On print One of the appealing aspects of to everyday life. This is something Fine Art Print for me is the diffeI am very conscious of in my work, rent processes you can work with; I am a stakeholder in the cultural copper etching, lithography etc. momentumum of the country.

Fine Print is a central discipline within the Faculty of Fine Art that spans the autographic (hand-drawn) arts, mechanical reproducBA (Hons) Fine Art/(MFA/MA) tion, and digital media. Fine Print overlaps with a broad range of disciplines including sculpture, installation and media, whilst Duration: maintaining a distinct culture of its own. 3 Years BA (+ 2 years MFA/MA) What will I study? The Fine Print programme encourages Places: students to explore printmaking and 20 ‘expanded printmaking’, and seeks to develop each student’s creative potential. Applications: You will be encouraged to work across a CAO AD101 First range of disciplines. You will explore a Year Art & Design variety of modes of expression and visual (Common Entry) installation using a variety of techniques Entry requirements: and skills including: lithography, etching, screen-printing, monoprint, Photoshop, Leaving Cert: photography, Final Cut Pro, animation, 2HC3 + 4OD3, audio visual installation. English, Irish and a Third Language Year 1 – See First Year Art & Design pg.10. or Art Years 2 and 3 In the second year you will focus on skills or acquisition across a range of processes. The traditional processes of etching, screenprint FETAC: and lithography are explored as well as 5 Distinctions the most up to date approaches of digital Full Award imagery, large format ink jet, photography and multimedia. Projects are set with an Portfolio emphasis on the use of the appropriate requirement: process for the expansion of ideas and their NCAD Portfolio tangible expression. In Third Year the focus Submission Brief Friday 7th Feb 2014 is on using the skills and knowledge you have acquired to develop a personal art practice. You will develop a substantial Degree awarded: BA (Hons) Fine Art/ major project that will form part of your professional portfolio of work and which (MFA/MA) you will present in the final year degree exhibition. Fine Art Print

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, and some written examinations where appropriate. 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 supported by the Gaduate school for Creative Arts and Media (GradCAM).

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 futher two years of postgraduate study in one of a number of MA/ MFA programmes: MA Art in the Digital World, MA Art in the Contemporary World (Combined Pathway), MA/MFA in Fine Art. See page 92 for more details.

Interview: Gwen Burlington, Fourth Year Media/Joint Course

NCAD is a living culture of collaboration, visual expression and engagement.

Gwen on process

My work is all about my process, it’s not that I have fallen in love with an almost obsolete medium and that’s it. I just started to work with the material and so everything I shot had something to do with the material. It allowed me to have a lot of time to consider what I could do. John Graham, Daniel de Chenu, Robert Armstrong, Alan Butler, Angie Duignan, Atoosa Pour Hosseini …

The different methods I learned over the years have informed my choices but for me this medium suits this concept. I’m not doing this for the sake of it, or just because I like the film. Do I have to justify

everything? Do I have to have a reason for everything I do?

On her final show

One film from my final piece was when I shot out the back of a car driving I don’t think being a Joint around and echoing a girl hula hooping. Another is Course student effects your studio work. The stu- a girl on a trampoline who dio is always open, so you jumps in and out of the get a lot of time and learn frame. The final film capto set your own time fra- tures two people and their mes. Everybody works in movements playing table different ways, you kind tennis although my focus Observe, explore, discover, materials, scale, collaboration, dialogue, interact, analyse, curate & develop. here was more on the ping of find your own pace. pong balls and the materiI don’t think there is a correct process. The al they are made from. medium and area I have chosen to work in reflects The starting point behind my pace. all of this was to reflect the current uncertainty in the college which I was I think it’s important to writing about and it evolrespect other people’s methods of work and also ved into capturing the to talk to people outside movements of the people. of this world. I think it’s How can we explore, discover helpful because itand stops suppose challengeI new ways toI was trying to interpret the world?a conceptual idea you getting caught up impose over intellectualising onto my work but I didn’t your work. need to, it would have been too contrived. On being a joint course student

On influences

Fine Art Media is a discipline specific stream within the BA in Fine Art. We encourage students to explore and discover a wide BA (Hons) Fine Art/(MFA/MA) range of equipment, materials and methods that challenge the way the world can be interpreted and re-presented. We use comDuration: puters as a tool or catalyst to mash-up still 3 Years BA (+ 2 years MFA/MA) images, video, sound and anything else we can force into them. The programme uses a lot of technology as required but is not Places: dependant on it as students frequently 20 work across a range of traditional media. The role of the audience will be a key Applications: concern and you will be challenged to CAO AD101 First rethink preconceptions. Year Art & Design (Common Entry) What will I study? Entry requirements: Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 10. Years 2 and 3 Leaving Cert: In the second year you will develop your 2HC3 + 4OD3, interest and expertise in selected media English, Irish and and experience a range of hardware and a Third Language software to enhance your skill set. You will or Art also participate in group tutorials, seminars and workshops to enhance your conceptual, or critical and practical abilities. Individual tutorials are also a feature of the second FETAC: year. Photography, video, sound, computing, 5 Distinctions sensors and interactivity are just some of Full Award what you will experience. A day a week is devoted to studies in Visual Culture. Group Portfolio presentations are an important element of requirement: the programme. The department also offers NCAD Portfolio a range of extra master class workshops in Submission Brief Friday 7th Feb 2014 areas such as 16mm film making, medium and large format photography, special software applications, basic electronics and Degree awarded: BA (Hons) Fine Art/ sensor technology, traditional darkroom practice and special print processes. (MFA/MA) 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. Fine Art Media

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, and some written examinations where appropriate. 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 supported by the Graduate school for Creative Arts and Media (GradCAM).

25 Identifying new opportunities and imagining future possibilities in art and design.

What would happen if your notebook took on the characteristics of a bird?

Interview: Nigel Holohan, Fourth Year Fine Art Painting

The diverse voices, unified and ambitious aims of NCAD form an inclusive vision for the future.

Nigel on exploration

Time and patience are an important factor in my paintings. It’s funny I don’t really have a definite finishing point. The inverted paintings determine themselves, they’re finished when they reach their physical limit. Paul Doran, Séan Keating, Diana Copperwhite, James Hanely, Michael O’Dea, Sue Townsin, David Timmons …

This idea or process came about from my exploration of the physical properties of the paint and what it does. For example gloss paint has a skin like quality, so I would look at things that would relate to that physically. With acrylic I would

use a primer or support and look at their relationship with paint. How I weaken or strengthen the paint. If the paint was strengthened it could take on a quality like calf skin, this then questions how I would present it. Maybe hang it like a tapestry. I find the structure and theoretical confines of the medium being used and then On tradition re-question this and slow it Sometimes ideas come about from cutting and tearing the paint. down again. This would make me think of soOn painting mething else, something comple- The finished play is really enjoyabtely unrelated. Traditionally when le. It’s like working into a plain of Invention, storytelling, learn, potential, chance, engaging, potential, listen, renew, reflect & connect. you’re painting you would be wood or marble. You’re bringing looking at other styles and images, out the object’s personality. The I kinda look at the physicality of unexpected nature of it is what it and that’s what sparks my inte- makes it exciting for me. I don’t rest in other things. I used to work know what the outcome is going with a stone mason and the idea of to be, it takes on it’s own identity. layers comes from when I was bre- You’re not being too controlling aking the stone and the experience of it. It’s not painting, it’s making a painting. of playing with the material. look at layers I can peel off. It has a more robust feel, so I can mould it and make impressions and shape. I let the paint determine what I can do and relate it to other things, skin, textiles, materials, geological formations. By looking at other I things I can figure out what I’m going to do with the paint.

On the future

I had it in my mind to teach when Next up for me is to apply for I came here first but once I started awards, residencies or bursaries, whatever I can. Try and get into to get into the process of college my interests and drive was always exhibitions and experience life to slow it down, make things, cut outside of the academic environCankind contemporary boards, build structures that ment andart explore the potential of communicate and effect of thing and then involve this in my skills, make materials. Things people’s lives? my painting. may end up looking different but everything remains connected On process I’ve been focused on using the through the physical making of paint but if I was going to use objects. It’s what I do. another material I would probably

The Painting Department embraces the diversity of contemporary painting practice and possibility. The discipline of painting BA (Hons) Fine Art/(MFA/MA) in all its forms is supported in the context of evolving and expanding art practices. The course is rooted in investigation of Duration: painting’s unique tradition and history and 3 Years BA (+ 2 years MFA/MA) encourages new interpretation, innovation and experimentation. Every culture needs its artists and every artist seeks to change Places: the culture. Painting is an old tradition that 30 continually renews itself. Be part of the ongoing renewal. Applications: CAO AD101 First What will I study? Year Art & Design The discipline of painting will be your (Common Entry) point of departure towards establishing Entry requirements: an individual art practice based on your interests and aptitudes. The initial focus Leaving Cert: is on relevant skills and techniques of 2HC3 + 4OD3, painting and related media, and gradually English, Irish and extends to explore issues of content, a Third Language meaning and context. or Art Fine Art Painting

Year 1 – See First Year Art & Design pg. 10. Years 2 and 3 Year 2 extends the conceptual and techFETAC: nical aspects of your work as it gradually 5 Distinctions becomes more self-directed. Students are Full Award supported and guided by a staff composed of practicing artists. Year 3 students prepare Portfolio for BA (Hons) degree examination and prerequirement: sentation equipped with practical skills and NCAD Portfolio conceptual underpinning and supported Submission Brief Friday 7th Feb 2013 by a personal tutor from departmental staff. Seminars, group critiques, gallery visits, workshops, demonstrations, lectures and Degree awarded: BA (Hons) Fine Art/ visiting artists contribute to the course. Throughout the three years time is (MFA/MA) 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. or

How will I be assessed? Assessments occur throughout the programme at the end of each semester. Formal assessment results are issued at the end of each academic year. Modes of assessment include practical and verbal presentations and written assignments. 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. 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 supported by the Graduate school for Creative Arts and Media (GradCAM).

Interview: Darragh Coyle, Fourth Year Sculpture

We are enhancing and reforming how creativity is communicated and shared.

Darragh on inspiration

My inspiration stems from my dad as a pilot, his stories, my interpretation of them and the contrast between this and the truth. They are just different perspectives on the same story and this is echoed by my exhibition piece. I am interested in the objects, almost like a boyhood dream, the impossibilities. I am also interested in how others interact with the work, how they assign their own stories to the experience. Oisín Kelly, Oliver Sheppard, Amada Coogan, Gabriel Hayes, Corbon Walker, Kathy Prendergast …

On reflection

There’s been a couple of other things I have been playing around

with and reflecting on. It’s something I have been I found a birds nest in the doing since First Year. For plane. It’s really nice that example when I was down in something that flies found its the airport in Abbeyshrule I way into something else that was playing around videoing flies. I have also been looking the propellors and looking at toy planes. To paraphrase at how, despite their speed Barth, toys are just a miniain reality, on film everything ture version of real life adult had slowed down. This obserobjects. It’s all about scale, vation could not have been it’s a scaled fantasy. The adult found in any book. It was thinks of the child as a smaller by going there that I could self, which is interesting. So understand the real truth. I haveObservation, started to collect these Action action. I have Invention, experimentation, analysis, research, making,breeds process & materials. things and started to make to do something, each action things to help get my ideas is a conduit to the next. moving. I think it is good to allow yourself time and space I suppose a part of this is about to change as you work. what I should do in life. I’m kind of in a lost area where There’s a couple of other I am trying to grasp at soartists I would have looked mething. I am looking back at, and it’s important to to move forward. My original continue to do this. Their intention was to do paint but I ideas would be completely came to really become interesdifferent but you can learn ted in making and the idea of from their process. following processes of thought Can you connect yourdirections really into new ideas and experiences from I suppose I am always ta-the artworld appealed to me. My concept to the king pictures, looking at thereal world? development is, I believe, an imagery at home and trying approach I can bring and to create a bridge from these apply to other things. things to the abstract. On the future

On contextual research

On observation

Fine Art Sculpture Sculpture provides you with a framework to engage with contemporary art practices and to understand how you choose materiBA (Hons) Fine Art/(MFA/MA) als and processes of all kinds. Sculpture is idea led, meaning that you learn to make choices and decisions. This requires self Duration: motivation and determination and a will3 Years BA (+ 2 years MFA/MA) ingness to experiment and test ideas and actions and to connect experiences. Places: What will I study? 20 Our lives are complex negotiations with places, spaces and people, and Sculpture Applications: sits in this junction. This programme is CAO AD101 First about learning how we make work matter, Year Art & Design figuring out who it matters to, beyond (Common Entry) ourselves, and considering where we put Entry requirements: it to test how it matters both within the gallery and beyond it. Students will be supLeaving Cert: ported to create contemporary exhibitions, 2HC3 + 4OD3, make proposals, apply for postgraduate English, Irish and study, make and develop opportunity as a Third Language a way of meeting the world. or Art

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 Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 10. go on to become practicing artists in the or Years 2 and 3 field in Ireland and internationally. We The nature of art practice continues to have a record of our graduates becoming FETAC: change. It is not sufficient anymore to significant individual artists and players in 5 Distinctions assume one way of doing things. This prothe cultural field, in established galleries Full Award gramme will support you to consider and and other sites, and in becoming part of access different models and frames for prac- artist/creative teams. We have many vivid Portfolio tice centred around your own attitudes and examples of students self-starting and creatrequirement: by developing different skills and research ing residencies, studios, pop-up exhibitions NCAD Portfolio tools. It will encourage you to develop and all forms of cultural entrepreneurship. Submission Brief Our graduates are enabled to find imaginaFriday 7th Feb 2014 different perspectives and connections. It will teach you through engagement tive, creative ways forward in the rapidly with contemporary practices and debates. changing landscapes of our time. A number Degree awarded: of graduates also go on to postgraduate BA (Hons) Fine Art/ The programme will require you to make and do things that involve thinking and study, within NCAD and outside of Ireland. (MFA/MA) practice in tandem. Following on from a masters programme, In Year 2 and Year 3 there are exhibi- the College offers a practice-based PhD protion components and you are required to gramme supported by the Graduate school event work to a wider public. Within these for Creative Arts and Media (GradCAM). 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 Students can leave at the end of Year 3 with a BA analyse and situate your own practice, and (Hons) degree. Students who reach the approprithat of others, in the contemporary world. ate standard may stay on for a futher two years You will be helped to develop your skills in of postgraduate study in one of a number of MA/ visual literacy, expression and articulation. MFA programmes: MA Art in the Digital World, students study the connections between MA Art in the Contemporary World (Combined history, theory, and practice, in modern and Pathway), MA/MFA in Fine Art. See page 92 for contemporary contexts, in order to become more details. reflective and effective practitioners. We want to support your work and ideas practically and intellectually by helping to create

Interview: Meadhbh McIlgorm, Fourth Year Glass

NCAD graduates are inventing a new creative society, supported by a new creative economy.

Meadhbh on process and play

It didn’t start off like this. I was looking at fractals and light. I didn’t know what to do. I was looking at graphs and lines which led me to chaos theory and weather, which I guess led me towards structures I could modulate. Brian Keaney, Roisin de Buitlear, Karen Donnellan, Eoin M Lyons, Muireann Walsh, Sadbh McCormack …

My process started off simply looking at things around me. I started to play with inks in water. I wanted to capture that sense of movement in the structures. The viewer makes up the rest. I suppose I am interested in the things that aren’t really

there, emphemeral, transpa- know if I see them as drawirent things. ngs or not. The big thing for me is how they work with I’ve called this series of work light and shadow and the ‘Intangiable Objects’ as they possibilities that brings. are only completed when you see them in light and From the beginning the work with the shadows they gene- that I found myself drawn to rate. Then they are a finished was in colour and shadow, so glass seemed like an obvpiece. I spent the first half of this year lost, not knowing ious choice for me. I love what I was doing but know- making things, it’s addictive. ing I wanted to explore. Once I love the results, that I can Skills, technique, experimentation, making, process, materials, research, development & opportunity. I made my first version I was mess around with things, then able to experiment with you know, just having a go. There’s freedom to play and the idea more and more. I played with different moulds, enjoy the materials, it’s just fabrics and forms and other really versatile. reflective surfaces. The pieces started off by hand. By using different temThere are a lot of varied factors in my experiments peratures I could fuse them which brings me back to together in different ways. my original ideas of fractals Some turned out too fragile, but it made the results more and chaos theory. I really organic. Once the fabric like that unpredictability Using our process, curiosity, mould is fired and crumbles in each one of the pieces. and invention can we make away, the form is revealed. Each time I make one it is a better society by making They work best viewed from completely different. It’s better re- things? ally organic. A lot of people eye level, they look tangled and the space inside becomes have told me that they are really important. like big drawings. I don’t On her final year project

On making

On finish

On glass

Ceramics & Glass BA (Hons)/MA Duration: 3 Years BA (+ 2 years MA) Places: 10

Ceramics & Glass at NCAD embraces different types of creative practice from design for manufacture to the unique crafted art object or architectural installation. The programme aims to help you develop your artistic and design sensibilities. Time spent in the studio and workshops will heighten your ability to create, design and translate ideas into ceramics and glass.

What will I study? The programme takes the position that designing from a deep and sensitive knowledge of a material means that you are able to more effectively translate that Entry requirements: experience into other materials and disciplines, either during or after your studies. Leaving Cert: Through an informed practical knowledge 2HC3 + 4OD3, of materials and creative processes, you English, Irish and will challenge conventions and apply your a Third Language skills in a way that will continue to present or Art new opportunities for you as a contemporary artist, maker and designer so that your or work will enrich people’s lives. With individual bench spaces, machine workshops FETAC: and studio space, the programme provides 5 Distinctions the perfect environment to experiment and Full Award explore in pursuit of personal expression. Students develop a personal creative identiPortfolio ty and proficiency in design and technique, requirement: and learn through a mixture of workshops, NCAD Portfolio lectures, tutorials and, most importantly, Submission Brief Friday 7th Feb 2014 through their own creative practice. Applications: CAO AD101 First Year Art & Design (Common Entry)

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? Coursework, essays, practical design projects and assessments take place at key points throughout the year. Formal assessment results will be issued at the end of each academic year. 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 Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

Year 1 – See First Year Art & Design pg. 10. Degree awarded: BA (Hons) Ceramics Year 2 The focus in the second year is on & Glass/(MA) 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.

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 MA Ceramics or Glass Design. See page 92 for more details.

Interview: Sinéad Onóra Kennedy, Fourth Year Fashion

Thinking, making and acting on design decisions that matter locally and globally.

Sinéad on her influences

I am influenced by people like Hans Bellmer, Louise Bourgeois and I started to look at their work who were coincidently working on similar projects simultaneously. Daryl Kerrigan, Philip Treacy, Daniel Kearns, Edel Tucker, Alan Taylor, Claire Lynam, Simone Rocha …

On process

My process would be to start off looking and then drawing and making shapes. I would then stop and leave it alone. I would move on and create sculptural forms that I could later apply to the body. This way I could simply play with them. I didn’t want to make the forms in relation to the body but apply them

to the body afterwards. On materials

about wearing clothes, itâ&#x20AC;&#x2122;s a comment on the world. I think I may pursue exhibition work or costume for film.

I was trying to use materials that displayed volume and bulk but are transparent so that you could I did a collaboration see the form as diswith one of the meplayed via the figure. dia students, Kevin I then started to look Freeney, for his show. at Shingo Sato who My first three outfits would chop up all of from the collection these shapes and cut were in it. It was realthem up and sew a ly good fun working big spiral. This led with somebody and me towards these seeing my work on cocoon shapes. a body in film. It seemed more natural I had an internship and interesting than with Gareth Pugh on a catwalk. Itâ&#x20AC;&#x2122;s a Can you develop a which scared the performance. I even visual langauge that links the past, the present bejesus out of me. like the idea of my and the future? The real side of fashimodels bumping into on is a scary world. the audience as part Fashion is not just of our show. On collaboration

Making, nimble, chaotic, social, scale, inclusive, potential, connected, inspiring, impact & discovering.

On fashion

Fashion Design BA (Hons)/MA Duration: 3 Years BA (+ 2 years MA) Places: 25 Applications: CAO AD101 First Year Art & Design (Common Entry)

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 Entry requirements: learn about the design process as it applies to the fashion industry. Elements covered Leaving Cert: include visual research, drawing, design 2HC3 + 4OD3, process, fashion design, knitwear design, English, Irish and pattern cutting, garment construction, a Third Language illustration presentation, manufacturing or Art techniques and market research. There is a focus on understanding fashion in context or and students will undertake field research, trend analysis, customer profiling and FETAC: branding within a wide range of contexts 5 Distinctions for the fashion industry. Students will Full Award also be able to develop links with historical fashion and material culture through Portfolio the practical application of visual culture requirement: research. NCAD Portfolio submission brief Friday 7th Feb 2014 Year 1 â&#x20AC;&#x201C; See First Year Art & Design pg. 10. Year 2 The focus in the second year is on devDegree awarded: BA (Hons) Fashion eloping a personal visual language and the skills necessary to translate this into Design/(MA) 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? Coursework, essays, practical design projects and formal assessments take place at key points throughout the year. Formal assessment will be issued at the end of each academic year. 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, childrenswear, 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 Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

Interview: Lara Mesanza Burke, Fourth Year Jewellery & Metalwork

NCAD graduates have the potential to be catalysts of progress by engaging with the world and creating a culture of change.

Lara on her influences

I have always been interested in the analytical and mathematical side to design. I really like symmetry and precision, because, like in mathematics, there is always a correct answer, so if you do the working out right, your equations etc, you know the final result/product will be exactly what you wanted it to be, no room for error. I take pride in the fact that I calculate every single folding angle individually, it shows that the work is hand-made and hand-thought. Brian McGuinn, Anna West, Sarah McEvoy, Laura Caffery, Catherine Keenan, David McCaul, Alan Ardiff â&#x20AC;Ś

material, the colour, the shape. I wanted the pieces to be professioThere isn’t a specific artist or style of architecture or muse that influ- nal and have a pristine finish insences me or maybe there is and I’m tead of appearing like heavy clunky things with massive badly made just not conscious of it. I think art or design should be appreciated for rivots or hinges. This is why I used special screws instead of hand made what it is, as in, if it’s well made, well painted, good skills and talent, rivots, or used powder coating insnot some story about how this video tead of anodizing. It gives the work a cleaner and more delicate finish. installation represents the love I I would like to carry on designing have for my pet dog. So I guess I similar bags and play around with am inspired by well made things. Although, Cappy Counard, an Ame- perspex, colour, chromes, so that rican artist, her stuff is unbelievable. you can appreciate the skeletal structure of the bags. I feel design She creates these bespoke vessels andcreative, functionality come hand in that serve simple purposes. Listen, very fail, inspiration, research, creative, dynamic, impact, collaborate, tension and surface. hand and don’t want to make She created this extremely elaboornamental structures with no rate cage for pearls. It looks insanely complicated, yet is a beautiful purpose or function. structure. It opens up and has anoOn NCAD It’s been an insane journey, I came ther vessel inside, which opens in a completely different way, and so over to Ireland a week after my on until you get to the core, which mum passed away. Having lived in Spain all my life, suddenly I moved stores a little pearl. to Dublin to start a degree. I think I On her final pieces I always wanted the structure of the have learnt a lot, but I think everybag to be metal, because I thought it one does in college, the indepenwas different. I did try it out in other dence, the responsibility, friends. I’ve loved it though. I’d never done materials such as polypropylene but when I tried to fold it, it would anything that wasn’t drawing and melt and warp but the best materi- painting and here I had tutors How can combine mescale to dip my shoes in white al I could use was aluminum. It isyou telling and storytelling to turn durable, really light weight, cheap paint and use them as a paintbrush, ideas into action? it made me see things from a difand can be laser cut. Theseyour are not just pretty objects, they are functi- ferent perspective. I’ve learnt that onal bespoke clutch bags. I do love I love making, and designing, and detail though. I think it’s important that I am more of an analytical and logical thinker. that you consider everything, the On influences

Jewellery & Metalwork at NCAD embraces many different types of creative practice. Students are supported to develop the skills to pursue personal expression BA (Hons)/MA through the gallery market or to forge a career in industry. Duration: Jewellers are encouraged to create 3 Years BA designs that challenge notions of the body, (+ 2 years MA) fashion, gender, and the environment. Students develop skills in working with Places: precious metals, and experiment with 10 non-traditional materials, such as paper, textiles, and plastics. Similarly, goldsmiths Applications: and silversmiths explore the interaction CAO AD101 First between fine metalworking and ideas, Year Art & Design through the creation of domestic objects (Common Entry) and fine luxury products, exploring radical Entry requirements: forms and processes. With individual bench spaces, Leaving Cert: machine workshops and studio, the pro2HC3 + 4OD3, gramme provides the perfect environment English, Irish and to experiment and explore in pursuit of a Third Language personal expression. Students develop a or Art personal creative identity and proficiency in design and technique, and learn through or a mixture of workshops, lectures, tutorials and, most importantly, through their own FETAC: practice. 5 Distinctions Full Award Year 1 â&#x20AC;&#x201C; See First Year Art & Design page 10. Year 2 Portfolio The focus in the second year is on requirement: developing a personal visual language NCAD Portfolio and the skills necessary to translate this Submission Brief Friday 7th Feb 2014 into successful Jewellery and Metalwork practice. You will also focus on researching and defining a specific audience and Degree awarded: BA (Hons) Jewellery developing a market understanding & Metalwork /(MA) through professional practice. Jewellery & Metalwork

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.

How will I be assessed? Coursework, essays, practical design projects and formal 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, Jewellery & Metalwork graduates have a wide range of local and global opportunities open to them, from designer maker, to artist, educator and creative entrepreneur. Increasingly graduates progress to further study at postgraduate level to refine their creative abilities and approach. The Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

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 MA in Jewellery or Metalwork Design. See page 92 for more details.

Interview: Orlagh O’Neill, Fourth Year Textiles

Carving new aesthetic paths and making technical innovations within, and beyond art and design.

Orlagh on her final year show

I began researching masks that extend onto the body, something along the lines of some Haitian voodoo ritual. Their costumes were knitted, much like what I had done in third year, only I’d extend it onto the body. The more I looked into it the more interesting it became. Some would be camouflage, some would stick out, some would be a magpie-find with lots of things attached to their body. They have a series of characters within the festival, it’s their own form of storytelling. It’s like street theatre. Orla Kiely OBE, Theresa McKenna, Nigel Cheney, Ciaran Sweeney, Rachel O’Connell, Aisling O’Neill …

On research

into the game element of it all.

I started looking into the idea of collecting, finding, being a scavenger. I started Towards the end, I had the idea of what to research bag ladies, homeless people it is you win. What is your prize? You’re - the collectors of our society, I think. going to have a badge of honour, a medal I found that I was really interested in of honour. And the medal of honour contheir silhouettes like the idea of the bag sists of the idea of a relic, you get a bit of lady, who puts on three jackets and has a person. You get a piece of flesh, and this no neck and carries bags and is tiny and is put into the medal of honour. But it’s hunched. I had the idea of it being almost still beautiful. When it comes from the like The Hunger Games, like rollerball, actual body, it has an amplified presence. a life or death situation. If we had this in On concept our society, who would be those people The thing for me is that the embroidery who would have to fight for their lives element adds to it sometimes, and to become something more than they sometimes it doesn’t. And the times that are now. So, that’s why I thought of the it doesn’t, I just let it go. It doesn’t feel homeless because they have nothing to like you need to lay it on. The concept Experimentation, research, making, process, drawing, pattern, open, history, motivation & materials. lose. That tied into the idea of the game is more important. That’s the beautiful theory. I had to branch out my research thing about my course - I had the freeinto what kind of game theory there dom. It was more conceptual than just would be, what kind of characters would typical embroidery. there be, what would they wear. Then On her internship I tried to tie it back to the Haitian thing - I’m interning in Brighton. I discovered one would be camouflaged, who’d be through my market research, there’s the defender. I then did a lot of research this designer called Dr. Noki. So, I into team sports and their costumes, decided to look him up and I couldn’t including unusual ones like astronauts. find anything on him. No contact number, no email, nothing. I finally On materials It got to the time when I wanted to got a hold of him and sent him an actually make these characters. I went email with all of my stuff and he was charity shopping, I found things, created really happy and was really positive things, stuffing out everyday things like about everything. He’s so different. the sleeping bag, relating to homelessHe’s anti-brand, anti-labels, sustainabness. I considered what is available to le. He’s original. He does these mental How would you represent homeless people, what they could wear things with shredded t-shirts and all thejust tensionthese between in a combat situation. It’s really masksart and manipulates loads of and design through surface, ideas, trying to think as lateraly as I can. existing garments, which is what I’m pattern? I chose from the start to use nottexture only and really into. It seems like he’s going to found and discarded material, but let me have a serious amount of fun material that was of an urban purpose with a lot of bits of found things which such as footballs, shuttlecocks, is what I already love to do, so I can’t sporting materials, because it tied wait. It’ll be amazing.

Textile Art & Artefact BA (Hons)/MA Duration: 3 Years BA (+ 2 years MA) Places: 20

The Textile Art & Artefact programme aims to educate students to be creative and professional. Students are encouraged to have an awareness of a broad range of both new technologies and hand-crafted textile processes. The programme takes its position that designing from a fundamental response to materials and ‘making’ in its broadest sense will enable you to realise outcomes in Textile Applied Art and in Textile Artefacts.

What will I study? Year 1 – see First Year Art and Design page 10. Year 2 The focus in the second year is on developing a personal visual language Entry requirements: and the skills necessary to translate this into successful textile art and artefact Leaving Cert: practice. You will also focus on researching 2HC3 + 4OD3, and defining a specific audience and English, Irish and developing a market understanding a Third Language through professional practice. or Art Applications: CAO AD101 First Year Art & Design (Common Entry)

or FETAC: 5 Distinctions Full Award

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. The Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate School for Creative Arts and Media (GradCAM).

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.

Portfolio requirement: NCAD Portfolio How will I be assessed? Submission Brief Friday 7th Feb 2013 Coursework, essays, practical design projects and assessments take place at key points throughout the year. Formal Degree awarded: assessment results are issued at the end BA (Hons) Textile Art & Artefact (MA) of each academic year.

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 MA in Textile Art & Artefact. See page 92 for more details.

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. BA (Hons)/MA Throughout the programme you will develop your knowledge and expertise Duration: through the use of traditional as well 3 Years BA as new technologies and you will be (+ 2 years MA) encouraged to challenge the possibilities of Textile and Surface Design. Places: Design outcomes are realised 20 through the production of design samples, fabric collections, visualisations and/ Applications: or products and prototypes. The College CAO AD101 First offers an excellent range of facilities for Year Art & Design realising textile design work including dig(Common Entry) ital print, screen print, transfer print, and Entry requirements: weaving, while external manufacturing services such as laser-cutting, computLeaving Cert: er-aided weaving, multi-head embroidery, 2HC3 + 4OD3, and finishing are also utilised. English, Irish and a Third Language What will I study? or Art Year 1 â&#x20AC;&#x201C; See First Year Art &Design page 10. Year 2 or The focus in the second year is on developing a personal visual language FETAC: and the skills necessary to translate this 5 Distinctions into successful Textile & Surface Design Full Award practice. You will also focus on researching and defining a specific audience and Portfolio developing a market understanding requirement: through professional practice. NCAD Portfolio Submission Brief Friday 7th Feb 2014 Year 3 In the third year students are ready to develop their own programme of study, Degree awarded: which reflects each individualâ&#x20AC;&#x2122;s skills and BA (Hons) Textile interests within Textile & Surface Design. Art & Surface This will culminate in a substantial body Design/(MA) 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. Textile & Surface Design

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 Faculty of Design offers a range of innovative Masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

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 MA in Textile & Surface Design. See page 92 for more details.

67 Building a creative culture that thrives on new ideas and new areas of exploration.

Embed your creative vision for the future into the visual landscape of the present.

Interview: Sarah Furlong, Third Year Visual Communication

Designers, thinkers and entrepreneurs that positively shape the world we inhabit.

Sara on discovery

I started to cut paper by accident. I found some and just started experimenting. From working backwards in exploring fine art print I found the process very easy. The cheap materials I use are a great way of learning my process and the imperfect lines only adds to the narrative. Brian Cronin, Conor Clarke, Mary Dotherty, Ciarán ÓGaora, Declan & Garech Stone, Paul Hughes, Bob Gray …

On drawing

Originally I thought I would be a typographer but then I started to make drawings with a scalpel and realised I really enjoyed it. I also feel I think in layers and three dimensi-

ons. I then try to introduce a new narrative and transfer my ideas in two dimensional work. On research

into animation as it quickens the narrative possibilities despite being such a slow process. On process

My notebook is But the scalpel where I keep loo- is of course funking and collec- damental to my ting things. My process of research takes me making. I canâ&#x20AC;&#x2122;t to different pla- feel the tips of ces, illustration, my fingers from film etc. and the- holding it all day. se references help I could stick a open and in my finme when I goCreate to anneedle adaptable visual identity gertip make things.byIusing your mistakes and not as portals of discovery. feel a thing. like the idea of turning my ideas Observation, energy, clarity, passion, curiosity, respect, open, collaboration, humour & empathy.

Visual Communication BA (Hons)/MA Duration: 3 Years BA (+ 2 years MA)

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 Applications: graphic processes with the new digital CAO AD101 First realms of video, sound, animation, moving Year Art & Design image, and multimedia. As you proceed (Common Entry) through the programme you will underEntry requirements: take both real/commercial projects and self-directed projects, which are negotiated Leaving Cert: between tutor and student. There is also 2HC3 + 4OD3, an emphasis on team-based work, though English, Irish and ultimately the staff’s ambition for each a Third Language student is that their innate individuality is or Art fostered and that they find their own voice in the context of the broad Visual Commuor nication domain. FETAC: Year 1 – See First Year Art & Design pg.10. 5 Distinctions Year 2 Full Award The focus in the second year is on developing a personal visual language Portfolio and the skills necessary to translate this requirement: into successful visual communication NCAD Portfolio practice. You will also focus on researching Submission Brief Friday 7th Feb 2014 and defining a specific audience and developing a market understanding through professional practice. Degree awarded: BA (Hons) Visual Year 3 Communication/ In the third year students are ready to (MA) 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. Places: 30

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 Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

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 MA in Visual Communication. See page 92 for more details.

Interview: Stephen Williams, Medical Device Design (MSc)

Discover your creative voice through a process of research, intuition and hard work.

Stephen on his degree

I came from a four year undergrad in mechanical engineering in UCD. I was working as an engineer in the oil and gas industry which was a bit mind numbing. I’ve always had an interest in medical devices and wanted to get more focus on this and this course is exactly what I was looking for. It is a great combination of technical skills and the design process. For an engineer it’s been a particularly valuable experience. Coming in as an engineer, it has been a really steep learning curve. Frank Long, Gearóid O’Conchubair, Paul Adams, Sam Russell, Ahmad Fakhry, Frazer McKimm…

I was relishing the opportunity and I have gone from being a novice to being proficient in such a short space of time. On process

On global impact

This work is not just a response to the world, but a way of improving it. Particularly medical devices, everything we do here is to improve quality of life.

Each project is divided into different phases. With research, a lot of Itâ&#x20AC;&#x2122;s far more important to this is about user feedhave a comfortable mediback, talking to people cal tool than a comfortawhoObservation, use/teach the device. ble games controller. You analysis, research, making, storytelling, humour, aestheics, inclusive, reflective & materials. There are so many itera- know itâ&#x20AC;&#x2122;s only now that tions that can come from the medical profession are this, handling, form, sha- realising and acknowledpes - as an engineer this ging design is critical. method was unheard of. One thing we do is go Learning from the other down and observe medistudents who have had cal staff and surgeons in design backgrounds has action and from this we been hugely beneficial gain really good insights. as has presenting to cli- From our subsequent ents. Finding your level of and storyboards the surgeons Critically openly engage an everyday comfort in this area haswithcan see the inconvenienjourney and use design also been quite daunting. ces they go through and to improve it. The list is endless of all donâ&#x20AC;&#x2122;t even realise it. Being the things you learn from in their environment is a this course. big part of our research. On observation

On presentation

From chairs and lights to consumer products and environmental objects, product design is about enriching quality of life, BA (Hons)/MA whether in the home, workplace, or public domain. Product Design is a commerDuration: cial activity that can help businesses by 3 Years BA ensuring they create and sell products that (+ 2 years MA) appeal to, please, or challenge consumers. It can provide ways of answering unmet Places: needs, improving function and appearance, 30 or offer new ways of critically engaging with objects. Product Design is fundamenApplications: tally about making things better. CAO AD212 Studying Product Design at NCAD Product Design will enable you to develop your skills Entry requirements: within a creative art school environment, underpinned by technical expertise Leaving cert: and extensive links with industry. The 2HC3 + 4OD3, programme is delivered primarily within English, Irish and the design studio. This approach creates a a Third Language socially interactive, yet individually drivor Art, Maths OC3 or HD3 en, working practice, with teamwork and shared experience core to our philosophy. The small size of each year-group, typically or 30 students, coupled with close and frequent contact with the tutors, creates an FETAC: informal yet highly effective student-led 5 Distinctions learning environment. Full Award + Product Design has been taught at Leaving cert Maths NCAD since 1976, and is the oldest prorequirement as gramme of its kind within Ireland. Since above its inception NCAD has developed a strong international reputation for producing Portfolio graduates whose common strengths lie requirement: in the creation of innovative designs, Interview and products and services. portfolio, April 2013 What will I study? The curriculum addresses all the stages Degree awarded: BA (Hons) Product and activities involved in the creation of a new product – from concept design to Design/(MA) 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. Product Design

Year 1 – 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 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 manufacturers 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 Faculty of Design offers a range of innovative masters programmes, as well as a practice-based PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM). 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 MA in Product Design/MSc Medical Device Design. See page 92 for more details.

The BA in Visual Culture gives you an opportunity to study the history and theory of modern and contemporary art Ba (Hons)/MA and design practice in a creative art school setting. This programme is suitable for Duration: anyone with a broad interest in history, 3 Years BA culture, and society. You do not have to (+ 2 Years MA) have any prior knowledge of art and design before you start. Your study will be based Places: around lectures, seminars, tutorials and 25 field trips. There will be opportunities to work with studio-based NCAD students, Applications: this engagement may take the form of critCAO AD215 ical/professional writing and publication Visual Culture projects, curation and event development. You will be educated to become visuEntry requirements: ally literate, expressive and articulate. On Leaving Cert: graduation you will have gained a broad 2HC3 + 4OD3, range of critical and research skills assoEnglish, Irish and ciated with an arts degree. Future career a Third Language opportunities in the arts for graduates of or Art the BA in Visual Culture include exhibition curation, critical writing, journalism, FETAC: publishing and arts management. 5 Distinctions This is a new degree available in FullAward from NCAD for the first time in 2013. A portfolio a relevant area submission is not required; places are alloof study cated through the CAO on a competetive basis to students with Leaving Certifcate Portfolio or FETAC qualifications. requirement: None What will I study? This degree offers hands-on and digitally Degree awarded: informed curatorial experience, coupled BA (Hons) Visual with theoretical and historical study. Culture/(MA) Visual Culture

How will I be assessed? Assessed course work may include text and image essays, curatorial projects, event development, self-publishing, and the development/adaptation of online platforms. 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 pure art and design historical research and lecturing. Increasingly graduates progress to further study at postgraduate level to refine their creative and critical abilities and approach. The Faculty of Visual Culture offers a range of highly regarded masters programmes, as well as a PhD programme supported by the Graduate school for Creative Arts and Media (GradCAM).

Year 1 Introduction to Visual Culture History of Visual Culture Introduction to Professional Practice History of Art & Design I IT Skills for 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

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 92 for more details.

Interview: Eileen Mooney, Fourth Year Education

Knowledge of art does not simply end in knowing the artwork: rather it is a tool for understanding the world.

Eileen on storytelling

I’ve done a lot of research on different animals and compared their traits to those of humans. To back this up I included kids in the process. The result of this are pieces made that can communicate these different stories. I take elements from these projections and develop them into forms. I then add symbols of interest onto them, add texture and ultimately tell a new story. Mary Devenport O’Neill, Tracy Brady, Orlaith Ross, Aoife NiCheannabhain, Michelle Brady, Aideen King …

On narrative

I also work on my scrolls, mixing their perceived narrative with my understanding of them. By combi-

ning the two I got a historical references as more interesting amal- well as collecting and gamation. playing with found objects. I’ve always been drawn to education so that My ideas evolve and I can give back some become more unexpected through texof what I’ve learned. ture and the element Empathy and understanding the needs of of play. I start making kids is really important my ceramic pieces and and how I can bring art then breaking them into this. The first year by throwing them experience was really down the stairs or out valuable, just having of the window. This the influence of people way when I reassemble with other art and them I get different design interests. textures and am able to tell different stories I prefer to stretch every- with them. thing in 3D, that’s where my ideas always I class myself as an Visually express come from. A lot of my artist teacher. Everyyour ideas by engaging research starts within a collaborative thing I learn and do conversation. looking at exhibitions in the studio influences then progresses further what I do in the classin the library through room. On education

On evolution

Play, passion, respect, learning, potential, dialogue, creative, discovering, impact & collaboration.

On ideas

On teaching

Design or Fine Art & Education BA (Hons) Duration: 4 Years Places: 25

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.

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 10). In Year 2 you will continue to follow Entry requirements: the degree programme you have chosen in Fine Art or Design but you will also follow Leaving cert: certain modules that will introduce you to 2HC3 + 4OD3, aspects of education and begin to prepare English, Irish and you for teaching in various settings. a Third Language For the first half of your third year, or Art you will continue your Fine Art or Design studies, along with some Education or elements. Then for the second half of your third year, you will be engaged full-time FETAC: in Education. You will have an extended 5 Distinctions placement in a school where you will Full Award be supported in learning the role and functions of a teacher. There will be some Portfolio college-based work as well, providing you requirement: with a theoretical base for your teaching. NCAD Portfolio In the first half of your fourth year, Submission Brief Friday 7th February you will continue on a full-time Education programme. This will involve another 2014 extended placement in a recognised school as well as further education studies Degree awarded: and space for reflection, based in college. BA (Hons) Design & Education or BA Finally, for the second half of your fourth year, you will re-engage with your studio (Hons) Fine Art & practice in Fine Art or Design, and will Education bring your studies to conclusion with your final end-of-year exhibition of work. Applications: CAO AD202 Design or Fine Art & Education

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.

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, summer and at Easter, 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.

Certificate Courses Drawing and Visual Investigation, (D+VI), is a 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. 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 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 the last week 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

Postgraduate Study

Design MSc in Medical Device Design A one-year taught masters in Medical Device Design in conjunction with Science and Engineering at UCD and TCD. Open to graduates from a design, technical, science or engineering background who wish to work as designers and innovators in the medical device industry. (Part-funded by the NDP through the Graduate Skills Conversion Programme). MA in Design A two-year taught masters programme that offers students the opportunity to develop their practice through a structured programme that enhances their skills and knowledge base and facilitates critical engagement with the field of design. Education Professional Masters in Art & Design Education A two-year masters programme for intending art, craft and design teachers at second level. This MA replaces the Professional Diploma in Education. MA in Socially Engaged Art A two-year taught masters in Further, Adult and Community Education with a qualification to teach in the Further Education sector. MA in Visual Arts Education A two-year taught masters programme that supports leadership in arts-based education and research, and the formulation of policy and practice in education.

Fine Art MA in Fine Art A two-year taught masters that offer students the opportunity to develop their practice through a structured programme that enhances their skills and knowledge base and facilitates critical engagement with their field.

Studying at NCAD

MFA in Fine Art A two-year research masters for practitioners who wish to push the boundaries of their art practice, to situate their practice in the context of contemporary art and to acknowledge the productive interplay between practice and theory. Â MA Art in the Digital World A two-year taught studio programme designed to enable working artists to imaginatively utilise a range of digital technologies and practices in their work. Open to graduates from creative backgrounds who wish to develop digital skills for artists. (Part-funded by the NDP Graduate Skills Conversion Programme)

Code/title

Undergraduate 3 Years

Postgraduate +2 Years

Postgraduate (+3 Years)

AD101 First Year Art & Design (Common Entry)

BA (Hons) Fine Art Print Media Painting Sculpture

MA Fine Art MFA Fine Art MA Art in the Digital World

PHD Fine Art Design Education Visual Culture

BA (Hons) Design Ceramics & Glass Fashion Design Jewellery & Metalwork Textile art &Artefact Textile & Surface Visual communication

MA Design

Visual Culture MA Art in the Contemporary World A one-year taught masters programme that examines contemporary art practices and their critical, theoretical, historical and social contexts. Open to graduates from varied backgrounds. MA Design History & Material Culture A one-year taught Masters providing a dynamic platform for the study of the material world in its historic and contemporary contexts. Open to graduates from varied backgrounds. To find out about entry requirements and the application process visit www.ncad.ie/studyat-ncad/postgraduate

NCAD also offers PhD research programmes in Design, Education, Fine Art and Visual Culture.

At NCAD we offer a wide range of undergraduate and postgraduate degrees providing an education in Art, Design and Visual Culture up to the highest level. NCADâ&#x20AC;&#x2122;s degree structure is based on a 3-year undergraduate degree followed by a 2-year postgraduate degree, and finally a 3-year PhD research degree, a structure we call 3+2 (+3). This means that while some students will choose to leave on the completion of their undergraduate BA degree, many will opt to stay on a complete a 2 year masters degree, or return after a period in work or professional practice to do so.

Prof. MA Art & Design Education MA Socially Engaged Art MA in Visual Arts Education

AD212 Product Design I Year Postgraduate MSc Medical Device Design AD215 Visual Culture

BA (Hons)

AD202 Design or Fine Art & Education

Undergraduate 4 Years BA (Joint Hons)

I Year Postgraduate MA Art in the Contemporary World MA Design History & Material Culture

Quotes from an extended interview with Prof. Declan McGonagle, the Director of NCAD, An tOllamh Declan McGonagle Stiúrthóir

Director’s statement – An expanding academy: The bridge to the future

Declan on learning

I definitely picked up on the agenda for change when I came to the College. 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 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 and who art/design is for? Micheal de Búrca, Jona Jones, John Turpin, Domhnall Ó Murchadha, Noel Sheridan, Colm Ó’Briain

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

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.

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.

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

Why NCAD?

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, the student concourse and studentâ&#x20AC;&#x2122;s union area, the student gallery, and Red Square for sunny days.

NCAD is a single discipline college, our focus is excellence in art, design and visual culture at undergraduate and postgraduate level and 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 and degree 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.

101

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.

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 Alumni degree programmes catering both for NCAD graduates are an enterprisstudents who wish to further specialing, innovative and creative group, ise in the area of their undergraduate many of whom have gone on to degree as well as for students who forge successful careers across a wish to extend their knowledge and range of disciplines and with world skills into a new or related area. There famous organisations. When you are many exciting opportunities at graduate from NCAD you autopostgraduate level to engage in projmatically become a member of the ects that link NCAD to the very latest NCAD Alumni network. As part in research and professional practice of the Alumni you will be able to in the fields of Fine Art, Design, Edukeep in touch with fellow graduates cation and Visual Culture. and initiatives they are involved in, as well as with developments You will find more information on and initiatives in the College. postgraduate programmes available at NCAD on page 92 or at www.ncad. ie/postgraduate

Careers, Employability and Real World Learning

Real World Learning NCAD degrees are designed to interact with the real world of Design, Fine Art, Education and the wider cultural and creative industries. This interaction comes through:

Visiting lecturers and tutors who are themselves professional practitioners,

Internships and work placements in a range of public, community and commercial organisations,

and Active collaboration in commercial and public realm projects where students are encouraged to orientate their work towards real world requirements.

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.

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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 a Design 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 simplified clothes hanger design, and Obeo, an innovative system for waste disposal.

Careers, Employability and Real World Learning 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 well-known Irish firms such as Newbridge Silver, to international consumer brands such as Miele, and global companies such as Intel and Pfizer, depending on your area of specialization.

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

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, and are easily accessible to students. For the last three years the College has had its own gallery, itself a significant architectural addition to Thomas Street, and has programmed exhibitions, projects and events on the work of emerging artists, 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 2013/14 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.

Campus and Location

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 on-line 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.

Campus and Location

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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luas green line

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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

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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 112). Offers are made through the CAO in August each year.

AD202 Design or Fine Art & Education

Applicants for September 2014 must submit a portfolio by Friday 7th February 2014 in accordance with the NCAD Portfolio Submission Brief 2014 (see page 115). Further information on the brief and on submitting and collecting your portfolio can be found on page 115.

AD212 Product Design

Applications through the CAO by the 1st of February each year, this is a restricted programme late applications will not be accepted. The application process for Product Design includes an interview and portfolio assessment. All applicants are invited to attend the College for interview and to bring a portfolio with them. Interviews are held during April.

Applicants will receive the result of their interview and portfolio assessment during May. Places are offered to applicants who are successful at the interview and portfolio assessment stage and who meet minimum academic entry requirements (see page 112). Offers are made through the CAO in August each year.

Application Procedures For further information on the interview and portfolio requirements, please see page 114. AD215 Visual Culture

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

Visual Culture does not require a portfolio submission; places are allocated on a competetive basis to applicants who meet the minimum academic entry requirements (see page 114). 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.

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.

Application Procedures

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. For students presenting Leaving Certificate or FETAC awards please see Minimum Entry Requirements (page 112). For students presenting GCE/GCSE examinations: Minimum entry requirement are as follows: A pass in at least six subjects including any specific subject requirements. Candidates must obtain:

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 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.

Application Procedures GCE Advanced level (A level) â&#x20AC;&#x201C; At least grade C in two NUI recognised subjects (grade A with grade D or grade E, or grade B with grade D are considered the equivalent of two grade Cs). and GCE As level/GCSE level â&#x20AC;&#x201C; At least grade C in four other recognised subjects (GCE Advanced level grades A to D, E or O are accepted as GCSE level pass grades). Applied A levels are not recognised by the NUI for matriculation www.nui.ie EU Applications Applications from residents of other member states of the European Union (EU) are considered on the same basis as those from Irish residents. Information on entry requirements based on school leaving examinations from other countries can be found at www.nui.ie International Applications Applicants from outside the EU are welcomed and will be considered on an individual basis. Details of educational standard required and entry procedures can be found at www.ncad.ie/study-atncad/international

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 applicant. You will be informed of the outcome of your portfolio submission and/or interview at the same time as other applicants. Mature students should include on their CAO application form information on previous learning and/ or any relevant work or other experience that might support their application. Please send any supporting documentation such as transcripts or CVs to the CAO marked clearly with your CAO number. Mature students who achieve a sufficient portfolio score to warrant an offer but who do not otherwise meet minimum academic entry requirements will have an opportunity to matriculate on mature years. These 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.

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 who do not meet minimum academic entry requirements should apply to matriculate on the grounds of mature years. These 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. 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:

qualifying criteria for the Access Scheme are invited to make an application. NCAD reserves 15 places in Year 1 for Access students. To receive an Access offer you must meet the minimum entry requirements and have passed the portfolio /interview stage. For further information visit www.ncad.ie/study-at-ncad Advanced Entry NCAD considers applications from students who wish to gain Advanced Entry to the second or subsequent year of an undergraduate degree. Applications are not normally considered for the final year of a programme. Advanced Entry Applications Advanced Entry applications are made directly to NCAD on the Direct Entry Application Form available to download from the NCAD website or by contacting the NCAD Admissions Office. On the form you are asked to indicate the year and programme you are applying into and to provide details of your previous education including school leaving exams as well as any further or higher education you have completed. You are also asked to provide details of any previous work or other experience that may be relevant to the programme you are applying for and asked to provide a reference from a tutor or other person. You may put a choice of three programmes on the form. You are advised to study the Prospectus carefully and to consider how your previous educational and other experiences relate to the programme of study you are applying for.

Application Procedures 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 fios@ncad.ie) giving your CAO number, the programme you have been offered, and the reason you are seeking a deferral. The Admissions office should receive this request before the CAO closing date for accepting the offer. The Admissions office will contact you in writing informing you if your deferral has been granted and outlining the procedures for taking up your place offer the following year. NCAD Access Scheme NCAD operates a supplementary admissions route for school-leavers with a disability or from socio-economically disadvantaged backgrounds. Details of the NCAD Access Scheme are sent to all applicants who successfully pass the portfolio/interview stage, or in the case of AD215 Visual Culture, information is sent to all applicants. (The Portfolio submission for AD101 and AD202 is marked out of 1,000, the passing grade is 400.) Applicants who feel they meet the

Applicants who are shortlisted will be asked to attend for interview and to bring a portfolio of work with them. Interviews for Year 2 take place in April, and for Year 3 in June. Offers are made during May/June. Garda Vetting All successful applicants are required to undergo Garda Vetting at the time of registration.

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Minimum Entry Requirements

Undergraduate Degree Programmes First Year Entry 2014

AD101 First Year Art & Design (Common Entry)

AD202 Design or Fine Art & Education

3 210

4 25

3 30

Leaving cert minimum requirements Subjects 6 Honours 2

6 2

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

Years Places

AD212 Product Design

7.2.2014

AD215 Visual Culture

Code/title

FETAC Level 5 or 6 5 Distinctions Full Award

7.2.2014

3 25

AD101 First Year Art & Design (Common Entry)

6 2

AD202 Design or Fine Art & Education

5 Distinctions Full Award

7.2.2014

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 •

7.2.2014

Interview/Portfolio Review April 2014

–

Minimum Entry Requirements Portfolio submission

Exemption from the subject Irish may be granted in accordance with NUI regulations, www.nui.ie

AD101/AD202 & AD212 are restricted on the CAO system. Late applications will not be accepted.

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.

Leaving Certificate results may be combined.

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FETAC Entry Requirements

Foundation level Maths may be included as one of the Ordinary level subjects. Foundation level Irish is not acceptable. All successful applicants are required to undergo Garda Vetting at the time of registration.

FETAC Entry Requirements

•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 relevant award. For full details on FETAC requirements see www.ncad.ie/ study-at-ncad

Other requirements

Must satisfy Maths leaving cert subject requirements.

Portfolio submission

Interview/Portfolio Review April 2014

AD212 Product Design Applicant Guidelines

All applicants for Product Design are invited for an interview and asked to bring a portfolio of their work with them. The Portfolio Requirement for AD212 Product Design Applicants for Product Design are not required to submit a portfolio in advance, they are asked to bring their portfolio with them at the time of interview. The content of the portfolio we expect is completely open and at your discretion. It may include examples of a wide range of drawing and/or three-dimensional work, for instance: sketching, painting, technical graphics, computer aided design illustration, three dimensional models or any work concerned with arts, crafts, experimental ideas or practical hobbies. Any designed objects, too big for carrying, may be shown through photographs.

Product Design Applicant Guidelines The Interview for AD212 Product Design The interview panel will be particularly interested in your understanding of Product Design and your motivation towards the subject. You will be asked a range of questions that provide you with an opportunity to discuss your interest in design. For instance, you may be asked to speak about your favourite design product, design service, or designer. You may also be asked to explain how specific design objects work, e.g.: an electric kettle. The interview panel are also interested to hear what sort of career you may wish to pursue within the design industry.

AD101 First Year Art & Design AD202 Design or Fine Art & Education

All applicants to AD101 First Year Art & Design (Common Entry) and AD202 Design or Fine Art & Education are asked to submit a portfolio in accordance with the NCAD Portfolio Submission Brief.

Portfolio Submission The main purposes of the Brief are Brief Guidelines to create:

Fairness by providing an equal opportunity for all applicants to address the same topics of inquiry using the same time span. Clarity by removing all notions of doubt as to what is required in order to gain entry to AD101 or AD202.

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 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 Brief.

N.B.Portfolios in excess of ten kilos will The Brief clearly outlines the expectations not be accepted. of visual study at third level in terms of Portfolio: Return volume, quality and intensity of work. Applicants may remove their portfolios as soon as the portfolio examination is comThe Brief tests the applicant’s abilities pleted (normally during the fourth week over a number of clearly identified in February). While all reasonable care criteria, and is designed to encourage a will be taken of applicants’ portfolios, the structured development of a cohesive college does not hold itself responsible body of work. for any loss or damage. Applicants are responsible for The Brief provides opportunities for delivery and collection of their portfolios. applicants to demonstrate individuality Those not removed by the stipulated date within a framework. This is intended to be a good indicator as to how they might may be disposed of at the discretion of the College. be expected to perform at third level, where similar structures prevail. Interviews The Portfolio submission for AD101 and Applicants for First Year AD101/AD202 are not normally called for interview. AD202 is marked out of a total of 1,000, however, the College reserves the right the passing grade is 400. to call any applicant for interview. The Portfolio Brief is published on the website in March/April each year as a PDF, copies are also available from NCAD by contacting the Admissions office (fios@ ncad.ie). First Year staff run a number of Portfolio Brief Information Sessions in november each year. Details on the NCAD website www.ncad.ie

Portfolio Submission Brief Applicant Guidelines

115

Finance and Fees

Undergraduate Fees There are three elements to the undergraduate fee: Tuition Fee Student Contribution Charge College Studio Levy

Student Contribution Charge The Student Contribution Charge has been set at €2,500 for September 2013, it is expected that this charge will increase for September 2014. 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.

Tuition Fee Under the Higher Education Free Fees Information on fees can be found at initiative, the Irish government pays www.ncad.ie/study-at-ncad/fees the Tuition Fee for all eligible full-time, non-repeat undergraduate, EU/EEA/Swiss students who meet the following criteria: The Student Contribution Charge may be paid by the exchequer for students who qualify under the Higher Education 1. Are first-time undergraduates Grants scheme. 2. Hold EU/EEA/Swiss nationality Students have the option of paying or official refugee status and the Student Contribution Charge in two 3. Have been ordinarily resident in instalments, September and January. an EU/EEA member state for at Tax relief on the Student Contribu least three of the last five years tion Charge for second and subsequent preceeding entry to an children in higher education, is available approved course. through the tax system, www.revenue.ie

Finance and Fees 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 2013/14 on the College website www.ncad.ie/ study-at-ncad/fees (Please note that the Higher Education Free Fees initiative is under review and may not continue in the coming years.)

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 2013. (This charge may increase for 2014). The College Studio Levy must be paid on registration in September. Additional Costs – Materials and Equipment 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.

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 confrimed your acceptance. To find out more about the students grant and eligibility criteria you should visit the following websites:

Applicants from the United States The College courses were recognised under the Family Federal Loans Scheme for loans to American students. NCAD is reasonably confident that eligibility with regard to its courses will cover the academic year 2013/14. 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).

www.studentfinance.ie or www.susi.ie

Portfolio Preparation Scholarship Programme Twelve scholarships are awarded by the Faculty of Education to CEAD’s Portfolio Preparation course for pupils who attend designated Access schools.

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.

Finance and Fees Students from England, Scotland and Wales Students from the UK who register at NCAD may apply to the UK student loan scheme. Information may be obtained from the NCAD Admissions office. 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.

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. The budget available is very limited. Contact Finola Mc Ternan, Access Officer, mcternanf@ncad.ie for further details.

117

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.

Your Welfare

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 pre-entry 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 the Digital Hub’s Learning Programme,

specifically through the Future Creators Project. If you are a registered full-time student at the college and would like to get involved in the Access Programme, please contact: Finola Mc Ternan, Access officer, mcternanf@ncad.ie for further information on current projects. 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. Mind-mapping programs for planning essays and projects. 2. Text to Speech programs which read text aloud through a computer. 3. Software that converts a page of printed text (i.e. a library book) to editable digital text in Microsoft Word. 4. Speech recognition software – type faster by speaking into a microphone. 5. 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 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.

Your Welfare

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 faculty 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. 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 or contact Finola Mc Ternan Access Officer for further details.

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Events and Information

121

Important Dates for Applicants

Date

Event

Who should attend

Date

9,12 &13 November 2013

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 2014.

March 2013

Portfolio Submission Brief for entry 2014 – www.ncad.ie

November 2013

Portfolio Brief Information Sessions for entry 2014 9,12,13 November 2013

December 2013

Thursday 5 December – NCAD Open Day, 9.30-3.oopm

February 2014 5 December 2013

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.

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

May 2014

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 2014. Applicants thinking of applying to First Year NCAD for 2015.

Art teachers and tutors helping students prepare entrance portfolios.

1 February – CAO normal closing date AD215 Visual Culture

Events and Information May 2014

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.

14–22 June 2014

NCAD Degree Show Featuring the work of graduating students from the Faculties of Design, Education and Fine Art.

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

Continuing Education in Art & Design – Exhibition Featuring the work of CEAD students.

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

July 2014

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

Friday 7 February – Portfolio Submission deadline for AD101 First Year Art & Design and AD202 Design or Fine Art and Education

Important Dates for Applicants March 2014

Portfolio Submission Brief for entry 2015 – www.ncad.ie Portfolio results and offer letters (September 2014) for AD101 First Year Art & Design and AD202 Design or Fine Art and Education

April 2014

Interviews and portfolio assessment for AD212 Product Design Advanced entry interviews Year 2

May 2014

1 May – Late closing date for AD215 Visual Culture Portfolio/interview results and offer letters AD212 Product Design. Advanced entry offer letters (September 2014)

July 2014

1 July – Closing date CAO change of mind

August 2014

CAO First Year offers

Enquiries

Telephone

Web

Admissions Office

+353 (01) 636 4200

fios@ncad.ie

www.ncad.ie/study–at–ncad

Debbie Reddin – First Year Art & Design and First Year Education International Enquiries 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

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

First Year Patricia McDonnell, Department Secretary

+353 (01) 636 4221

mcdonnellp@ncad.ie www.ncad.ie/undergraduate/ first-year

Design David Bramley, Faculty Secretary

+353 (01) 636 4271

bramleyd@ncad.ie

www.ncad.ie/undergraduate/ design

Education Helen Fagan, Faculty Secretary

+353 (01) 636 4301

faganh@ncad.ie

www.ncad.ie/undergraduate/ education

Fine Art Angela Dennis, Faculty Secretary

+353 (01) 636 4321

dennisa@ncad.ie

www.ncad.ie/undergraduate/ fine-art

Product Design David Bramley, Faculty Secretary

+353 (01) 636 4271

bramleyd@ncad.ie

www.ncad.ie/undergraduate/ design

Visual Culture Neasa Travers, Faculty 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

www.ncad.ie/study–at–ncad

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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.

Student interviews by Bob Gray with Matthew Thompson Undergraduate students: Diane Meyler, First Year Art & Design Rian Coulter, Third Year Fine Art Print Gwen Burlington, Fourth Year Media/ Joint Course Nigel Holohan, Fourth Year Fine Art Painting Darragh Coyle, Fourth Year Sculpture Meadhbh McIlgorm, Fourth Year Glass Sinéad Onóra Kennedy, Fourth Year Fashion Lara Mesanza Burke, Fourth Year Jewellery & Metalwork Orlagh O’Neill, Fourth Year Textiles Sarah Furlong, Third Year Visual Communication Stephen Williams, Medical Device Design (MSc) Eileen Mooney, Fourth Year Education Director: Professor Declan McGonagle