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The Art of Ornamental Turning
Get PDFOn a day in June 1978 the Liverpool firm of John O'Keeffe & Son, die sinkers and engravers, received a letter from Mr. Warren G. Ogden Jr. of Massachusetts, U.S.A. The letter contained a request for information about a second hand rose engine lathe which had been purchased for £150 by John O'Keeffe on March 28th 1816 from the London firm of Holtzapffe1 & Co. This study is an account of my enquiries and researches arising out of this communication, in the course of which I have discovered much of interest about the craft of ornamental turning as well as some local history, the history of the lathe, and also something about the history of my family. Myconnection with the firm of John 0' Keeffe & Son began in 1956 when I was apprenticed as a die sinker and engraver, and ended when I relinquished my partnership to begin my training as a teacher of craft and design
A Level Design at Longslade School
No full textLongslade School, a Leicestershire plan Upper School, was one of the pilot schools involved in the development of the Oxford A83 Design syllabus. Having been familiar with the course since its inception, and being directly involved in teaching the syllabus for the past three years, I should like to express some ideas involving the teaching aspects of this course. I hope that these will not only be of interest to the reader but that they will also be useful, both from the practical teaching point of view, (I use practical here in the sense of the practice of teaching and not 'practical' subjects), and from the point of deciding how valid the course might be.In fairness, I must point out that my own attitude is very much in favour of this examination. In its present format I believe it to be an excellent syllabus and, with a few minor aspects which are discussed later, one which would be difficult to improve upon.The organisation of such a course can cause problems, and staffing will depend on the numbers involved. At Longslade the average number of students in each year appears to have settled down to 6 or 7 and, therefore, first and second year sixth are taught together to make a viable teaching unit. However, since there are times when it is necessary to teach each group separately, a second member of staff is available for part of the time to allow the groups to be split. This second member of staff covers the ceramic element of the course, both practical and theoretical. For my part I cover the practical elements of wood, metal and plastics, and the theory elements of wood, plastics, and general design philosophy
'Buildabike'
Get PDFFor the last seven years there have been ongoing and independent technical projects carried out within the Design Centre at King Edward VII College. Ongoing because they were largely open ended with no defined finishing point and independent of the laid down C.S.E./G.C.E. curriculum within the design department. Such projects have included schools karting, a large land yacht, a swing for the physically handicapped and in 1976 the B.P. Build a Car competition. Labour for these projects has come from any interested pupils who have been prepared to work at break-times, lunch-times, free periods and during School holidays
An Introductory Course in Art at Eiarias High School
No full textThe Introductory Course is an important concept applicable to a range of curriculum areas and various stages in the educational process. In this case I am concerned with' Art' at the commencement of the secondary school and am assuming that Art is accorded a separate subject status.Children come together as the new intake year in a secondary school. The policy of the school is administered and the pupils are grouped, time tabled and organised into their new complex of classes, rooms, subjects and teachers. Mixed-ability grouping is a widespread practice here and results in a number of parallel first-year classes all nominally similar in composition and potential.An Introductory Course at this stage is desirable because one is dealing for the first time with children from the assortment of primary schools in the catchment area. These children's experiences and abilities in Art and Craft work are inevitably various in type and quality. One of the purposes of the foundation course is to summarise and consolidate the su bject experiences gained in the primary school.A second aim must be to prepare pupils for entry into the examination courses that dominate thefourth and fifth years, and to diagnose their potential in order to give guidance
Reviews
No full textThe following publications have been reviewed by the mentioned authors;Crafts and Craftsmen by Christopher Chappell, reviewed by Marjorie CruickshankLearning and Teaching through Art and Crafts by Alan Cotton and Frank Haddon, reviewed by Keith GentleThe New Handicraft/Processes and Projects by Lester and Kathleen Griswold, reviewed by Francis CeloriaDesign Projects in Technical Drawing: A Course for Examination Candidates by B. G. Cuthbert and M. R. Pattenden, reviewed by G. RobertsDesign and Technology - Metal by G. A. Hicks, G. M. Heddle and P. A. Bridge, reviewed by F. O. ZankerWoodwork by J. Maynard and D. Jones, reviewed by B. J. AylwardDesign Concept Series by Gerald F. Brammer, reviewed by Ian ToonIntroducing Finger Painting by Guy Scott, reviewed by Edward PhelpsCraft Education: Woodwork Design by T. Pettitt, reviewed by B. J. AylwardLettering by John Cataldo, reviewed by Keith RiseamThe Complete Book of Woodwork by Charles Hayward, reviewed by I. D. Jone
The Oxford 'A' Level examination in Design: An interim appraisal of an experimental approach.
No full textThe first examination of this syllabus to be held has just taken place so that an interim appraisal is possible.The intention of the sponsors was to establish an A level course in which practical work within a design framework was used as a means of identifying intellectual ability and original thinking. It was essential to avoid 'soft option' and hence the standards of assessing are vital to success. Since the very natur~ of the course calls for just those qualities that are least easily identified, let alone assessed, this is no easy task. Having got the syllabus accepted and the schools ready to introduce courses in it, Malcolm Deere, on the recommendation of the sponsors, was appointed examiner. He had previously had considerable experience of assessing design project work at undergraduate level and has since put in a great deal of effort in organising methods that seek to reflect the intention of the syllabus. Not only has a lot of time been spent on personal interviews for assessment purposes, but a close watch has been kept on the work throughout the course so that, by the time the assessment took place, an understanding between student and examiner could exist. Although if numbers are later to increase this sort of close scrutiny may no longer be possible, it is essential in the trial period and everyone connected with the syllabus is grateful for what has been done.The assessment consists of two written papers of three hours duration. Paper I deals with the sections of the syllabus entitled, 'Man as an individual', and 'Man in society' and Paper II with the section, 'Technology'. The candidate also submits for assessment his coursework which includes, 'working showing general investigations of visual, tactile, spatial and structural qualities', as well as a major design project. With the project he must submit documentary evidence including a report, which, 'indicates the extent to which he has understood the problem and his approach in trying to solve it'. Finally the candidate is interviewed by the examiner as part of the assessment. Much of the judgment in this total assessment must be subjective and has to be taken on trust. At the same time, as with all public examinations, the examining board bears the responsibility of fixing standards and of awarding the final grades. In the case of an experimental syllabus such as this the Schools Council also holds a watching brief. Full evidence is therefore submitted to the Board for this purpose
The Design of Toys for Autistic Children
Get PDFA commendable feature of craft students' projects at B.Ed. degree level is the opportunity made available to tackle needy problems too often neglected by the professional designer and manufacturer - a neglect not necessarily caused by a lack of sympathy but rather by the harsh realities of the business world where, in the final analysis, any venture must be financially viable. This often prec!udes the manufacturer of small numbers of specialist goods for isolated groups of individuals which would not provide the cost effectiveness of mass production or, indeed, where insufficient finance is available for purchase
Craft, Design, Technology and Industry
Get PDFTo what extent does consideration of those features unique to man, of hand, eye, mind and society offer a basis for a coherence as well as a core for the school curriculum?In whatever may eventually be accepted as an essential core of studies through primary, middle and secondary years of schooling, the place of what is considered under the titles General Studies, Civics, Man and Society, Craft, Handicraft, Art and Craft, Design, Engineering Studies, Heavy Craft, Light Craft, Woodwork, Metalwork and many others perhaps, will be under scrutiny. Some of the factors which will emerge and which relate to the inclusion of these subjects of study will, no doubt, be puzzling. Questions like: how did they get there in the first place? why does this chool or that school include some but not others? why is this aspect of one emphasised in one school but other aspects ignored, with the reverse pattern in another school? why do some pupils undertake little study in these areas and other pupils a great deal? Setting aside, for a moment, those questions relating to centrally or nationally based (and agreed) curricula, with or without local flexibility for content and individual flexibility of method, whatever these phrases mean, and ignoring resource problems, both material and human, let us consider some factors which might facilitate desired change
Editorial
Get PDFThe spate of ministerial enthusiasm for Craft Design and Technology continues unabated. The junior minister for Education, Mr George Walden speaking to the Royal Society of Arts in January 1986, once again emphasised the benefits of design education from primary school through to higher education, noticing the wide range of opportunities they provided, 'There will be aesthetic judgements to make and practial skills to be employed. The pupils may be working with many different kinds of materials. They may have to apply scientific method, knowledge and reasoning. There will be opportunities to learn to work cooperatively in groups'. He saw design as a perfect example of how greater vocational relevance could be achievd through the enhancement rather than the restriction of the curriculum and drew particular attention to the 'creative development' being included as a core aim in the new Certificate of Pre-Vocational Education. The work of primary schools too came in for special commendation
Teaching the Blind: An Electronic Project at Sevenoaks
No full textRoddy Fairweather from Sevenoaks School in Kent designed an electronic device which teaches young blind children to recognise and learn braille letter forms.'I did it, Miss Fulton, 1did it!' exclaimed Neil Thomas. It was a moment of joy for all those present because Neil has always been blind and at seven was learning to read braille letters by touch. It was this exclamation that meant success for both himself and for Roddy who had only just finished making the machine Neil was using. It had made a funny noise as reward for Neil's correct recognition of the letter 'P'. The other children in the class were cheering but Roddy and Neil's teacher, MissFulton, were watching with a critical eye for ways of improving the device. This was, in fact, Roddy's 'A' level Design project being evaluated under the stiffest conditions. Apart from all the observations one could make about the design itself, it was a moving experience and a very valuable one for Roddy. Neil was learning, being rewarded immediately for recognising the letters, and enjoying himself! Roddy was putting his work to the acid test and was being made aware of the value of what he had done. MissFulton, perhaps was dreaming of all her children acquiring these devices