Module Title: Textiles in Contemporary Art and Design

Practice (Level 8)

LESSON PLAN (2015-2016)

Topic: Student Seminars: Textile Sampling in Design and Artwork

Date: Friday 4 March 2016
Duration: 2 hours
1. AIMS
The main aims of this lesson are to:

Provide a forum for Students to participate in reflective discussion of their

colleagues project work

Provide an opportunity for presenting-students to articulate issues arising in the

relationship between preparatory art work and recent textile sampling

2. MAIN LEARNING OUTCOME & CORRESPONDING ASSESSMENT

Learning Outcomes (LOs)

Assessment of LOs

At the end of this lesson the

(Note: each LO has an assessment.

presenting students will be enabled

Include a variety of types.)

to
Use a display of their work as a basis for

Lecturer evaluation (form)

articulating the progress of their work from

artwork to textile sampling
Practice communication/ verbal skills in a

Lecturer evaluation (form)

closed environment
Discuss wider issues relating to the module

Lecturer evaluation (form)

amongst a peer group

Contribute to ongoing discussion which

Ongoing (but Lecturer evaluation for each

considers students work in the context of

student when doing their own seminar)

the groups experience throughout the

module

3. THE LESSON
TIME LINE
Week

LECTURER ACTIVITIES

before

Provide guidance sheet to

students with guidelines for
discussion topics (see Textile
Sampling in Design and Artwork
below)

9 am

Introduce mornings session and

finalise
running
order
for

STUDENT ACTIVITIES
Preparation of narrative by presentingstudents and assembly of display in
studio spaces

Module Title: Textiles in Contemporary Art and Design

Practice (Level 8)
presenting-students
9.05

9.20.

Student A describes the work displayed

with reference to relationship between
artwork and Textile sampling.
Opportunity is then given for questions
from the group
Widen out discussion to include
all students and introduce
questions relating to any issues
raised but not adequately
explored

9.30

9.45

Student B describes the work displayed

with reference to relationship between
artwork and Textile sampling.
Opportunity is then given for questions
from the group
Widen out discussion to include
all students and introduce
questions relating to any issues
raised but not adequately
explored

9.55

10.10

Group discussion continues with

Student Bs work as the focus

Student C describes the work displayed

with reference to relationship between
artwork and Textile sampling.
Opportunity is then given for questions
from the group.
Widen out discussion to include
all students and introduce
questions relating to any issues
raised but not adequately
explored

10. 20

10.35

Group discussion continues with

Student As work as the focus

Group discussion continues with

Student Cs work as the focus

Student D describes the work displayed

with reference to relationship between
artwork and Textile sampling.
Opportunity is then given for questions
from the group.
Widen out discussion to include
all students and introduce
questions relating to any issues
raised but not adequately
explored

Group discussion continues with

Student Ds work as the focus

Module Title: Textiles in Contemporary Art and Design

Practice (Level 8)
10. 45 to
11am

Afterwards

Brief summary of any recurring

issues. Invitation for final
comments from the group
especially re. future application
of any suggestions arising today.
Thanks to presenting students
and other participants.
Complete assessment forms,
using jotted notes from the
session

Final comments from the group,

especially with regard to application of
any insights coming to light today.

4. LIST OF TEACHING RESOURCES

Advice sheet for seminar topic: Textile Sampling in Design and Artwork (see below)
Clock, so timing can be done in a non-obtrusive way

5. CRITICAL REFLECTION
Strengths
This kind of group activity can work very well with a group of students that the Lecturer
has worked with for some time, as it becomes possible to direct questions to individual
students that are phrased in such a way to elicit considered responses. This also helps to
set the overall tone of the session, which is fairly informal, but where the lecturer is acting
as a facilitator and needs to keep a degree of direction as the session proceeds.
Having acted as year tutor to this Yr. 4 group whilst in Yr. 2, I am very much a known
quantity to them, also having taught many of them last year. This gives me a distinct
advantage, in that I can be quite searching in my directive-questioning whilst it is known
that there is no element of personal attack implied.
I usually only do two of these student-led seminars each year with the Yr. 4 group (one
each semester). Having begun this format of activity with students in year 2 (where a lot
of prompt questions are needed to keep them going) I find the Yr. 4 seminars particularly
gratifying to witness the development of maturity, confidence and self-advocacy that has
occurred over the time that has elapsed.
The provision of guidance points for discussion is crucial in the preparation for Student
seminars. The semester topics have been announced at the start of the academic year
but a handout of points for consideration, gives students a sense of what is expected of
them and helps them to structure their presentation.
Arising out of these seminars it was possible to identify 2 specific students that had
difficulties that needed to be followed with technical tutorials for knit
Challenges
Inter-active group activities can be very tiring as it requires that the facilitator is
constantly listening and aware of the whole group, so that it remains centrally focussed.
Interventions should be kept to a minimum to enable Students to actively participate, but
it can be a fine line to navigate between continuity any making sure the group is
conducted democratically.
Consistent timing is a central difficulty to ensure that each student gets 15 mins where
they are the prime spokesperson, including a few minutes for general questions. Tact can
be required to encourage students to be more concise.
The 10 mins of discussion between each presenting-student requires self-control on the

Module Title: Textiles in Contemporary Art and Design

Practice (Level 8)
Lecturers part as it is tempting to turn this part into a mini-tutorial. This is one place
where the timing can get seriously disrupted, and it can also lead to students feeling
resentful that they do not get their say.
This kind of activity needs minimum of 10 students to get good spontaneous group
interactions. Todays group was at the lower end of optimum group size.
Suggestions for Improvement
Keep the focus consistently on each student during their 15 minutes of their presentation
time.
Lecturer not to allow themselves to be deflected into other matters not concerned with
todays seminars only digress if it is relevant.
Find yet more ways of keeping a fair balance between students who say very little and
those who would dominate the proceedings look at good television talk-show hosts? Gay
Burne The Meaning of Life is obviously scripted, but it is done in such a way as to really
draw out the guest.
It was easier for the timing to un-obtrusive when I wore a pin-on fob watch. Perhaps go
back to this as a mobile phone is too obvious? Referring to a phone also replicates a
student behaviour that I would prefer not to encourage by replicating it.

ADVICE SHEET FOR SEMINAR TOPIC

CCAM. BA Hons. Design in Textiles

Seminar Presentations- Textile Sampling in Design and Artwork
Friday 4 March 2016, 9am to 11am.
Following students: A______, B_______, C_________, D________
Running order will be finalised at start of Presentation session

Pointers for consideration:

The role of research and/or development artwork in your sampling process
How did you make decisions concerning what ideas indicated in artwork to
actually progress into sampling
Choice of textile materials/techniques why these, were there alternatives
Are there qualities in your artwork that suggested any particular textile
material or technique
Can you demonstrate/indicate with specific examples how has sampling
evolved from artwork (in the continuum of Research to Development)
Sampling pathways- describe a sequential development in a sampling
method you have used possibly leading to discoveries or decisions, or a
re-think.

Module Title: Textiles in Contemporary Art and Design

Practice (Level 8)

Are there areas where the sampling process has fallen short of what your
artwork indicates might be possible- why might this be what alternate
strategy can you apply
Any further sampling you propose to do why this, why now
Practical point:
If you are using work in a sketch book in relation to sampling artefacts
please integrate the relevant sketchbook pages into your commentary (by
showing the specific pages at the appropriate time)
T. N M. 1/3/16