The applicant should be able to provide evidence of experience as detailed below:
Please apply direct to BIAD faculty office. For more information, or an application form, please contact the Admissions office:
For information on fees please contact the Admissions Office. Tel: +44 (0)121 331 5150. Email: biad.admissions@bcu.ac.uk
Design is not a simplistic step by step process, however it can be broken down "into the following elements: Analysis, Research, Concepts, Development Evaluation.
This stage is quite likely to be done in conjunction with the Research element, the one feeding the other. Ask yourself what the brief is actually about. Is there only one obvious answer? Are there likely to be many answers or interpretations? What are your immediate responses? Perhaps you might care to write down a list of pros and cons. Quite possibly after this, on further reflection, your reactions and interpretation of the brief will change; it is very likely to do so once you begin to undertake some research. Above all, have an enquiring and lively attitude to it all.
Research
a) Search for relevant examples in response to the brief. These may be directly related to the brief. Find exciting examples of other designers work. Always keep a reference of where you found the information and who the designer is. Notes relating to materials, finishes, mechanisms are also important Some honest personal observations give research a point - what have you learnt from the research? Present what you have found in a visually stimulating manner. Start to build up a visual reference library of ideas/shapes/forms etc.
b) Technical researches - read and digest. Be selective. Choose relevant points, and summarise the information which you feel will be useful for that particular brief.
Generation of Ideas and Concepts
Recognise and respond to what you would like to achieve and what is required by a brief. Set realistic limits. Concepts often develop after some research has been carried out; you may spot an area of potential that has been untapped until now.
It is important that you explore a number of ideas in order to be selective - remember that you are selecting the idea with most development potential. These ideas will be in the form of sketches or may still be in the research phase, eg when exploring an articulating piece of body adornment, there are a number of areas you could look at - armor, natural forms such as insects, skeletons, the tailoring of clothing etc. Lateral thinking is required - word association exercises are often useful. You may find it useful to analyse the brief by brainstorming diagrams - do this and write everything down. This can help to narrow down a brief and force you to question exactly what is required. Keep these as a reference to come back to if you find yourself going round in circles. They can be used as a quick way of rationalising and visually/verbally explaining the project to someone else.
Idea Development
This is also more formally known as synthesis. You should be pulling a number of ideas together in a recognisable form e.g. a drawing or a soft model. As synthesis begins, ideas will probably be confused, disorganised and over complex. It is via drawing and modelling that you are able to organise and re-organise thoughts quickly and easily. At this stage your ideas do not necessarily need to be recognisable as '"products" ¬ - they may still be abstract. Recognise when you can move forward more quickly via drawing or modeling. Try to advance your work into 3D modelling or in drawing form by acknowledging how junctions of materials work. Expand and extend your drawing work into details - which can quickly lead you to rationalise your design. Drawings can deceive - get into 3D as soon as possible - spend time manipulating the materials.
Keep an open mind so that modifications can be incorporated into your work through the interaction that occurs between you the designer/maker, and the material. You may discover some aspect you had not previously considered.
Evaluation
This comes at the completion of a project. Be as objective as you can. Refer back to the original brief and your research notes. Does your solution answer the brief? Is it innovative, visually interesting, economic, viable, dangerous, successful, unsuccessful? Of course nothing in design is ever quite as black-and-white as that but be as honest with yourself as you can. By recognising faults you can improve on weaknesses and build up strengths.
Visual Work
Should you be interested in applying you need to send the finished application form and a portfolio showing your work (this could be in a CD-Rom format, using PowerPoint). The application should provide evidence of academic, visual and practical experience.
Our MA in Jewellery, Silversmithing and Related Product emphasizes the individual and so your portfolio should visualize your unique way of how you generate and process ideas, and your aims and objectives of what you want to achieve in this one year of advanced and self-directed studies.
Your portfolio will need to indicate the following:
- Creativity and imagination, leading to practical experience in three dimensions and an interest in skilful technical application.
- Demonstrating the ability to generate ideas and pursue considered design development.
- An ability to use primary research methods in drawing or other visual means to communicate and develop ideas. It is essential that this is demonstrated in the work itself and not by using desktop publishing, website design or any other commissioned or external visual help.
- Evidence of a working familiarity with basic artistic concepts/concerns, such as colour, texture, pattern, dynamics, structure etc. This may be documented in two or three-dimensional work.
- Evidence of a working familiarity with basic artistic concepts/concerns as they relate to theoretical and art historical concerns.
- An indication of enthusiasm and motivation towards, plus enjoyment of, creative professional work – An inquiring attitude to the creative process is likely to result in knowledge of other creative media like fashion, fine art, sculpture etc. and an understanding of more intellectually driven working methodologies.