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_ Week-long wrap around events in support of Graduation Class of 2021 A&D offer

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_ Week-long wrap around events in support of Graduation Class of 2021 A&D offer

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As a result of CV-19 disruption the Department or Art & Design will be undertaking a Virtual Graduation Design Show for the week beginning SHU W47 or 48 June 14th / 21st June 2021. Exact date TBC

What meaningful employability wrap around supporting events might we be able to suggest, identify and deliver as part of a wider programme of enrichment to support this year’s soon to be graduates?

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Sheffield Hallam University Degree Show 2020  

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Sheffield Hallam University Degree Show 2020  

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Unfortunately your browser is not supported. If you want to view this site you need to upgrade to a modern browser like Chrome, Safari, Edge or Firefox

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The Sheffield Hallam Internship Scheme _ Class of 2021 

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The Sheffield Hallam Internship Scheme _ Class of 2021 

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Virtual Transnational Business + Design Challenge SHU Art + Design AND La Trobe University in Melbourne, Australia. 

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Virtual Transnational Business + Design Challenge SHU Art + Design AND La Trobe University in Melbourne, Australia. 

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One of Australia's best MBAs

Our MBA is ranked equal 1st in Victoria and our online MBA is ranked 3rd in Australia* and is co-designed and delivered with industry partners Mercer, Accenture and Victorian Equal Opportunity and Human Rights Commission.

View course details Apply now

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One of Australia's best MBAs Our MBA is ranked equal 1st in Victoria and our online MBA is ranked 3rd in Australia* and is co-designed and delivered with industry partners Mercer, Accenture and Victorian Equal Opportunity and Human Rights Commission. View course details Apply now

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City Talks: Giles Wilkes on designing a successful industrial strategy - Centre for Cities

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The Institute for Government's Giles Wilkes on the dos and don'ts of developing a successful industrial strategy.

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One of the great things about our graduation show is that it enables us as a department an opportunity to reward student endeavour and success.

How might we work together to help increase the number of prizes and recognition of student achievement from a range of external stakeholders and organisations?

EAB to reflect on how we might increase engagement with external companies / stakeholders thereby increasing opportunities to promote and support our soon to be graduates.

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PLEASE FEEL FREE TO ADD YOUR COMMENTS _ SIMPLY TYPE NAME AND THEN ADD YOUR COMMENT

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YVAN _ Graduate Mentoring programme in support of class of 2020  

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YVAN _ Graduate Mentoring programme in support of class of 2020  

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Mentoring with: Michael Barnes-Wynters, Georgia Taylor Aguilar, Tanya Meditzky and Roger McKinley

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Yorkshire and Humber Contemporary Visual Arts Network - We aspire to be a voice for the visual arts sector in the region, prioritising individual practitioners and small-scale initiatives, including those that are artist-led. YVAN is in partnership with the Arts House and is a regional partner of th

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The Sheffield Hallam Internship Scheme _ Class of 2021 

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The Sheffield Hallam Internship Scheme _ Class of 2021 

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EMPLOYER HOW TO GUIDE

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We champion, connect, support and invest in creative people and businesses. We're a group of diverse and inclusive professionals who believe in the power of the creative industries to change lives, placing creativity at the heart of the UK's culture, economy and education system.

Our goal is simple: to cultivate a world where creativity is championed, valued, and fundamentally nurtured.

We unite the creative industries and generate opportunities for innovation to thrive by investing in people and their ideas. We are here for those who dare to imagine: imagine a fairer, more prosperous world, achieved through the power of creativity.

Where our roots lie

Where our roots lie

The story of Creative UK

Creative England and the Creative Industries Federation joined forces to coalesce our collective capabilities, using creativity to shape the UK's social, cultural, and economic future.

By merging the industry insights and advocacy work of the Federation, with the practical support and investment work of Creative England, we are now perfectly positioned to have visible impact and drive real change.

Our Logo

The story behind our emblem

Our primary logo mark consists of the amplification icon and our custom typeface in a full logo lock up. The primary colour application is black, but it can appear in block reverse and any of the main brand colours.

The icon represents our brand ethos is amplifying the creative industries. The mark is bold, recognisable and translatable, and can be used as a standalone icon as required to represent CUK in instances where the full word mark cannot be used.

Our Font

The new Creative UK typeface

With the importance of how Creative UK Group speaks directly to and for its members, a bespoke font was created to best capture the care and attention which the brand leads by. Shaped through a timeless and accessible grotesk style, subtle humanist qualities gave way for not only a more distinctive result, but one which put people at its core.

Our beautifully handcrafted typeface is an integral part of all of our marketing and communication. The font will be made available to anyone in the creative industries that wants to use it to champion our brand.

We join the dots;

The new Creative UK typeface Collaboration is in our DNA

We bring creative people together, from all disciplines, turning up the volume on their voices, providing a platform for their creative ideas and projects, ultimately empowering them to amplify themselves. We forge connections; building and growing as a group is our superpower.

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We champion, connect, support and invest in creative people and businesses. We're a group of diverse and inclusive professionals who believe in the power of the creative industries to change lives, placing creativity at the heart of the UK's culture, economy and education system.

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www.instituteforgovernment.org.uk is using a security service for protection against online attacks. This process is automatic. You will be redirected once the validation is complete.

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www.instituteforgovernment.org.uk is using a security service for protection against online attacks. This process is automatic. You will be redirected once the validation is complete.

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PLEASE FEEL FREE TO ADD YOUR COMMENTS _ SIMPLY TYPE NAME AND THEN ADD YOUR COMMENT

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The Hallam i-Lab is a dynamic co-working business incubation space located on the top floor (level 6) of Aspect Court (on Pond Hill). It offers panoramic views of the Sheffield City skyline and is a great space for networking and collaboration opportunities. All students and graduates who engage with the Enterprise Team's programme of business support and/or enterprise related activities e.g. Enactus, will have access to the Hallam i-Lab's facilities.

All our workshops and 1-2-1 business advice appointments take place in the Hallam i-Lab.

Facilities include:

Free internet access

PCs and Macs with specialist software, including the full Adobe Creative Suite and MS Office

Wifi enabled booths

Access to printer/scanner

Bookable presentation, workshop and meeting rooms

Kitchen facilities

Ping pong table

The Hallam i-Lab also offers a limited number of rental office spaces to established graduate businesses.

If you would like to find out more about our facilities then why not come along to one of our drop-in afternoons Open House Wednesday (13.00 - 16.00). A member of the Enterprise Team will be on hand to give you a tour of the premises and answer your questions. Alternatively, email us at enterprise@shu.ac.uk or call on 0114 225 3131.

Use the links below to explore the Enterprise Team's full offer.

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The Hallam i-Lab is a dynamic co-working business incubation space located on the top floor (level 6) of Aspect Court (on Pond Hill). It offers panoramic views of the Sheffield City skyline and is a great space for networking and collaboration opportunities.

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IOM3 _ Welcome to the Institute of Materials, Minerals & Mining

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IOM3 _ Welcome to the Institute of Materials, Minerals & Mining

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High streets need to find their “appetite for design”

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High streets need to find their “appetite for design”

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In this call to action, Freestate global creative director Adam Scott is asking designers to help high streets become flexible, theatrical, community spaces.

The late and much vaunted designer Wajiro Kon argues that we humans experience urban space as theatre, and that we describe that space with our bodies. Such spaces, he said, are vital - socially, meaningfully and sensually.

You'll no doubt have your own example of Kon's living theatre, but one of my go-to favourites is the ever-morphing market that's sprung up on the entrance floor to Old Street tube station, somewhere so successful as to draw commuters out of the bowels of the earth to enjoy this particularly vibrant theatre while all the world above negotiates the endless pale grey of possibly one of London's ugliest roundabouts.

Curated by Appear Here, vibrantly colouring in the nooks and crannies of a late-Victorian underground space, programmed for surety and surprise, and possessed of a beautiful and ever-changing DIY punk activism, the design here is everything Kon might expect of the high street as necessary theatre: a place that understands the wants and needs of people as social, curious, and creative beings.

High streets have gone to the dogs

Unfortunately, Old Street is a rare bird. The average British high street is a proper goner, a fact that can't be laid at the door of the internet or a virus called COVID19. Truth is, it's been a generation-long disaster zone.

Our grey-faced addiction to big-box chains, out-of-town retail centres, faux localism templates, and retail agency bread-and-butter rollout programmes, speaks to the fact that whoever's been driving the British retail and hospitality bus has been asleep at the wheel for a jolly long time.

The result, I'm afraid, is the opposite of everything Old Street stands for. Gone from the average high street is the experience of loving being out, the joy of being together, in the street, alive. Our streets look like they've been designed by zombies for zombies. It's apocalypse now by template. It's all gone to the dogs.

The reasons as to why it has are legion, and well beyond the remit of this article. However, it's a demise that coincides with the gradual disappearance of an appetite for design. I'm not talking here about urban planning and straight architecture, though that's part of it. I'm talking about - and in no particular order - the loss of the impresario, the art director, the graphic designer, a culture-obsessed communications expert, the storyboard illustrator, the set designer, the multi-media artist, the scenographer, the theatre director, the script writer, the service designer, sound and lighting.

I'm talking about the increasingly rare ability to respond punk-like to a design brief for the high street - locally, originally, brilliantly. I'm talking about the highly endangered theatres of a Harry Selfridge, Appear Here's Ross Bailey, or Market Halls by Andy Pratt.

Green shoots of punk are emerging

Ironically, the pandemic's super-charging of the inevitable death of the retail-led high street presents the most extraordinary opportunity for a design-led renaissance. Survival dictates a high street composed less of straight retail and hospitality, and more of a rich campus-like mix of activities; a blur of traditional retail, hospitality, workplace, entertainment and, less obviously, healthcare, education, and experience-based pop-ups.

It's the agora born again, a rebirth that promises much for the above-mentioned lost designers, and which, like Appear Here's reappropriation of Old Street, couldn't be more informed by the local, be that socially, physically, or culturally. Again, examples of these green shoots of punk activism abound, but for our immediate design-conscious purposes, below is a very quick glance at two fine new-old typologies: they are the entertainment-hospitality wonder that is Catford Mews and the education-in-the-face-of-retail Migration Museum.

Catford Mews was brought to bear by the Really Local Group working with Wren Architecture & Design, and Lyttelton Yates - which designed the interiors. It is a reappropriation of a vacant Poundland store, while the Migration Museum is a similarly bold takeover of a Lewisham-based ex-H&M unit.

Small and singularly focused, the first sees a brutalist building occupied by an entertainment cluster designed to attract residents back onto the streets. A mash-up of food market, cinema, community hall, music bar, café, and live music venue, its design - architectural retrofit and activation programme - is deeply sympathetic to the very local.

The second sees the hitherto mainly itinerant Migration Museum land slap-bang in the middle of a traditional retail landscape; it's entrance a pair of illustrated pieces of the Berlin Wall, its subject matter an education, all while delivering a design-led prod in the side of profit-driven capital.

Critically, what marks the likes of Catford Mews and Migration Museum out from the dead and the dying is the fact that they're all part and parcel of the design of the high street as a meaningful prototype. They're the punk DIY activism born in times of recession, times when empty units and an us-and-us approach actively rails against driving people through the proverbial gift shop. They're the high street as fast-moving content, where the small and the nimble rule, and real-world experience is returned once again to the theatre of public space. They're the art installation morphing into the market stall, the pop-up restaurant, the maker festival, the seasonal enterprise scheme and the modular neighbourhood centre. They're opposite of today's Oxford Street.

Such a street is all about the adaptive reuse of the redundant space often built into present infrastructure. It's where the unexpected juxtaposing of wildly different typologies births a radically new form. It's the street that forsakes the car for the tram, for parks, trees, and bikes, for a sturdy pair of walking shoes, for unexpected nature. It's the public space as revolutionary theatre, an open system or platform, as enabled by the socially conscious landlord, and nourished by the independent, the rare, and the locally familiar. It's where we go out to play, to create, to be Kon's social, sensual, and meaningful beings. This is the domain of the impresario, the maker, the storyteller. It's the work of the theatre designer, the art director, the event manager, the live producer. It's the creation of a brand-new star: the designer of the high street as a perpetual field test.

Your highstreet needs you

Whatever lockdown's been for you, guaranteed you haven't missed the universal background of grey and glass that marks our working days. Or the cookie-cutter global franchises whose efficiently gridded floorplans defy what it means to be in a certain place, among a certain people, experiencing a certain way of being. On the contrary, what we have missed is the small-fast-moving programme-led experiences. We've missed the memory making machine - the intimate and personal, the stuff of life, the joy of the crowd. We've missed being together. Which is why, dear designer, we shall end with a call-to-action: Your high street needs you. It needs the careless caring you, the student you, the fuck-the-money-I'm-doing-it-anyway you, the love-they-neighbour you. It needs your inner punk. Let's be having you. Let's go make a theatre.
Some of Adam Scott's ideas are explored in this new book, Rethink design guide: architecture for a post-pandemic world
All images © of Catford Mews and the Migration Museum

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High streets need to find their "appetite for design" | Design Week

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In this call to action, Freestate global creative director Adam Scott is asking designers to help high streets become flexible, theatrical, community spaces. The late and much vaunted designer Wajiro Kon argues that we humans experience urban space as theatre, and that we describe that space with our bodies.

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CIF state of the nation scope _ skills and talent June / July 

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CIF state of the nation scope _ skills and talent June / July 

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Peter Marigold I launched FORMcard on Kickstarter and it totally opened my eyes to the platform. It is on everyone’s doorsteps, but universities don’t seem to be promoting it as a way for graduates and students to launch their products. Kickstarter is an immediate way to put an idea out there. It’s something that everyone should have a go at.

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This website is for sale! disegnodaily.com is your first and best source for all of the information you're looking for. From general topics to more of what you would expect to find here, disegnodaily.com has it all. We hope you find what you are searching for!

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£5 per day on Howard Street

That's a pretty good deal, right? Located opposite the SHU Owen Building main entrance on Howard Street, the Hallam Pop-Up Shop is in a prime location for ample footfall. It is available throughout the year.

You can even re-skin the shop by placing your own vinyl decals over our signage.

Multiple uses

Market research for a product or service

Selling a product or service

Running an exhibition

Running an event

Promoting student societies

How to run a Pop-Up Shop

Top Tips from Sinead Koehler, Director of Crafty Fox Market

What to sell

Variety and volume of stock

Budgeting

Think about forming a collective with other small businesses.

Set intentions for the shop

Marketing

Create a name and consistent visual identity for shop

Contact everyone in your network

Plan a launch party

Send a press release

Logistics

Plan furniture and display items

Plan transport of stock to shop

Plan the layout and gather any materials you may need

Get a mobile card reader for payments. Here are some companies who offer them:
Square
SumUp
PayPal

Order packaging

Don't forget music

How to sell

What is story of your brand

Create signage

Engage proactively with customers

Also sell online

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The Sheffield Hallam University Pop-Up Shop on Howard Street - SHU Enterprise

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Located on the bustling Howard Street, opposite the main Owen Building entrance, the entire Hallam Pop-Up Shop is bookable for only £5 per day. Bookable for retail, research and exhibitions.

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CSD -- Accreditation of a range of A&D courses

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CSD -- Accreditation of a range of A&D courses

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Lee Birchall MCSD, interior design

Chartered Society of Designers the internationally recognised body for the design profession, providing support and guidance for designers at every stage of their career 'from learning to earning'™.

Designer Talks podcast Ep. 5 Vicki Lovegrove MCSD

Designer Talks asks designers how they do it, why they do it, what makes them tick and what design means to them, hosted by Lefteris Heretakis aCSDf.

01 Recognition

Membership of CSD signals to clients, employers and the design profession internationally that you have been recognised by the leading professional design body as practicing to the highest standards in your specialist design discipline.
Membership

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Lee Birchall MCSD, interior design Chartered Society of Designers the internationally recognised body for the design profession, providing support and guidance for designers at every stage of their career 'from learning to earning'™. Designer Talks podcast Ep.

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Levelling Up Fund will be extended to whole of the UK to help boost growth in Scotland, Wales and Northern Ireland

£4.8 billion will now be invested in local projects, such as regeneration and transport, ensuring the government provides the same support to communities across the UK as we build back better from Covid

the Chief Secretary is clear that levelling up means every region and nation of the UK

Taking this UK-wide approach makes sure that the UK Government can target funding more efficiently and responsibly between different parts of the country.

Chief Secretary to the Treasury, Stephen Barclay, said that communities in Scotland, Wales and Northern Ireland will now all benefit from at least £800 million of investment by the UK Government for town centre and high street regeneration, local transport, cultural and heritage projects.

The Levelling Up Fund, which was announced at the Spending Review, will invest in local infrastructure that has a visible impact on people and their communities. It will run from 2021/22 to 2024/25, and drive regeneration in places in need, those facing particular challenges, and areas that have received less government investment in recent years. Because such places exist across the UK - including in Scotland, Wales and Northern Ireland - this support is being extended across the whole of the United Kingdom.

The initial £4 billion will now be made £4.8 billion as the scheme becomes UK-wide. Making the Levelling Up Fund UK-wide will enable the government to provide the same support to communities in all parts of the UK as we build back better from Covid.

Chief Secretary to the Treasury, Steve Barclay, said:

We are committed to levelling-up opportunities right across the United Kingdom so that all communities can benefit from our future prosperity.

Our levelling-up fund will back local projects to improve everyday life for millions of people and we look forward to working with all areas to boost local economies.

By extending the levelling-up fund to be UK-wide, we are ensuring that no community in the United Kingdom is left behind.

All parts of the UK have benefited from the UK government's £280 billion economic support package which has protected millions of jobs throughout the pandemic through the furlough scheme, self-employed support and generous business loans. The response to the pandemic has shown that the UK government has successfully saved jobs and protected people throughout the UK.

Making the Levelling Up Fund UK-wide will enable the government to provide the same support to communities in all parts of the UK as we build back better from Covid and to take a strategic approach across the whole of the UK, allocating funding in all parts of the country irrespective of administrative borders. Along with the government's plans for the UK Shared Prosperity Fund, the Levelling Up Fund will ensure a package of UK Government support which invests in skills, infrastructure and innovation at local, regional and national levels.

Scottish Secretary, Alister Jack, said:

The new UK Levelling Up Fund is a fantastic example of the UK Government delivering for people in Scotland. It will provide a boost to communities right across Scotland as we set out to Build Back Better from the Covid pandemic.

This fund will allow us to directly invest in capital projects in Scotland. I look forward to working on the delivery of the fund in Scotland and with local authorities, who know best what their communities really need.

The new UK Levelling Up Fund is just one way the UK Government is investing in Scottish jobs and Scotland's future prosperity. We are driving a package of measures to level up opportunity across all parts of the UK, including City and Region Growth Deals, Freeports, the Union Connectivity Review, and preparing for a new UK Shared Prosperity Fund.

Welsh Secretary, Simon Hart, said:

This represents a significant investment in Wales and is testament to our determination to level up the whole of the UK.

The UK Government has supported hundreds of thousands of people and businesses in Wales through the pandemic. As we begin our programme to build back better we will target investment where it is needed most, directly benefitting communities across Wales.

Further Information

Further details on how the Fund will operate will be published in the prospectus at Budget - including who can bid, the types of projects eligible for funding, and the criteria for assessing proposals.

The UK Government will use the financial assistance power in the UK Internal Market Act to ensure the fund is UK-wide. Due to this, the initial £4 billion fund will now be made £4.8 billion available UK-wide.

The Levelling Up Fund will supersede existing local growth funding streams, such as the Local Growth Fund, Pinch Points Fund, and future rounds of the Towns Fund - working directly with local areas across the UK to take a holistic approach to their needs.

Since 2015, the UK government has invested billions in local growth funding including:

Committing to 20 City and Growth Deals covering the whole of Scotland, Wales and Northern Ireland. These ensure that all individuals can benefit from nearly £2.9 billion of direct UK government investment.

Agreement of nine mayoral devolution deals for city-regions across the country, representing £7.5 billion of un-ringfenced 'gainshare' investment over 30 years for Mayoral Combined Authorities to invest in local priorities.

Up to £600 million of investment over 20 years through the West Yorkshire plus Transport Fund, agreed as part of the 2014 Leeds City Region Growth Deal, as well as up to £500 million over 15-20 years for the Greater Cambridge Partnership, agreed as part of the Greater Cambridge City Deal.

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Fund extended to help level-up every corner of United Kingdom

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Levelling Up Fund will be extended to whole of the UK to help boost growth in Scotland, Wales and Northern Ireland £4.8 billion will now be invested in local projects, such as regeneration and transport, ensuring the government provides the same support to communities across the UK as we build back better from Covid the Chief Secretary is clear that levelling up means every region and nation of the UK Taking this UK-wide approach makes sure that the UK Government can target funding more efficiently and responsibly between different parts of the country.

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Duncan _ Sponsors could support awards.  

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Duncan _ Sponsors could support awards.  

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A&D have regional and national sponsors and stakeholders

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Hallam Degree Show 2020 - Digital platform launch

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Art event in Sheffield, United Kingdom by Sheffield Hallam University and 2 others on Friday, November 20 2020 with 185 people interested and 49 people going.

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creative meanwhile campaign | #SpaceForKingston

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creative meanwhile campaign | #SpaceForKingston

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Crowd funding initiative to creative hub for the Kingston community

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Theatre Deli is the trading name for arts charity, CurvingRoad. It exists to empower artists and audiences who want to change the world. The company work in Sheffield and London where they set up alternative arts centres for theatre-makers, performers, artists, makers and creatives to make and experience art and culture.

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Principles of Success Student Promotional Video - Now recruiting for 2019-20 programme!!!

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Principles of Success Student Promotional Video - Now recruiting for 2019-20 programme!!!

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Principles of Success is a Personal Development and Leadership Programme for students at Sheffield Hallam University who are from African, Asian or other Minoritised Groups (AAMG) which empowers them to be their authentic selves and succeed in their academic and career development

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Principles of Success Student Promotional Video - Now recruiting for 2019-20 programme!!!

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Roger _ Non financial support - experience? What else could we offer? 

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Roger _ Non financial support - experience? What else could we offer? 

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Fresh design graduates are being encouraged to get into crowdfunding early by a new initiative from London's Cass School of Art and Architecture.

The Cass Starters programme has launched four graduate projects on Kickstarter, including ceramics moulded from used coffee-cup sleeves and a cactus-shaped toy called Wobbly Peyote.

The initiative was founded by the students' tutor in their final year at the Cass, Peter Marigold. The London-based designer is an advocate for the use of crowdfunding, having enjoyed Kickstarter success with his FORMcard, a remouldable bioplastic that can be used to modify or repair broken objects.

"I honestly think that crowdfunding is unrivalled," Marigold told Dezeen. "The alternative of using trade shows and exhibitions can be incredibly demoralising, but Kickstarter can reach the entire planet. I felt that my students had to be aware of this."

Marigold assembled four students whose work was "internet-friendly" - simple to communicate, mass produce and post - for the programme.

While the graduates themselves took the lead on their campaigns, Marigold, the Cass and London Metropolitan University provided support on elements like video, photography and marketing. The university's student enterprise programme, the London Met Accelerator, also provided resources.

Launched on October 31, the projects have all since reached their crowdfunding targets, with six days to go.

Particularly successful is Tim Summers' Wobbly Peyote, a cactus slot toy described as suitable for the playroom, desktop or dinner table. It has met its £1,500 goal three times over.

Another popular project has been Ray Gonzalez Brown's Cardboard Ceramics, which uses the Lost Cardboard Technique he devised at the Cass.

The designer creates a mould from used cardboard coffee-cup sleeves, and then lines it with clay. In the kiln, the cardboard burns away, leaving just the ceramic cup, patterned with the corrugated texture of the sleeves.

The Test Cups project by Isabel Farchy uses a material of the moment, Jesmonite, in coat hooks and cupboard handles. The Jesmonite is mixed with metal powders like copper, brass and iron so that it develops a patina.

The final project, Hooked, a steel hook modelled after barbed wire holders, is by current student Nicholas Marschner, although Marigold believes a programme like Cass Starters is generally better suited to graduates.

"It's a perfect stepping stone to take something that's been developed and launch it effectively," Marigold said. "It maintains the support of the university while placing emphasis on the graduates taking control of the independent campaigns."

"I feel that current students should really be focusing as much time as possible on experimentation rather than commercialisation of their work," he continued. "This is something that, by necessity, should happen later on."

The influence of crowdfunding in contemporary design is reflected in this year's Designs of the Year awards, about to go on display at London's Design Museum.

A number of the nominated projects - including Daan Roosegaarde's Smog Free Project towers and MAP's Beeline bicycle navigation system - had their launch on Kickstarter.

Peter Marigold's pocket-sized FORMcard melts into mouldable plastic glue

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The Cass launches programme to crowdfund graduate design

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Fresh design graduates are being encouraged to get into crowdfunding early by a new initiative from the Cass School of Art and Architecture.

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Kickstarter _ Crowd Funding opportunities 

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Kickstarter _ Crowd Funding opportunities 

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Today a class of Royal College of Art graduate students are preparing to show their latest work, but they're not hanging paintings or putting finishing touches on models. They're launching Kickstarter campaigns.

Under the guidance of repeat creator and RCA graduate Oscar Lhermitte, the workshop aims to teach students the full breadth of skills required to bring a design object to life.

Their projects range from rocking note holders to decorative lampshades to vintage patches for upcycling clothes, and they're the result of an emerging educational movement that values practical, experiential learning.

Lhermitte's workshop at RCA is part of a growing number of art and design programs embracing Kickstarter as an educational tool. In 2014 the University of Illinois at Chicago started offering an Entrepreneurial Product Development class; Pratt has run a Design Entrepreneurship and Crowdfunding course since 2015; the Design Entrepreneurship course at Domus Academy in Milan has led students through annual rounds of three-month projects since 2016; The Cass at London Metropolitan University has Cass Starters, an extracurricular crowdfunding program; University of the Arts London and The Glasgow School of Art taught a Kickstarter module; and Parsons's Creatives and Entrepreneurship course in New York includes crowdfunding as a major part of the curriculum. And these are just a few of the schools making the subject a priority.

In many cases, these courses originate from professors trying to bring their curricula into the real world, and seeing Kickstarter as a straightforward way to do that.

Lhermitte first taught a connected products and Internet of Things (IoT) course with Durrell Bishop at RCA as part of the MA Design Products program, but the pair wanted students to get realistic about applications that would actually serve customers. "We were interested in creating products that real people want to use, and that's where we got the idea for a Kickstarter workshop," he says.

James Tooze, who coordinates the second year of the MA Design Products program, adds, "Quite often students in design education actively avoid the economic realities of their ideas-they don't want to 'taint' them with the constraints of reality. This can lead to proposals that, while interesting, often exhibit high levels of ambiguity in terms of how that type of work will help pay the bills as part of a professional practice. Doing a project on Kickstarter forces them to step out of theoretical design and instead design for a market and customer."

That audience focus also enforces the entrepreneurship skills that many programs are eager to expand. Peter Ragonetti, who teaches at Pratt, says, "When I studied industrial design at Pratt from 2000 to 2004, there were no classes on how to launch your own product or business. It felt like a major gap in the curriculum."

Informed by his own hunger for entrepreneurial skills, Ragonetti has built his course, Design Entrepreneurship and Crowdfunding, to reflect the entrepreneurial journey. "I wanted to name it How to Get It Made, for Real," he says, "but academia likes more formal names."

Formalities aside, his class is very much about making things, for real. "The class uses crowdfunding as a method for students to understand the steps it takes to launch a successful entrepreneurial project, from idea validation to sourcing and prototyping to story and campaign building. I have had close to 100 students take the class, and many have told me later that it was one of the most important classes they took at Pratt."

Lhermitte's workshop also focuses on the full entrepreneurial journey. "I wanted to use Kickstarter as a tool for students to learn not just about prototypes and sketches, but what it takes to manufacture them, present them, tell their story," he says. "You want to make a product? Go talk to factories. Get quotes. Do the math to find out how much to charge for them. Talk to backers. By the time they've done all that, they have learned so much."

And Wendy W Fok, who teaches at Parsons, points out that many students have some baseline understanding of Kickstarter, which helps them pick up on entrepreneurial lessons more naturally. "Kickstarter is one of the several crowdfunding platforms my students may choose, however most prefer Kickstarter due to its cultural success amongst that age group. Most of the students who know of the platform have more affinity to it, and find it a positive method for marketing their concepts."

The programs almost universally focus on directing students towards small, achievable projects. Lhermitte structures his class around the Quickstarter concept he has championed on Kickstarter. His philosophy is that if you want to start making, try out a small project, in limited quantity, with an amateur video and no PR. Though his RCA students are some of the brightest minds in product development and design, none of them have experience researching factories, getting quotes, or planning production. He advises them to stick to one component, made with one process, from one material, in one factory-and to offer no more than 100 of them.

Ragonetti is of a similar mind. "Big ideas are amazing, but the crowdfunding class is about actually making and launching a project in 15 weeks," he says. "I try to get them to think about achievable projects that they can launch and manage on their own without massive capital. I want them to be excited to make something, but I also want to set them up for success."

Fok adds, "Throughout the semester, I encourage my students to make sure that they are succinct with their concepts and clear about their realities. These campaigns are permanent-they should use the platform wisely."
See all the RCA student projects-and many other projects-on the Quickstarter homepage.

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How Art and Design Schools Put Kickstarter in the Classroom - Core77

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Today a class of Royal College of Art graduate students are preparing to show their latest work, but they're not hanging paintings or putting finishing touches on models. They're launching Kickstarter campaigns. Under the guidance of repeat creator and RCA graduate Oscar Lhermitte, the workshop aims to teach students the full breadth of skills required to bring a design object to life.

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Kingston Uni have been fundraising to take over an empty shop in Kingston town centre and turn it into a hive of activity - to house retail, workshops, events, workspace and exhibitions.  And bring energy to the town centre.

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Roger _ Uni to invest in the creative industries with SHU

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Roger _ Uni to invest in the creative industries with SHU

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Provocative / disrupt/ learning / thinking
Central St. Martins

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We're delighted to announce that our special guest for the first episode of 'In The Neighbourhood' will be Diane Cunningham FIPM, Director of The Assembly Line Ltd.

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Remarkable City on LinkedIn: In The Neighbourhood - Crowdcast

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We're delighted to announce that our special guest for the first episode of 'In The Neighbourhood' will be Diane Cunningham FIPM, Director of The Assembly...

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Bruce _ Industry Specific Awards - e.g. Starpack (Packaging) or UK Packaging Awards - Packaging News

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Bruce _ Industry Specific Awards - e.g. Starpack (Packaging) or UK Packaging Awards - Packaging News

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Studio KT1 is a creative agency powered by Kingston School of Art @ Kingston University. Led by a project director with a cast of supporting students we work on briefs from industry gaining valuable work experience and increasing employability before graduation. We've worked with some incredible clients and you can see more detail below

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Studio KT1 is a creative agency powered by Kingston School of Art @ Kingston University. Led by a project director with a cast of supporting students we work on briefs from industry gaining valuable work experience and increasing employability before graduation.

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The Industrial Strategy sets out Grand Challenges to put the UK at the forefront of the industries of the future, ensuring that the UK takes advantage of major global changes, improving people's lives and the country's productivity.

The first 4 Grand Challenges are focused on the global trends which will transform our future:

Artificial Intelligence and data

ageing society

clean growth

future of mobility

We are developing ambitious missions to tackle the Grand Challenges. Each of these will focus on a specific problem, bringing government, businesses and organisations across the country together to make a real difference to people's lives. As we do this, we are working with leading experts such as University College London's Commission for Mission Oriented Innovation and Industrial Strategy.

Find out more about the missions.

Artificial Intelligence and data

We will put the UK at the forefront of the AI and data revolution.

Artificial Intelligence and machine learning are general purpose technologies already starting to transform the global economy. They can be seen as new industries in their own right, but they are also transforming business models across many sectors as they deploy vast datasets to identify better ways of doing complex tasks - from helping doctors diagnose medical conditions more effectively to allowing people to communicate across the globe using instantaneous speech recognition and translation software.

Embedding AI across the UK will create thousands of good quality jobs and drive economic growth.

Find out more about the Office for Artificial Intelligence.

Mission

Ageing society

We will harness the power of innovation to help meet the needs of an ageing society.

The UK population is ageing, as it is across the industrialised world. The prospect of longer lives will require people to plan their careers and retirement differently. Ageing populations will create new demands for technologies, products and services, including new care technologies, new housing models and innovative savings products for retirement. We have an obligation to help our older citizens lead independent, fulfilled lives, continuing to contribute to society.

If we succeed, we will create an economy which works for everyone, regardless of age.
Ageing society video
Mission

Clean growth

We will maximise the advantages for UK industry from the global shift to clean growth - through leading the world in the development, manufacture and use of low carbon technologies, systems and services that cost less than high carbon alternatives.

The move to cleaner economic growth - through low carbon technologies and the efficient use of resources - is one of the greatest industrial opportunities of our time. By one estimate, the UK's clean economy could grow at four times the rate of GDP. Whole new industries will be created and existing industries transformed as we move towards a low carbon, more resource-efficient economy.

The UK has been at the forefront of encouraging the world to move towards clean growth. We are determined to play a leading role in providing the technologies, innovations, goods and services of this future.
Clean Growth video
Missions

Future of mobility

We will become a world leader in shaping the future of mobility. We are on the cusp of a profound change in how we move people, goods and services around our towns, cities and countryside. This is driven by extraordinary innovation in engineering, technology and business models.

The UK's road and rail network could dramatically reduce carbon emissions and other pollutants, congestion could be reduced through higher-density use of road space enabled by automated vehicles, and mobility could be available when we want it, where we want it and how we want it.

We will look for opportunities to improve customers' experience, drive efficiency and enable people to move around more freely.
The future of mobility video
Mission

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The Industrial Strategy sets out Grand Challenges to put the UK at the forefront of the industries of the future, ensuring that the UK takes advantage of major global changes, improving people's lives and the country's productivity.

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Lee - we must invest in our creative industries graduates _ senior leadership team @ SHU

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Lee - we must invest in our creative industries graduates _ senior leadership team @ SHU

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Student work continues to be front + centre 

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Student work continues to be front + centre 

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Creating thriving high streets after Covid-19 research network.

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Creating thriving high streets after Covid-19 research network.

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Roger _ Re thinking of the creative industries _ Importance and value recognised. Collective voice. Affects GOS etc. 

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Roger _ Re thinking of the creative industries _ Importance and value recognised. Collective voice. Affects GOS etc. 

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Dean _ curated by... My 5 highlights, etc... and Why? EAB member representation. / appetite

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Dean _ curated by... My 5 highlights, etc... and Why? EAB member representation. / appetite

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Duncan _ maybe we can interview the graduates as well?

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Kickstarter _ the most ready product / service 

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Kickstarter _ the most ready product / service 