PG Cert Stage

Module 1: You explored and decided on your Postgraduate direction (ACP)

Module 2: You researched into your area and used theory to underpin this (Case Study) PG

Diploma Stage

Module 3: You extended your direction, seeking external stimulus/advice (CPP)

Module 4: You will now test your knowledge and expertise on others (Didactic)

Masters Stage

Module 5: Using all the knowledge from the last 4 modules you will produce a body of work, that demonstrates you have mastered your subject (Major Project)

你现在在哪里？ 

PG证书阶段 

模块1：你探索并决定了你的研究生方向（ACP） 

模块2：你对相关领域进行了研究，并用理论作为支撑（案例研究） 

PG文凭阶段 

模块3：你扩展了方向，寻求外部刺激/建议（CPP） 

模块4：你现在将在他人身上测试你的知识和专长（教学法） 

硕士阶段 

模块5：利用前四个模块的所有知识，你将完成一项作品集，展示你已掌握所学专业（主要项目）

All outcomes are weighted equally.

1. Apply your abilities to utilise research methodologies, modes and practices in order to devise and produce a presentation to peer practitioners.

Basically, apply what you've learnt so far to produce a workshop for fellow students

2. Demonstrate your ability to articulate and evaluate your scholarship in relation to your professional development through an annotated Reflective Visual Journal integrating a Critical Evaluation.

Do the workshop and record it and then evaluate the workshop in the Assessment.

模块学习成果：所有成果权重相同。 

1. 运用你的能力，利用研究方法、模式和实践来设计并制作一个面向同行从业者的演示。

简而言之，将你目前所学应用于为同学们策划一场研讨会。 

2. 通过整合批判性评估的注释式反思视觉日志，展示你在专业发展过程中表达和评估学术成果的能力。

完成研讨会并进行记录，随后在评估中对研讨会进行评价。

---

### 1. What was covered?

- Module 4 content: "Test knowledge" by designing and implementing a teaching workshop. The core is to allow students to consolidate their professional knowledge and develop communication and organizational skills by teaching others (such as classmates or external groups).

- Teaching theory and cases:

- Learning pyramid theory (passive listening vs. active teaching).

- Give examples of successful cases of previous students (such as embroidery, character design, dynamic posters, etc.).

- Emphasize that workshops must include knowledge transfer, practical tasks and evaluation feedback.

- Time arrangement: Schools are closed during Easter, and workshop time needs to be arranged flexibly, and online platforms (such as Teams) or external venues can be used.

- Other matters:

- Clarify the "mandatory" controversy of some projects (such as Rob's project).

- Remind exhibitions and external cooperation opportunities (such as Oxford Gallery exhibitions, night school cooperation).

---

### 2. What is the focus?

- Teaching objectives: Verify your professional knowledge by teaching others, and improve communication and organizational skills.

- Workshop design points:

- It must include knowledge explanation, practical sessions (such as hands-on tasks) and evaluation (such as feedback questionnaires, work displays).

- The recommended duration is 45 minutes to 2 hours, and the process must be recorded (video, photos or documents).

- The topic must be related to your major (such as illustration, printmaking, dynamic design, etc.), and can be combined with current creative projects.

- Resource coordination:

- Make an appointment for school facilities (such as printing room, embroidery machine) in advance, and pay attention to the closing time of the Easter holiday.

- Encourage the use of external resources (such as community activities, online platforms).

---

### 3. What is the homework?

- Task requirements:

- Design and implement a teaching workshop, the topic must be related to personal research direction.

- Participants must include at least 4 classmates (external personnel can be expanded).

- Record the workshop process (video, photos, participant feedback, etc.). - Submit an evaluation report: analyze the effect of the workshop and reflect on the improvement points.

- Additional tasks:

- Prepare a phased report for next week (show the progress and plan of the current module).

- Continue to promote the creation of the CPP (Creative Professional Practice) module.

---

### 4. What should I pay attention to?

- Time management:

- During the Easter holiday (school closure), the workshop time needs to be planned in advance, and it should be completed during the holiday or adjusted to one week after returning to school.

- Avoid complex and time-consuming designs, and give priority to themes that are highly operational and low-cost.

- Resources and communication:

- Contact technical personnel (such as printing room, embroidery machine administrator) in advance to confirm the availability of equipment.

- If special materials or venues are involved, it is necessary to apply for budget support from the school.

- Content and evaluation:

- The workshop needs to clarify the "teaching objectives" and "evaluation methods" (such as feedback questionnaires and work results).

- There is no need to pursue perfection, but it is necessary to reflect the awareness of reflection and improvement (such as analyzing the reasons for failure).

- Other reminders:

- Non-compulsory projects (such as Rob's project) can be selected according to personal interests, but international exhibition opportunities are recommended.

- Pay attention to external events (such as Oxford Gallery exhibitions) as practical and social opportunities.

---

### Summary suggestions:

- Clear theme: Design workshops in combination with personal research directions (such as illustration, printmaking, dynamic design).

- Simplify the process: Start with basic skills teaching (such as paper cutting, hand-drawn lettering, simple printing) to ensure operability.

- Test in advance: Run a trial run on a small scale and adjust teaching methods and materials.

- Record details: Save process documents (such as photos, videos, feedback) for final evaluation.

This class focused on animation projects, primarily discussing the following:

- Animation Progress: A 10-second experimental animation clip (exploring themes of identity) was presented. The instructor recommended referencing artists such as William Kentridge (South African animator) and Ryan (a Canadian animator exploring fragmented identity).

- Clarification on AI Tools: It was clarified that the tool used in the project is Adobe Illustrator (AI), not artificial intelligence, though it was suggested to explore integrating AI-generated techniques in the future (e.g., referencing Ai Weiwei's AI art exhibition).

- Sound Design Collaboration: The importance of adding sound effects/music to animations was emphasized, and collaboration with students from the Birmingham Conservatoire (BCU) studying music technology/sound design was encouraged.

- Exhibitions and Research: Visiting the Tim Burton Exhibition in London and the Two Temple Place Exhibition (on working-class art) was recommended, along with researching animation festival case studies (e.g., Annecy International Animation Festival).

- Project Optimization: For the "Nüwa Repairs the Sky" myth animation, simplifying the narrative, speeding up progress, and designing a temporary poster (with a QR code linking to the unfinished work) were advised.

---

### 2. Key Course Points

- Animation Practice Prioritization: Focus on completing core animation content (e.g., storyboards, style tests) quickly, avoiding excessive detail fixation.

- Interdisciplinary Collaboration: Proactively collaborate with music school students for sound design instead of relying on free resources.

- Research Depth: Expand research on classic animators (e.g., Eadweard Muybridge) and contemporary examples (e.g., award-winning works from animation festivals).

- Copyright Awareness: If using third-party music, ensure copyright sources are clear (avoid directly commercializing unauthorized material).

---

### 3. Issues to Address

- Project Delays: Create a clear timeline to prioritize completing foundational animation elements (e.g., submit a draft poster by the end of the week).

- Lack of Initiative in Communication: Overcome social barriers and proactively reach out to music school students or exhibiting artists for advice.

- Narrative Clarity: Simplify symbols in the myth animation (e.g., visual representation of the "five-colored stones") to avoid audience confusion.

- Insufficient Technical Testing: Lack of demonstrated storyboard drafts, color tests, or other process-based experiments.

---

### 4. Next Steps and Recommendations

1. Refine Animation Projects:

- Complete a temporary poster design for "Nüwa Repairs the Sky" this week (highlighting key symbols + QR code).

- Contact students from the Birmingham Conservatoire (via their course website/Instagram/referrals) to specify sound design needs.

2. Deepen Research:

- Analyze William Kentridge’s narrative techniques in animation and write a one-page visual analysis report.

- Study 2-3 award-winning works from animation festivals (e.g., Annecy Animation Festival) and summarize stylistic commonalities.

3. Expand Practical Exploration:

- Visit the Tim Burton exhibition (with Yuki on Tuesday), document inspirations, and provide feedback notes.

- Experiment with incorporating woodcut styles into animation backgrounds (referencing cover design feedback from class).

4. Organize Documentation:

- Transcribe key points from the class recording and establish an "Animation Reference Library" (including artists, musicians, and exhibition information).

---

### Key Resource Notes:

- Artist References: William Kentridge (identity narratives), Eadweard Muybridge (motion studies).

- Exhibition Information: Two Temple Place (working-class art exhibition), Ai Weiwei’s AI Art Exhibition (London).

- Music School Collaboration: BCU Conservatoire website → Music Technology course page.

- Animation Festival Submissions: Annecy International Animation Festival, Stuttgart Animation Festival (study past winning works’ styles).

1. International Collaboration and Cross-Cultural Communication

- Encourage students to establish connections with partners in their home countries or internationally (e.g., China, Nigeria), overcoming language and cultural barriers while leveraging local resources to expand project collaborations.

- Emphasize the importance of proactive communication (e.g., reaching out to Chinese designers, participating in international exhibitions). Even if rejected, persistence is key.

2. In-Depth Analysis of Learning Outcomes (LOs)

- LO1 (Research in Specialized Fields):

- Students should select research subjects within their field (e.g., animation, graphic design) such as individuals, works, or exhibitions. Critical analysis should be demonstrated through interviews, experiments, or case studies.

- Example: Record conversations with designers, analyze exhibition pieces, and respond creatively.

- LO3 (Initiative and Collaborative Learning):

- Balance independent projects (e.g., personal creations) with collaborative projects (e.g., interdisciplinary workshops), showcasing autonomous planning abilities.

3. Guidelines for Preparing Assessment Materials

- Slide Presentation Requirements:

- Each learning outcome corresponds to 4 slides, visually engaging and designed to spark interest (e.g., exhibition photos, creative process documentation).

- Avoid plain text; use images, sketches, and experimental process visuals to provide “evidence.”

- Categorization Logic:

- Experimental records and workshop participation fall under LO4 (Technical Practice), while external collaboration cases belong to LO2 (Project Planning).

4. Advancing Practical Tasks

- Continue progressing on the United Nations Sustainable Development Goals (SDGs) cross-cultural project, completing and submitting within two weeks:

- Combine local myths/cultural narratives, with no restrictions on format (e.g., illustrations, installations, animations).

- Submit 8 images or a 1-minute dynamic work for an international joint exhibition.

---

### Key Content

1. “Demonstrating Evidence” as the Core Assessment Principle

- All learning outcomes must be substantiated with specific materials (e.g., interview transcripts, experimental process visuals, collaboration logs).

- Avoid vague descriptions. For example: Instead of saying, “I studied animation history,” rephrase it as, “I analyzed ecological narratives in Hayao Miyazaki’s works and applied them to my climate-themed animation.”

2. Initiative and Cross-Cultural Competence

- Students need to step out of their comfort zones, proactively contact industry professionals (even if rejected), and leverage resources from their home countries to expand projects.

- Examples: Chinese students can connect with local designers, while Jewish students can explore cultural symbols unique to their heritage.

3. Time Management and Prioritization

- Progress multiple projects simultaneously, allocating time based on deadlines (e.g., setting daily tasks for specific projects).

- Use tools like Padlet to document research processes in real-time, reducing pressure during later organization stages.

---

### Detailed Emphasis and Explanations

1. Common Misconceptions in LO Classification

- Difference Between LO1 and LO2:

- LO1 focuses on theoretical research (e.g., analyzing a designer’s style), while LO2 emphasizes practical application (e.g., executing external collaboration projects).

- Core of LO3: Must demonstrate self-driven initiative (e.g., independently organizing workshops rather than merely responding to teacher-assigned tasks).

2. Practical Value of Exhibition Participation

- Participating in exhibitions (e.g., joint exhibitions in Indonesia) is not only an assessment requirement but also a career stepping stone (can be included in resumes to attract potential employers).

- Highlight cultural context in works (e.g., “a water resource narrative based on Miao legends”) to enhance uniqueness.

3. Student Questions and Answers

- Question 1: How should experimental records be categorized?

- Answer: Technical tests (e.g., material experiments) fall under LO4, while external collaboration projects belong to LO2.

- Question 2: Will incorrect categorization affect grades?

- Answer: Adjustments must strictly follow teacher feedback; otherwise, it will be considered “failure to understand assessment requirements.”

---

### Key Tips

- Cultural Sensitivity: Cross-cultural projects must balance creativity with respect, avoiding stereotypes (e.g., cautious use of religious symbols).

- Value of Failure Records: Document and analyze failures during experiments (e.g., “attempting 3D printing failed; switched to laser cutting”), demonstrating reflective ability.

- Network Mapping: Use visual tools like Miro to display collaboration networks, annotating relationships and contributions to projects.

这堂课围绕设计/艺术类项目的实践与评估展开，重点聚焦于以下核心内容：

1. 项目合作与网络构建

   • 强调通过实际项目（如音乐视频、展览、竞赛等）建立专业网络，与同学、导师、外部机构（如电影节、企业）合作的重要性。

   • 展示如何通过案例（如学生作品）说明合作如何推动职业发展（如国际展览、就业机会）。

2. 学习成果与评估标准

   • 解析模块的四个核心学习目标：

     • 深度分析与技能应用

     • 外部项目策划与执行

     • 在线网络与专业形象建设

     • 同辈互动与协作能力

   • 评分标准强调研究应用、批判性分析、实验测试，需通过作品集、教程记录、对话记录等展示过程。

3. 案例分析与反馈

   • 展示优秀学生案例（如文化项目、音乐视频设计），分析其成功要素（如清晰的受众定位、多媒介实验、网络整合）。

   • 批评低分项目的问题（如研究不足、缺乏原创性、文档混乱）。

4. 批判性分析的框架

   • 提出分析作品的四个维度：创作意图、历史背景、文化语境、目标受众。

   • 鼓励结合理论（如女性凝视理论）提升分析的深度。

重点内容

1. 实践与网络的重要性

   • 通过项目积累经验并扩展人脉，是职业发展的核心路径。

   • 需记录合作过程（如项目日志、网络图谱），并反思“与谁合作？如何合作？学到了什么？”。

2. 评估的核心要求

   • “展示证据”（Show Me）：所有学习成果需通过具体材料（如实验记录、反馈文档）证明。

   • 批判性思维：需结合理论框架分析作品，避免仅描述表面。

3. 跨文化项目任务

   • 布置了一个以**联合国可持续发展目标（SDGs）**为主题的团队项目，需结合本土文化/神话进行创作。

布置的作业/任务

1. 两周团队项目

   • 主题：选择一项联合国可持续发展目标（如气候行动、性别平等），结合自身文化背景或本土神话，设计一个信息教育类作品（形式不限，如插画、装置、动画）。

   • 要求：

     • 通过在线平台（如Padlet）记录研究过程和成果。

     • 需展示文化叙事与SDG的关联，并进行批判性分析。

     • 最终提交8张图像或1分钟动态作品，参与印尼、马来西亚及本地的联合展览。

2. 个人准备任务

   • 网络建设：绘制个人专业网络（人脉/联系）图谱（包括同学、导师、外部合作者），并制定拓展计划（如参加行业活动）。

   • 实验记录：持续记录项目中的测试过程（如材料实验、技术尝试），强调失败与改进。

3. 评估材料整理

   • 需按照四个学习成果分类整理文档，确保每项成果有对应证据（如教程记录、项目计划书）。

关键提示

• 避免重复：新项目需体现与前期模块（如ACP）的进展差异，展示技能迭代。

• 文化敏感性：跨文化项目需平衡创意与尊重，避免政治争议，但鼓励突破传统叙事。

• 时间管理：需同时推进多个项目，按优先级分配时间（如设定每日/每周专项任务）。

1

I have tried to contact all the people in the list above, some failed to get in touch, some simply gave replies and some helped me a lot. Wanting to produce animation, I feel I need to develop a larger network of animators, musicians, organizations, and companies in the future.