2010 Postgraduate Prospectus - University College Falmouth

2010 Postgraduate Prospectus 

I

01 Welcome 

02 Prime Opportunity 

12 University College Falmouth 

14 Flexible Learning 

18 Facilitating Success 

22 Enterprising Ideas 

28 Global Reach 

30 On Campus 

34 South West Scene 

38 Best Investment 

41 A-Z of Courses 

42 Art & Performance at Falmouth 

46 MA Art & Design Histories & Theories 

52 MA Art & Environment 

60 MA Choreography 

66 MA Contemporary Music 

70 MA Curatorial Practice 

74 MA Fine Art: Contemporary Practice 

78 MA Theatre: Contemporary Practices 

82 Design at Falmouth 

86 MA 3D Design 

90 MA Ceramics 

94 MA Contemporary Crafts 

98 MA Digital Manufacturing 

102 MA Garden & Landscape Design 

106 MA Graphic Design 

110 MA Illustration: Authorial Practice 

116 MA Interior & Landscape Design 

122 MA Textile Design 

126 Media at Falmouth 

130 MA Creative Advertising 

136 MA Education: Creative & Academic 

Practices in Higher Education 

140 MA International Journalism 

144 MA Multimedia Broadcast Journalism 

148 MA Performance Writing 

152 MA Photography 

156 Professional Media Practice: Skillset Short 

Courses for Media Professionals 

160 MA Professional Writing 

164 MA Television Production 

University College Falmouth / 2010 Postgraduate Prospectus 

170 Research at Falmouth 

172 Why Falmouth? 

173 Your MPhil/PhD 

174 Arts & Environment 

175 3D Digital Production & Digital Economies 

176 Digital Media & Networked Communities 

177 Contemporary Performance 

Practices & their Context 

177 New Development: User-Led 

Design & Sustainable Design 

178 Research & Innovation Lecture Series 

179 Applying for Research at Falmouth 

180 How Research Projects are Structured 

181 The Arts & Arts Research in Cornwall 

181 Online Resources 

181 Visiting Fellows 

181 Career opportunities 

181 Equal Opportunities 

183 What Next 

184 Open Days & Postgraduate Fairs 

185 How to Apply 

186 APL/APEL 

186 Accommodation 

187 Welfare Services 

188 Accessibility 

189 ASK: Academic Skills 

191 Careers Advisory Service 

190 Alumni 

192 Students’ Union FXU 

192 How Much Will it Cost 

193 Funding a Postgraduate Course 

at Falmouth 

194 Key Sources of Funding 

194 Scholarships & Bursaries 

196 Terms & Conditions 

197 How to Find Us

Welcome to University College Falmouth; 

a place where highly creative, ambitious, 

motivated and entrepreneurial people 

converge to study, work, explore, collaborate, 

find inspiration and challenge established 

thinking in a unique environment – supported 

by first-class facilities, high-calibre staff, 

international contacts and professional 

relationships that are second to none. 

There has never been a more exciting and 

opportune time to study here. The year 2010 

marks a vital milestone in our evolution towards 

Arts University Cornwall, as we welcome 

the students, staff and researchers from our 

Dartington Campus to high-specification, 

purpose-built facilities in our brand new 

Performance Centre on the Tremough Campus. 

Collaboration has always been an integral part 

of the College’s culture, but this will further 

flourish as Dartington’s academic community 

relocates to Falmouth, with choreography, 

music, theatre, performance art and writing 

students working alongside and devising new 

creative projects with our dynamic mix of art, 

design and media disciplines. 

We work hard to ensure that Falmouth 

students and graduates are highly skilled 

and professionally savvy, whilst also able to 

challenge orthodoxy and question prevailing 

wisdom through risk-taking, experimentation 

and divergent thinking. The College and its 

graduates enjoy an excellent reputation in the 

national and international professional and 

creative spheres, and we make it our priority 

to provide you with transformative learning 

experiences. At Falmouth, we want our 

alumni not only to make a good living but 

also to become ‘more alive’ – to become 

agents of change and innovation, shapers 

of a future world. 

You’ll find inspiration and stimulation aplenty 

here – but you’ll also make contacts that will 

endure throughout your career. If you’re looking 

to fast-track your success in the UK’s most 

creative region, look no further than University 

College Falmouth. 

welcome 

1

Are you a recent graduate looking to 

enhance your �ills and knowledge to 

�prove your �ture car�r pro�e�s? 

Or an e�abli�ed professional s�k�g 

to extend your pra�ice, broaden your 

creativ�y and explore new ways of 

work�g? Perhaps you’re con�der�g 

a car�r �ange? Or would you �mply 

like to learn more about a subje� that 

has always �tere�ed you but you’ve 

never had t�e to pursue �? 

pr�e 

opportun�y 

University College Falmouth / 2010 Postgraduate Prospectus

Postgraduate study is your chance 

to immerse yourself in your chosen 

specialism – deepening your personal 

fulfillment in your area of expertise as 

well as significantly increasing your 

earning potential. 

Falmouth provides you with the perfect learning 

environment to do this, offering a wealth of 

expertise; excellent facilities; a diverse range 

of national and international partnerships 

and creative networks; enviable industry 

connections and a stimulating, lively, researchactive 

community which nurtures innovation, 

collaboration and enterprise. 

Combining the vocational with the nonvocational, 

our staff offer inspirational and 

expert support – gleaned from years of their 

own professional experience, research and 

practice – to help you develop your own 

personal research interests. At the same time, 

you’ll learn new practical skills and gain insight 

into exciting career paths you may not have 

even considered. 

At Falmouth, we aim to support these diverse 

aspirations. You’ll receive focused supervision, 

be encouraged to push boundaries and take 

risks, forge new professional relationships, 

engage with leading national and international 

practitioners and professionals who visit the 

College to lecture, run workshops or attend 

conferences and symposia, and be enriched by 

a truly diverse student community. 

“If you want more �om your 

profes�onal pra�ice, or f�l the n�d 

to rejuvenate your pas�on for de�gn, 

I’d certa�ly recommend do�g an 

MA for the personal journey �’ll 

take you on.” 

Emma �omas, MA Interior & Landscape De�gn �udent 

3

“I’ve enjoyed doing the course and I love 

the town – it’s the best place in Cornwall 

to live. It’s a really lively, sociable town 

but still has all the beautiful Cornish 

coast and countryside around it.” 

Philippa Rushworth, 

MA Curatorial Practice student 

“I’ve had a fantastic social life this year 

and met some amazing friends talking 

to students from other postgraduate 

courses. We discuss our work, 

collaborate on projects, and enjoy all 

the fun Falmouth and the surrounding 

area has to offer.” 

Harriet Beesley, MA Graphic Design 

“I was an established 3D designer and 

had designed some furniture for the 

Eden Project’s café. I wanted to find out 

more about environmental design and 

take time out from my existing practice 

to immerse myself in design at a higher 

level. I’d heard about Falmouth’s BA(Hons) 

course in 3D Design for Sustainability, 

so I knew there as a good level of 

expertise at the College.” 

Aaron Moore, MA 3D Design graduate 


“I’d done some work experience on the 

second series of Pop Idol for �ames 

Television and was offered an entry-level 

job as a runner, but I decided I needed to 

gain some additional professional skills, 

which would help me in the long term.” 

Martin Conway, MA Television Production 

graduate now working as a producer on BBC1’s 

�e Apprentice 

Aaron Moore Philippa Rushworth

Oliver Udy 

Isabelle Risner 

“�e creative scene in Falmouth in 

general is excellent. �ere’s a brilliant 

music scene, two cinemas and lots of 

art being produced.” 

Oliver Udy, MA Photography student 

“I completed a PGCE but didn’t want to 

go into secondary education full-time. 

I wanted an environment where I could 

extend my knowledge and practice of 

photography in a community of people 

investigating their own research of 

that discipline.” 

Jon Blyth, MA Photography student 

“I’m a History and Politics graduate and 

had worked for many years as a journalist. 

I returned to full-time education to 

pursue a long-held ambition to be a 

maker, gaining a first-class BA(Hons) 

in Contemporary Crafts in 2007. I’m 

delighted to have the opportunity to 

integrate experience from my earlier 

career with my art practice. My research 

is concerned with how 3D digital tools are 

opening up new opportunities to makers. 

It’s a very exciting time for craftspeople 

and particularly interesting to be 

carrying out this research within the 

vibrant Cornish making community.” 

Isabelle Risner, PhD student studying 

the use of digital technology in designermaker 

practice 

“I’d just graduated with an English 

degree and I had taken a gap year. I didn’t 

know what I wanted to do, but I knew 

I wanted to work with words. I wasn’t 

sure if I wanted to go into journalism 

(I had a few work experience placements 

on local papers, and I wasn’t sure it was 

for me) – then I found this course. It’s 

perfect as it combines different types of 

writing and gives you the chance 

to experiment.” 

Clare Williams, 

MA Professional Writing student 

5 

Jon Blyth

Photography Centre 


Richard Ward

Sculpture Canopy, Woodlane 

Performance Centre 

Dan Gallally 

7

MA Television Production 

Justyna Suesser 


Christina Jensen 

Photography Centre 

9

Choreography Bodywork Class 


MA Graphic Design

Tavs Jorgensen 

Media Centre Martje Zandboer 

11

Reputation 

One of The Times’ Top 20 UK Higher 

Education institutions for art and design, 

University College Falmouth is an extraordinary 

community of innovative thinkers, makers 

and doers, and a key player in the national and 

international creative scene. 

Di��ion 

Our stimulating, vibrant and beautiful 

environment attracts a special kind of person 

to study, work and live here, and Falmouth 

graduates are highly sought after, enjoying a 

reputation for excellence in their 

chosen disciplines. 


Ori�nal�y 

The College’s inspirational location affords 

a level of creative and intellectual space not 

easily found in metropolitan settings. 

“Being away from London means you’re not 

blinded by the latest trends and are able to come 

up with fresh ideas and think independently,” 

says MA Creative Advertising student, Carl 

Halford. “Falmouth really promotes originality.” 

V�al�y 

There’s a distinctive edge and vitality to 

our students’ thinking – whether highly 

experimental or professionally applied 

– inspired and provoked by our talented staff 

of practitioner-academics, internationally 

recognised researchers, resident and 

visiting professors. 

Study�g at po�graduate level is a 

major, o�en life-�an�ng, comm�ment, 

so �’s v�al you choose the right 

��ution to realise your amb�ion.

Comm�ment 

We’re proud of our reputation as an 

innovator in the fields of art, performance, 

design and media, and work tirelessly to 

maintain it. We’re constantly investing in new 

facilities to ensure that you’ll have excellent 

resources at your fingertips, from the brand 

new Performance Centre and state-of-the-art 

Design, Photography and Media Centres to 

new initiatives like the Academy for Innovation 

and Research. 

Enterprise 

Our wealth of connections with some of the 

country’s leading practitioners, businesses 

and cultural organisations enables us to pull 

the outside world in and situate much of our 

learning ‘out there’. Industrial and educational 

partnerships, community ventures, applied 

research enquiries, commercial projects, startup 

enterprises and professional placements are 

an integral part of studying at Falmouth. 

“What’s particularly interesting about the 

MA Design course community is that the 

disciplines are so mixed. We have spatial 

designers, textile designers, ceramicists 

and all manner of designer-makers, all 

studying together and all of us from very 

diverse backgrounds. �is makes for 

some interesting discussion and debate, 

and definitely encourages us all to push 

design boundaries and explore areas that 

we otherwise wouldn’t have considered.” 

Emma �omas, 

MA Interior & Landscape Design 

Collaboration 

Falmouth’s courses and facilities are 

configured to promote inter-disciplinarity 

and collaborative learning. You’ll have plenty 

of opportunity to conceive and devise projects 

with students on other courses, leaving as part 

of a network of multi-skilled practitioners that 

moves seamlessly into the professional sphere. 

Commun�y 

“Falmouth has a strong sense of community 

and is really friendly,” says PhD student, 

Damon Taylor. “That’s quite rare in Higher 

Education these days. It’s easy to have a 

constant interchange between the different 

disciplines and hear what other people are 

working on – if you’re somewhere bigger, 

you often have to use formal networks to 

discover these things. Talk to the students and 

everyone is glowing about it.” 

“It’s an amazing place to study and live. 

�e College, the facilities and the staff are 

first class... I couldn’t ask for anything 

better. I really enjoyed my time at 

Falmouth and I would highly recommend 

it to anyone.” 

Gráinne Kenny, 

MA Textile Design graduate 

Gráinne Kenny 

13

Design Centre 


http://learningspace.falmouth.ac.uk 

http://professionalwriting.falmouth.ac.uk 

Different modes of �udy 

University College Falmouth aims 

to provide a variety of options for 

those who cannot undertake full-time 

postgraduate study. 

Many of our MA courses can be studied on a 

part-time basis, including MA Choreography, 

MA Contemporary Crafts, MA Contemporary 

Music, MA Curatorial Practice, MA Education, 

MA Illustration, MA Interior & Landscape 

Design, MA Photography and MA Textile Design 

amongst others. 

Alongside these part-time courses, the College 

is also pioneering a variety of new learning 

options for those wanting to study alongside 

their existing commitments. 

Study�g for a Ma�ers doesn’t have 

to mean a complete �ange � life�yle. 

We under�and that work and family 

comm�ments are �portant 

con�derations when contemplat�g 

po�graduate �udy, so have devised a 

range of forward-th�k�g ��iatives 

that allow you to blend your exi��g 

car�r or family w�h your de�re 

to �udy. 

15

Di�ance learn�g 

There are currently three MA courses 

offering a distance learning approach: 

MA Professional Writing, MA Garden & 

Landscape Design and MA Art & Design 

Histories & Theories. 

The Professional Writing course is part-time, 

run over a two-year period and aimed at those 

needing to study from home via the internet and 

online resources. “We think the combination 

of flexibility, commercial focus and input from 

leading industry practitioners makes this 

unique among writing courses in the UK,” says 

course leader Christina Bunce. “The online 

course is just as challenging, and uses the same 

successful model for developing writing skills 

and professional knowledge. But being able to 

spread the work over two years, and to do it in 

their own time at home, makes it much more 

feasible for many people.” 

The course has been carefully designed to 

ensure that students studying from home still 

feel fully engaged, using websites and forums to 

create an online community, while the teaching 

takes place using a combination of online 

seminars, Skype tutorials and video-streamed 

talks from a host of leading professionals. 

“I was thrilled to discover that a part-time option 

existed for the Professional Writing MA,” says 

current student, Kelly Stevens. “I have two 

children, aged two and six, as well as a part-time 

job, so I knew the full-time version wasn’t going 

to work for me." 


The MA Garden & Landscape Design by blended 

learning is also a part-time, two-year course 

designed for existing professionals who wish to 

continue working but want to build on their areas 

of specialism and explore new markets. Using a 

combination of distance learning via an online 

virtual studio and residential study blocks in 

Falmouth (or strategically located study centres 

across the UK), the course is another example 

of Falmouth’s commitment to providing flexible 

study options. 

MA Art & Design Histories & Theories has 

been developed from Falmouth’s renowned 

part-time MA 20th Century Art & Design: 

Histories & Theories. Now available over two 

years as a part-time, blended learning course, 

this MA offers a unique opportunity to study 

the histories of art and design at a high level. 

Delivered through three one-week residential 

study blocks, and eight distance learning study 

blocks, the course is supported by its own 

Virtual Learning Environment which makes it 

easy to take part in seminars, workshops, guest 

lectures and generally keep in touch with staff 

and fellow students, whilst working in your own 

time from home. 

“Undertaking the MA as a distance learning student has given me everything I hoped 

for: a network of writers to be friends with and learn from, a flexible timetable (so I 

can listen to a lecture and study when it suits me), and tutors who really know their 

craft. Most of all, it’s given me the confidence I needed to take my writing seriously.” 

Kelly Stevens, MA Professional Writing Student

Embrac�g new te�nology 

All three courses maximise the potential 

of current technologies that allow a 

greater freedom of study options than 

ever before. Falmouth has been quick to 

embrace the potential of studying and 

teaching online and is continuing to look 

at new and exciting ways of progressing 

its distance learning programmes. 

The Professional Writing course is now part of 

a pilot scheme to release learning materials as 

open educational resources and will include 

the development of a new learning platform 

for delivering an online version of the course’s 

screenwriting unit. “This project, which we have 

named OpenSpace, is groundbreaking because 

it’s about making full and imaginative use of 

new technology to develop materials that can 

be used freely and flexibly, not just by our own 

students but by people who have previously 

been excluded by institutional boundaries,” 

says Christina. 

These materials will include full courses, course 

materials, complete modules, notes, videos, 

podcasts, self-assessment tools, collaborative 

projects, simulations, guest lectures, software 

and other tools, materials and techniques used 

to support access to knowledge. 

“This pilot provides an important catalyst for 

realising our strategy to deliver course content 

in a manner relevant to the way people live and 

work in the 21st century,” says Paul Inman, 

Director of the School of Media. 

More �udy options 

Falmouth is also a Skillset Academy 

and now offers a range of Skillset 

accredited short courses in Professional 

Media Practice. 

Created for professionals wishing to improve 

their skills and knowledge of new media 

environments, the courses focus on areas such 

as digital animation, e-marketing and online 

journalism, with each unit counting towards a 

postgraduate qualification – from a Postgraduate 

Certificate to a full MA, depending on the 

number of credits you compile. Every course has 

been developed alongside media partners who 

understand the changing industry and the skills 

you need to flourish in your profession. 

�e Learn�g Space 

The Learning Space resource is another example 

of the College’s progressive approach to learning, 

giving students access to resources and the 

opportunity to contact lecturers and fellow 

students outside of the normal academic day. 

This virtual learning environment offers 24hour 

access to course materials, podcasts and 

video lectures as well as live online chat, text 

and email options that encourage interaction 

between students and lecturers. 

“The Learning Space is a fantastic resource. 

We’re all encouraged to post our work on there 

regularly and critique each other’s work – and 

the tutors are always on there too, sharing 

course and industry news as well as critiquing 

work between seminars, which actually boosts 

our contact time,” says MA Professional Writing 

graduate, Joanna Thomas. 

Use�l URLs 

http://learningspace.falmouth.ac.uk 


www.falmouth.ac.uk/mediashortcourses 

17

�e creative process is �elled 

by �a�nation and ��iration, 

collaborative efforts and solo journeys. 

Today’s pra��ioners require a wide 

range of facil�ies, �om the late� 

�novations to trad�ional tools, 

to br�g their arti�ic vi�ons and 

professional endeavours to life. 

facil�at�g 

success 


Have access to � all… 

We understand the importance of having 

the very best facilities to create a dynamic 

working environment that aids learning 

and encourages experimentation, as well 

as introducing you to industry-standard 

equipment and practices. 

From the brand new Performance Centre to the 

unrivalled Photography Centre, Media Centre 

and Design Centre, each space is carefully 

designed and developed with professional 

consultation, partnerships and expertise to 

ensure that our students get the best preparation 

for their chosen practice or profession. 

“�e Design Centre offers an 

exhilarating world-class teaching 

and learning environment. Its depth 

and breadth of specialisms under one 

roof enables our students to use and 

experience processes not normally 

available in an educational institution.” 

Ronan Doyle, Design Centre Manager 

�e De�gn Centre 

Falmouth’s reputed Design Centre will 

provide all the equipment, space and 

inspiration you need. 

It boasts a range of facilities rare in most 

educational institutions, as well as converting 

into a multi-level exhibition space that 

showcases student work and hosts lectures, 

presentations and seminars. Facilities include: 

• The latest tools for designing, prototyping 

and making, including 13 kilns and a digital 

printing suite • Industry standard CNC milling 

and routing machines • Rapid prototyping 

equipment to create high-precision one-offs 

• A laser cutter for fine precision work 

• A computer-controlled Jacquard loom and 

hand looms specially imported from Holland 

• Digital equipment supported with a range 

of professional and industry standard 2D and 

3D software. 

19

�e Photography Centre 

Falmouth’s Photography Centre has a 

justified reputation as one of the very 

best in Europe, offering a huge range 

of equipment for both traditional and 

digital photography. 

The centre also benefits from close relationships 

with companies such as Hasselblad, Nikon 

and Calumet to ensure our facilities match the 

requirements of the profession. From capture 

to post-production to output, the Photography 

Centre is there to match and support your 

development and ideas. Facilities include: 

• Well-equipped darkrooms • Film and 

paper processing machines • Fully colourmanaged 

digital suites • Digital training room 

• Professional quality film scanners and Adobe 

Photoshop software • Digital laser and LED 

digital printers • Large format inkjet printers. 

• Photography store containing a range of film 

and digital cameras for loan. 

“�e Photography Stores are the hub of 

the Photography Centre but it isn’t just 

where we issue and return equipment; 

it’s another area of learning. We strive to 

replicate the environment of a professional 

hire company and encourage students to 

respond to this in a professional way.” 

Scooby Gill, Equipment Store Manager 


�e Media Centre 

Our Media Centre is constantly 

evolving to match changes within the 

industry, creating a wholly professional 

working environment whatever your 

area of interest. 

The centre also has educational partnerships 

in place with companies such as Panasonic, 

to inform and support its development. 

Meanwhile, the technical support on offer 

enables your developing skills to keep pace with 

your creative ideas. Facilities include: 

• Pro-Tools HD recording studio and production 

rooms • A newsroom with an IRN news feed 

and 43 workstations • Three radio control 

rooms • TV studio • Virtual Reality TV studio 

• 22 AVID Media Composer edit suites • A wellstocked 

equipment store with a range of P2 

cameras • A Digital Production Suite with 

audio editing and graphics software with 

professional scriptwriting and editing software 

• A Digital Animation Suite with industry 

specialist software. 

“�e philosophy for the Media Centre 

is that when a student leaves here, 

they’ll have used the same or very 

similar equipment used by the industry, 

so they’ll have transferable skills and 

can go into a job and make a 

contribution. �ey won’t need further 

training before they can start work.” 

Alan Barnes, Media Centre Manager

Artist's Impression 

�e Performance Centre 

The new £15m Performance Centre is 

an inspiring space designed to 

encourage and aid collaborations. 

Award-winning industry consultants have 

helped create a dynamic facility, which will 

also attract local, national and international 

companies, continuing Falmouth’s track record 

of hosting the best performances, exhibitions 

and conferences. Whatever your chosen 

discipline, the Performance Centre will be a 

springboard for groundbreaking new work 

and the ideal environment in which to develop 

your practice. Facilities include: 

• A large theatre • Performance studio with 

variable raked seating options • A large theatre 

and dance studio with a fully sprung Harlequin 

floor • A performance studio designed for 

acoustic music • A performance studio 

designed for amplified music • A further two 

large dance studios with fully sprung Harlequin 

floors • Three studio theatres • Recording 

studio complex • Music rooms for bands and 

solo occupancy • All studios will be equipped 

with contemporary production lighting and 

sound facilities. 

“�e Performance Centre will encourage 

collaborations between the three Schools 

to create exciting new performance, 

installation and exhibition projects.” 

Peter Hooper, Head of Sound and Vision 

Add�ional Facil�ies 

Interactive Arts Centre: Equipped with a 

range of software including web design, image 

manipulation, video and audio editing and 3D 

modelling and design. The centre’s staff also 

constantly monitor emerging technologies to 

anticipate your needs – whether that’s designing 

for mobile phones, iPods or platforms still 

in development. 

Fine Art workshops and studios: Full-time 

MA Fine Art students have their own studios, 

providing the space and freedom to develop 

ideas as well as a team of multi-skilled technical 

instructors and a great range of machines and tools. 

Learning Resources Centres: At both 

Woodlane and Tremough, these centres provide 

an integrated learning environment for all 

students. Woodlane offers a specialist art and 

graphic design library with 70,000 books, 

e-resources and journals to meet the needs of 

the specific courses on each campus. Tremough 

houses our media and design collections, 

together with a wide-ranging collection to meet 

all students’ needs. The collection of 200,000 

books, journals, online and electronic resources, 

and specialist DVD collections are underpinned 

by a service allowing items to be transferred 

between sites, as well as an option to order 

specialist books from the British Library via the 

College. Both centres are wi-fi throughout and 

have subject librarians to support your studies. 

The Learning Space: The College’s virtual 

learning environment (http://learningspace. 

falmouth.ac.uk). We’ll issue you with an email 

account and provide file storage space. 

Learning & Teaching Research Centre: 

A unique facility that encourages innovative 

approaches to the ways in which staff teach, 

lecture and support our students. 

21

At Falmouth, we believe �’s v�al to 

th�k about life a�er �udy throughout 

your �udies, to ensure a smooth 

tran�tion �to your profes�onal life 

and pra�ice. �e College has exten�ve 

l�ks w�h re�onal, national and 

�ternational employers and cultural 

organisations, communicat�g and 

collaborat�g on a regular ba�s – 

as well as excellent facil�ies, support 

and proje�s to encourage �novation 

and entrepreneurialism. 

enterpri�ng 


Bu�ness Support Staff 

Whatever your choice of course or 

campus, our business support staff are 

here to help you. Jono Wardle (Advertising 

& Design), Sara Bowler (Visual Arts), 

Cat Radford (Performing Arts) and Rick 

Rogers (Music) know their respective 

industries inside out and can give you 

invaluable advice and contacts. 

“Our main role is being the point of contact 

between the College and the commercial 

world,” explains Jono, Business Fellow for 

Advertising and Design, and a former Creative 

Director at J Walter Thompson in London. 

“It’s a bit like a mentoring service – we can give 

you advice and put you in touch with the right 

people. We manage a lot of live projects that 

students work on where they gain experience 

in meeting clients, presenting work, and 

generally understanding how the business world 

functions. I think that’s quite special; I don’t 

think many universities have professionals on 

site all the time.” 

“I’ve been on the other side, assessing 

funding applications and deciding 

whether to approve them or not, so I 

know what an assessor is looking for.” 

Sara Bowler, Business Fellow 

Visual Arts & Employability Business Fellow, 

Sara, says the main problem for graduates is 

knowing where to start: “They have lots of ideas 

and enthusiasm, but it’s actually choosing which 

direction to go in.” Sara also advises people 

who are applying for funding. Her previous post 

at Arts Council England included assessing 

grant applications, so students and graduates 

find her opinion invaluable. “I’ve been on the 

other side, assessing applications and deciding 

whether to approve them or not, so I know what 

an assessor is looking for,” she says. Sara also 

develops external projects with organisations 

in the area such as Newlyn Art Gallery or 

ProjectBase. 

“The commercial world of the music business 

is an exciting place to be but one of the hardest 

to get in to,” says Rick. “How you promote 

yourself is highly important.” With 30 years of 

managerial experience, he uses his expertise to 

help people obtain maximum exposure for 

their acts. 

Jono, Sara, Cat and Rick will assist your 

professional aspirations, wherever these may 

take you. 

www.falmouth.ac.uk/business 

“Being an artist myself, it’s been really beneficial to 

develop my knowledge about the business side of things. 

I’ve achieved a greater understanding of the art scene in 

Cornwall and gained more confidence when dealing with 

buyers and interacting with other professionals.” 

Dean Knight, MA Fine Art: Contemporary Practices student 

23

Enterprise on Campus 

Falmouth’s Incubatee Programme 

offers workspace at subsidised rates 

and mentoring support for graduate 

and postgraduate start-ups. 

In addition, the College offers Proof of Concept 

awards which give students with a strong 

business idea the opportunity to win up to 

£2,500 to help launch their new business. 

A Student Enterprise Club – joint with University 

of Exeter – has also just been launched, creating 

a stimulating environment for entrepreneurial 

students to come together and listen to guest 

speakers, attend focused workshops and 

network with other business start-ups. 

Providing a physical space for businesses to 

come onto campus, the Tremough Innovation 

Centre is planned to open in 2010. 

Invaluable Contacts 

Whether it’s working in partnership to deliver 

courses, running specialist workshops, offering work 

placements, providing access to specialist facilities, 

collaborating on live projects or hosting special events, 

Falmouth has excellent connections with a wealth of 

local, national and international organisations offering 

enviable opportunities for our students. Here are just a 

few examples: 

Newlyn Art Gallery & The Exchange: historic 

art gallery with a magnificent new contemporary 

exhibition space that’s the largest of its kind west 

of Bristol. Tate St Ives: world-famous modern and 

contemporary art gallery that’s one of the course 

partners for MA Curatorial Practice. ProjectBase: a 

contemporary visual arts organisation commissioning 

internationally established artists to work with local 

communities to present exciting and innovative projects. 


Up to 70 office spaces will be available, both for 

graduates starting up new businesses and local 

or national businesses wishing to be located at 

Tremough. “We’ve had enquiries from all over 

the country, from businesses wishing to relocate 

or set up new offices in the South West,” says 

Jeremy Richards, Director of Innovation and 

Enterprise. Shared with the University of Exeter, 

the centre will provide a fantastic opportunity 

for businesses wanting to work with the 

expertise at both these institutions – as well as 

art and performance, design and media, projects 

could also include engineering, healthcare or 

renewable energy. 

Projects such as AIR and Dott also reflect 

the College’s enterprise strategy, focusing on 

how you can develop your design after study, 

explore professional opportunities and take your 

products to market: 

Leach Pottery: internationally significant pottery in 

St Ives, which works in partnership with Falmouth 

to deliver the MA Ceramics course. MyCornwall.tv: 

a new internet television company now based in the 

Media Centre at Tremough Campus. The Writer: 

London’s leading business writing agency (with clients 

including Sky, the BBC and HSBC) offers a bursary 

each year to one of our MA Professional Writing 

students, which also includes hands-on experience 

in their offices. Arnolfini: on the waterside in Bristol, 

Arnolfini is one of Europe’s leading centres for the 

contemporary arts – hosting exhibitions, film, live art, 

dance, music and literature – and is a course partner 

for MA Performance Writing. Aardman: the film and 

television animation company that produced the 

Wallace and Gromit series is one of the professional 

partners for our new Skillset Short Courses.

�e Academy for 

Innovation & Resear� (AIR) 

AIR is an exciting new development which 

will bring people from different sectors 

together to work in multidisciplinary 

teams with the College. 

For postgraduate students on taught and 

research degrees, this will offer the opportunity 

to contribute to large-scale innovation projects 

working with students, researchers, and 

external organisations from a range of 

other disciplines. 

“These larger scale development projects 

could involve several businesses – perhaps 

two or three businesses that are based in the 

Innovation Centre working with a technology 

provider from London, expertise from abroad 

and a team of Falmouth’s own researchers 

and students,” explains Jeremy Richards. “It’s 

about upping our game in terms of collaborative 

research and the way that we interact with 

businesses nationally and internationally 

– combining business-specific issues with 

transdisciplinary academic research.” 

“AIR goes live in 2011, but students will be able 

to get involved in AIR-inspired pilot projects 

throughout 2010,” explains John Miller, 

Programmes Manager, AIR. “It’s an ideal 

opportunity for designers who want to gain 

experience within a wider innovation framework.” 

www.falmouth.ac.uk/air 

Do� Cornwall 

Dott (Designs of The Times) is a rolling 

region-by-region programme led by 

the Design Council which aims to drive 

innovative solutions to social and 

economic challenges. 

Launched in 2009, Dott Cornwall has been 

developed as a partnership between the Design 

Council, Cornwall Council and University 


“The spotlight will be on Cornwall over the next 

two years, which makes it a particularly good time 

to be doing a design masters or research degree 

at Falmouth,” says John Miller. “Dott will be locally 

based but is already internationally regarded, 

through the first Dott programme in the North 

East in 2007. Dott Cornwall is led by Andrea 

Siodmok, a leading design thinker and one of 

many high-profile guest speakers design students 

will have access to over the coming year. “ 

The Dott design approach is a transparent 

process, bringing both professional design 

teams and the community into the design 

journey. The process gives the community the 

opportunity to identify the problem and become 

part of the solution, enabling a greater sense 

of ownership. Dott Cornwall supports a wide 

range of projects ranging from healthcare to 

community projects to public transport, and 

offers students from all disciplines the prospect 

of engaging in developments that will have a 

lasting impact on the county. 

www.falmouth.ac.uk/dott 

25

Creative Enterprise Cornwall 

Creative Enterprise Cornwall (CEC) is 

a project offering financial support to 

postgraduate students who live in 

Cornwall and complete a work 

placement/project during their studies. 

Its aim is to promote graduate opportunities 

within Cornwall and support local businesses by 

giving them access to postgraduate expertise. 

CEC is innovative in the range of approaches and 

the flexibility it adopts to facilitate placements; 

postgraduates complete between 35 and 70 

hours of work with a business during their 

studies. This flexibility enables the project to 

meet the requirements of the student and the 

company, matching the postgraduate’s skills 

and knowledge with the business need. 

“I did my placement at Wed and Big Screen 

magazines, mainly writing for Wed,” says MA 

Professional Writing student, Clare Williams. 

“The placement helped me to gain a valuable 

insight into how a magazine works, from PR 

and advertising to distribution.” 

Earn up to £1300 funding 

for completing your CEC project! 

To qualify for funding, you must: • Register for 

the project (be a UK or EU citizen and have a term 

time address in Cornwall) • Organise your work 

placement/project and have it approved by your 

course director and the UCF Placement Co-ordinator 

The work placement must: • Take place in Cornwall 

or benefit a Cornish company • Meet your course 

objectives • Be a minimum of one working week or 

the equivalent of a normal working week in duration. 


Meanwhile, MA Fine Art: Contemporary 

Practices student, Dean Knight, worked at 

Goldfish Fine Art in Penzance, assisting with the 

installation of exhibitions and sales of artworks, 

visiting artists’ studios, writing press releases 

for exhibitions and dealing with the day-to-day 

running of their two gallery spaces. “Being 

an artist myself, it’s been really beneficial to 

develop my knowledge about the business 

side of things,” he says. “I’ve achieved a greater 

understanding of the art scene in Cornwall and 

gained more confidence when dealing with 

buyers and interacting with other professionals.” 

The CEC project is run by University College 

Falmouth and is dependent upon continued 

support from the European Social Fund. 

You must complete your work placement/project and 

return your feedback form together with a letter from 

the company confirming your placement/project, in 

order to claim your funding. 

If you find an eligible work placement 

yourself, you’ll be entitled to £200. For every week 

completed you’ll earn a further £200. The maximum 

total funding you can earn for a placement is currently 

capped at £1300. For more information, contact the 

UCF Placement Co-ordinator on 01326 254200.

Creative Vi�on 

The Creative Enterprise Cornwall (CEC) 

scheme provided an exciting opportunity 

for MA Creative Advertising student, Carl 

Halford, to work on a new promotional 

campaign for one of Falmouth’s hippest 

independent businesses – and earn 

£600 in the process. 

I did my CEC placement as an ongoing 

project over about five weeks. I spoke to the 

client, Here and Now Shop and Gallery, about 

their current situation and what they needed 

and wanted, then I’d produce some work, take 

it to them to see what they thought, see what 

changes needed making, go away and do 

some more work on it and then present it to 

them again. 

I chose Here and Now because I wanted 

to help a small, original and independent 

business that would really benefit from the 

free work. I felt a real affinity for the business 

and wanted to get involved and use my skills 

and interests together to create an interesting 

campaign. It wasn’t in the main high street – 

it’s a little bit off the beaten track – so needed a 

bit more promotion. 

There are a lot of really interesting creative 

businesses in this area. As far as I’m 

concerned, Falmouth is the creative hub of 

the UK. It has so many talented artists, designers 

and performers based there – although they 

don’t all get the recognition they deserve. It’s a 

really inspiring place to live and work. 

The most useful aspect of the project was 

gaining first-hand experience of being a 

freelance creative and being able to speak 

to the client directly. Quite often as a creative, 

you’re put away in one room and it’s the 

account managers who actually speak to the 

client then give you the brief. To have those 

discussions and go through that process, from 

the initial idea to presenting first visuals to the 

final product, was great. 

When I finished the placement, I agreed to 

keep in touch and continue helping with 

her promotional materials – whether on a 

conceptual, production or strategic basis – 

for the duration of my stay in Falmouth. 

CEC is a fantastic opportunity which 

complemented the course perfectly. I’d really 

recommend it to other students. It’s a lot of 

work – it’s definitely not free money – but it’s 

very worthwhile and gives you the opportunity 

to hone your professional skills in a local 

business that will really appreciate the benefits. 

www.heregallery.co.uk 

“CEC �ves you a fanta�ic opportun�y 

to hone your profes�onal �ills � a 

local bu�ness that will really 

appreciate the benefits.” 

Carl Halford, MA Creative Advertising student 

27

International Community 

Studying at Falmouth means you’ll be 

part of a truly international community 

no matter where you’re from or where 

you want to go. 

“I loved the people I met during my time at 

Falmouth,” says MA Professional Writing 

graduate, Dorothy Dahm, from the United 

States. “Students, both undergraduate and 

postgraduate, choose Falmouth because they’re 

genuinely interested in art, performance, media 

or design; no one is there by default. I’ve never 

met so many interesting, talented people of all 

ages and backgrounds before.” 

Falmouth’s appeal, born from its combination of 

progressive courses, expertise and the stunning 

Cornish landscape, means students from all over 

the world are drawn to study here. Like Dorothy, 

they’re attracted by the range of courses that 

are often not available in the country of their 

origin. “The Professional Writing course is very 

unique; there aren’t many like it in the US or 

the UK,” she says. “I was drawn to Cornwall 

from Japan,” adds MA Contemporary Crafts 

graduate, Kazuaki Harada. “Its reputation as 

a creative county meant I knew I would be 

inspired in my work.” 

“�e Professional Writing course is 

very unique; there aren’t many like it 

in the US or the UK.” 

Dorothy Dahm (US), 

MA Professional Writing 


Support every step of the way 

Preparing to study abroad can seem like 

a daunting process and our International 

Office, open all year round, is there to 

help you through the application process, 

offering advice and information 

wherever needed. 

“In my case, everything took place at such a 

swift pace that I was setting foot on campus 

before I knew it – which in itself speaks of the 

International Office’s efficiency during that 

period,” says Tarun David, an MA Television 

Production graduate from India. “The surprising 

rejection of my visa to enter the UK did hinder 

the process, but the dedication showcased by 

the team at the International office to ensure 

that I got there was unforgettable.” 

As well as guiding you through your application 

process, the International Office will also assist 

you with study visas. They also provide a free 

airport meeting service, accompany you to your 

accommodation on arrival and organise a week 

of activities to help you acclimatise to your new 

surroundings. This includes a full introduction 

to life and study at Falmouth, with sessions on 

banks and finance, health, British law, teaching 

and learning, Student Services and the 

Students’ Union. 

The International Office also provides advice 

and assistance throughout your time here. 

The College has an English Language Support 

department, which offers evening classes in 

academic writing and presenting in English, as 

well as one-to-one appointments to cover any 

other English language issues you may have. 

“It was like a family taking care of their son,” 

says Tarun. “Does it get any better than that?”

CalArts - Los Angeles 

A world of opportunity 

Falmouth’s international flavour extends 

far beyond its student body. The College 

has long-standing relationships with art 

institutions all over the world, including 

Griffith University in Brisbane, Academy 

of the Arts in Reykjavik, Sarah Lawrence 

College in New York and CalArts in 

Los Angeles, as well as a new partnership 

with LASALLE College of the Arts 

in Singapore. 

Many courses offer self-funded study trips 

and work experience opportunities abroad 

and students continually benefit from the 

professional relationships of their tutors, who 

both attract international visitors, events and 

symposia to Falmouth and assist in helping 

students pursue their ambitions of studying 

and working abroad. 

global 

rea� 

Recent examples include a creative writing 

project in Nepal, exhibiting at a major design 

fair in Milan and working in an art gallery in 

Berlin. Award programmes and bursaries 

are also available to aid international study, 

including the annual Ferdynand Zweig memorial 

scholarship, which has helped Falmouth 

students undertake study projects in Turkey, 

the Himalayas and the Nevada Desert. A new 

project, Broken Landscapes, plans a programme 

of dance and contemporary art performance 

productions, research, conferences and 

workshops to focus on art and environment for 

sustainable development in the Mediterranean 

region, including Sardinia, Marrakech, Turkey, 

France and the UK. 

Whether you’re an overseas student enticed 

by the wide range of courses on offer or you 

want your postgraduate studies to include 

trips and work placements abroad, Falmouth 

and its international community is the ideal 

choice, offering you support, a challenging and 

inspiring environment in which to study and 

opportunities aplenty. “I had hoped to return 

to India with just an MA,” says Tarun. “Instead I 

walked away with the experience of a lifetime.” 

29

Woodlane, Falmouth 

Woodlane is the vibrant heart of student 

life within Falmouth. Its gardens, studio 

spaces and close creative community 

make it an inspirational place to study 

and share ideas. Plus, when the work 

is done, the lively town centre and 

beautiful beaches are only a few 

minutes away. 

Just a short walk from the original Falmouth 

School of Art (which now houses MA Fine Art: 

Contemporary Practice and MA Curatorial 

Practice), Woodlane’s onsite bar and refectory, 

subtropical gardens, creative studios, outdoor 

sculpture canopy and relaxed, friendly 

atmosphere make it a stimulating and 

welcoming environment. 


“Quite frankly, it’s stunning,” says PhD student 

Damon Taylor. “When you walk into a campus 

that has palm trees in the middle of a Fine Art 

set up, it’s just out of this world! There’s a lot 

of space there, which is quite rare as far as I’ve 

seen, and is really important for creative work. 

As an environment I’ve never been to a campus 

like it.” 

MA Illustration student, Hannah Chapman, 

agrees: “I love the friendly, informal and 

historical feeling of Woodlane, with its long 

standing, creative and artistic traditions. For 

example, I love using the huge old iron etching 

press that has been working since the 1850s.” 

“There’s a really stimulating atmosphere to the 

place,” adds MA Creative Advertising graduate, 

Anna Sweet. “It’s always bustling with activity, 

inside and out – it just breeds originality.” 

“When you walk �to a campus that has 

palm tr�s � the middle of a F�e Art 

set up, �’s ju� out of this world!” 

Damon Taylor, PhD �udent 

on 

campus

Tremough, Penryn 

With its stunning architecture and 

superb views across the Fal estuary, 

the Tremough Campus is spearheading 

an exciting future for education and 

innovation in Cornwall. Owned by 

University College Falmouth and 

shared with the University of Exeter in 

Cornwall, it’s a lively hub where great 

things happen. 

The eyecatching granite, wood and glass 

building at the centre of the campus houses the 

main seminar rooms, the Learning Resources 

Centre and main IT suite, as well as the Stannary 

– one of Cornwall’s largest venues, which also 

doubles up as the refectory and bar. There’s also 

a Sports Centre, well-equipped gym and multiuse 

games area. 

University College Falmouth has recently begun 

development work on AIR, the Academy for 

Innovation and Research, which will bring 

people together to work collaboratively across 

disciplines to provide the ideas, resources 

and opportunities needed for a competitive 

knowledge-based economy. 

The Performance Centre: this £15 million 

building, opening in October 2010, will be 

packed with high-specification facilities. 

An inspiring space where inspired people will 

come together to perform and cultivate original 

ideas, the Performance Centre promises to be 

a fantastic springboard for groundbreaking 

new work. 

The Design Centre: turning heads since it 

opened in 2003, the Design Centre’s impressive 

terraced studios are exclusively available for 

Falmouth students to use. Its custom-built 

workshops and facilities include some of the 

most modern equipment in the country. Its airy, 

open-plan layout encourages staff and students 

to share ideas and techniques. 

The Media Centre: the recently enhanced 

Media Centre is a high-specification facility fullyequipped 

for every aspect of media production, 

from the TV studio and newsroom to the audio 

and visual editing suites, IT suites and cinema. 

The Photography Centre: one of the best 

facilities of its kind in the country, the recently 

opened Photography Centre provides both 

silver-based and digital imaging with darkrooms 

for traditional film use and colour-managed 

digital suites with the very latest software. 

“The ambience at Tremough is 

brilliant. �e facil�ies for our work 

were top qual�y, and the environment 

is a beauti�l place to learn and get 

��iration �om.” Chris Jarra�, 3D De�gn graduate 

31

Woodlane is home to our MAs in: Art & Design Histories & Theories / Art & Environment / 

Creative Advertising / Curatorial Practice / Fine Art / Graphic Design / Illustration 


Tremough is home to our MAs in: 3D Design / Ceramics / Choreography / Contemporary Crafts 

/ Contemporary Music / Digital Manufacturing / Education / Garden & Landscape Design / Interior 

& Landscape Design / International Journalism / Multimedia Broadcast Journalism / Performance 

Writing / Photography / Professional Media Practice / Professional Writing / Television Production / 

Theatre: Contemporary Practices / Textile Design 

33

“It s�ms like there’s a �ared set of 

values and a de�re for this unique 

way of life that everyone who moves 

to Falmouth has � common.” 

Julian Munday, MA Profes�onal Wr��g �udent 


Cornwall’s cultural her�age is 

famous the world over but � is no 

longer ju� the �ir� of the Newlyn 

arti�s, the unrivalled light and the 

�unn�g natural landscape that 

a�ra� creative m�ds to the coun�. 

From art exhib�ions to live mu�c, 

film and l�erary fe�ivals to creative 

wr��g, comedy and even kn�t�g 

even�gs, Falmouth offers real 

diver��, whatever your �tere�s 

and area of �udy. 

south we� 

scene 

35

Falmouth Knit Club 

Life out�de the le�ure theatre 

The College organises a lively programme 

of events throughout the year as well 

as social and sporting clubs supported 

by FXU (the combined students’ union 

for University College Falmouth and the 

University of Exeter in Cornwall), all of 

which create a sense of community that 

city-based institutions would find hard 

to replicate. 

“The closeness of the community in Falmouth 

means there’s always something going on,” 

says MA Professional Writing student, Joanna 

Thomas. “You can walk everywhere in ten 

minutes too. My friends and I have started a sea 

swimming breakfast club and I’m a regular at 

the knit club that’s held at a great little not-forprofit 

arts café in town.” 

Course-initiated exhibitions are commonplace, 

such as the MA Curatorial Practice Exhibitions at 

the Newlyn Art Gallery or You Are Here, an eclectic 

mix of both traditional and non-traditional media 

from illustration to photography to 3D design and 

contemporary visual arts. Meanwhile, the MA 

lecture series sees a diverse range of speakers 

visit the campus, from authors, illustrators and 

composers to a range of industry insiders. 

“There was a guest speaker every week and 

these were really useful and insightful,” says 

Julian Munday, another MA Professional 

Writing student. “The College has strong links 

in the area and our course leader was always 

highlighting opportunities and upcoming events 

for the students to get involved with.” 


Commun�y �ir� 

Both the Woodlane and Tremough 

campuses have a wide range of facilities 

that allow a real scene to thrive. 

New community radio station, The Source FM, 

was launched in February 2009 and, 

broadcasting live from Tremough, provides 

more than 80 hours a week of original 

programming. Run entirely by volunteers, 

it offers a great opportunity for students, 

from musicians to those interested in a 

broadcasting career. 

As well as organising and supporting sporting 

clubs, from surfing, sailing and sea kayaking to 

capoeira, climbing, football and rugby, FXU is 

very active in the local community with almost 

10% of students volunteering on a range of 

projects from Youth Works street art workshops 

to conservation projects bringing you into direct 

contact with the landscape, from hedge laying 

to beach cleans. 

“It seems like there’s a shared set of values and 

a desire for this unique way of life that everyone 

who moves to Falmouth has in common,” 

says Joanna. “It felt like I’d finally found a place 

where you can be whatever you want to be and 

everyone’s really supportive and knows where 

you’re coming from.” 

It may be small and friendly, but Falmouth is 

still full of people from all sorts of different 

backgrounds. “Many of my friends were of 

different nationalities – French, Japanese, 

German,” says MA Textile Design graduate, 

Gráinne Kenny. “The cultural scene in and 

around the College was really fun; we were 

spoilt for choice really.”

Bright lights 

Taking a closer look at the breadth of 

Cornwall’s cultural events will quickly 

dispel any myths about studying, and 

living, away from a major city. Here are 

just five examples: 

The Eden Project: as well as its world famous 

biomes and gardens, Eden continues to bring the 

best musical offerings to the country in the form 

of its Eden Sessions and at monthly Arts Café 

nights, with this year’s Sessions including Oasis, 

Paul Weller and Florence and the Machine. 

Port Eliot Festival: “all the brains of a literary 

festival and all the soul of a musical festival” 

(the Times), Port Eliot attracts a heady mix of 

writers, comedians and musicians, with MA 

Professional Writing students and graduates 

performing and hosting a special open-mic 

session at the 2009 festival. 

Hall for Cornwall: hosts national theatre, 

contemporary dance, comedy and music tours 

in nearby Truro (15 minutes on the train). 

Tate St Ives: an iconic landmark showcasing a 

huge range of artists, both local and international, 

as well as talks, music and film evenings. 

Cornwall Film Festival: this annual festival, 

held in Falmouth every November, showcases 

local filmmakers and work from all over the 

globe and volunteering options are plentiful. 

More intimate settings and offerings abound 

too, from The Poly – an independent cinema and 

multiple gallery space with a lively programme 

of exhibitions, films, theatre, debates and other 

live events – to Telltales, a monthly creative 

writing evening held in an arts café in town. 

Numerous pubs, bars and cafés also support 

a thriving local music scene that typifies the 

energy and diversity of life in Cornwall. 

“I’m planning on staying to make a go of it as a 

freelance writer after I graduate,” says Joanna. 

“I love living here and I can’t think of a reason to 

be anywhere else.” 

© Tate StIves 

37

Ge��g the mo� out of po�graduate 

�udy takes �gnificant �ve�ment – 

of your t�e, tru� and money. But � 

isn’t a one-way th�g. Whether �’s 

expert �aff, fir�-class facil�ies, valuable 

advice or out�and�g car�r support, 

our prior�y at Univer�� College 

Falmouth is to �ve� � you, too. �at 

means you can expe� an �pressive 

return on your �ve�ment, as your 

personal development, �ills, knowledge 

and car�r rea� new heights… 

be� 

�ve�ment 


“While at Falmouth I managed to get 

a three-week work placement at Sky 

News in London,” says MA International 

Journalism graduate, Mike Sunderland. 

“Thanks to the practical focus of my MA, I was 

able to make myself more useful than most 

trainees. I’ve since been taken on as a producer 

on the World News show. My MA was 

instrumental in this because it gave me the 

foundations of knowledge in foreign news to 

confidently contribute to production meetings 

and put myself forward for all types of work.” 

Indeed, our graduates’ success has proven to 

be quite a trend: Sky’s Lorna Dunkley, the BBC’s 

Fergus Walsh, ITN’s Angus Walker, the BBC’s 

Juliet Morris and Chris Moyles show producer, 

Rachel Jones, all did MA Broadcast Journalism 

(now MA Multimedia Broadcast Journalism) 

at Falmouth. 

MA Textile Design graduate, Gráinne Kenny, 

agrees that studying at Falmouth was a valuable 

investment: “Falmouth has helped my career 

potential in many ways. I’ve joined networks, 

built up some very good contacts and had my 

work on exhibition at New Designers and the 

Royal Dublin Society, amongst others. 

My textiles have been commissioned by 

individual private clients as well as interior 

designers and the wedding market.” 

Alternatively, postgraduate study may lead 

you to teaching and/or a career in academia. 

MA 20th Century Art & Design (now MA Art 

& Design Histories & Theories) graduate Mark 

Hobbs describes the value of his experience: 

“Falmouth was the natural choice because I 

knew it would offer a space in which to relax 

and reflect, combined with great facilities for 

learning and research. The Masters programme 

gave me the inspiration and conviction to 

continue my research and forge a new career 

in academia. I’m now based at the University of 

Glasgow, where I am working on my PhD and 

getting involved in teaching.” 

All our courses dedicate time to teaching you 

about professional practice within your subject 

area, whether that’s presenting your portfolio, 

creating your own website, marketing your 

performance event, organising your accounts 

or pitching your ideas to television production 

companies, magazines or publishers. In addition, 

our award-winning careers service is there to 

support you, both during and after your studies. 

That’s something really worth investing in. 

“I’ve b�n taken on as a producer on 

S�’s World News �ow. My MA was 

��rumental � this because � gave 

me the foundations of knowledge � 

foreign news to confidently contribute 

to produ�ion m�t�gs and put myself 

forward for all �pes of work.” 

Mike Sunderland, MA International Journalism graduate 

39

a-z of 

courses 


86 MA 3D Design 

46 MA Art & Design Histories & �eories 




94 MA Contemporary Crafts 

66 MA Contemporary Music 

130 MA Creative Advertising 

70 MA Curatorial Practice 

98 MA Digital Manufacturing 


Practices in Higher Education 

74 MA Fine Art: Contemporary Practice 

102 MA Garden & Landscape Design 

106 MA Graphic Design 

110 MA Illustration: Authorial Practice 

116 MA Interior & Landscape Design 


144 MA Multimedia Broadcast Journalism 

148 MA Performance Writing 


156 Professional Media Practice: 

Skillset Short Courses for Media Professionals 

160 MA Professional Writing 

164 MA Television Production 

122 MA Textile Design 

78 MA �eatre: Contemporary Practices 

170 Research 

Art & Performance 

Design 

Media 

Research 

41

Bill Leslie 

46 MA Art & De�gn Hi�ories & �eories 



66 MA Contemporary Mu�c 

70 MA Curatorial Pra�ice 

74 MA F�e Art: Contemporary Pra�ice 

78 MA �eatre: Contemporary Pra�ices 


Welcome to the S�ool of Art & 

Performance at Univer�� College 

Falmouth. Both Art and Performance 

at Falmouth have a long and 

di��gui�ed pa�, w�h alumni of 

extraord�ary talent and versatil�y. 

All of our programmes are �formed 

by current resear� and pra�ice and 

we have a �aff of highly di��gui�ed 

and comm�ted resear�ers who work 

w�h� and across the disc�l�ary 

boundaries of the s�ool and the 

��ution. �e S�ool of Art & 

Performance is a hotbed of excellence 

and cu��g-edge pra�ice. 

art & 

performance 

43

Art at Falmouth 

The postgraduate Art subjects at Falmouth 

aim to provide the ideal environment for 

students wishing to revise or revitalise 

their creative engagement. Our courses 

are designed to substantially increase 

your knowledge and experience in a 

wide spectrum of contemporary arts 

practice and are all grounded in practice 

– giving you appropriately challenging 

exposure to professional contexts. 

Amongst a range of partnerships, we have 

established agreements with Tate St Ives, 

the Newlyn and Exchange Galleries, and 

ProjectBase – providing students with first-hand 

experience of the role of curator in differing 

circumstances. We also have students doing 

internships at SpaceEx in Exeter and winning 

commissions for exhibitions at Exeter Phoenix, 

as well as working with galleries in Bristol and 

beyond. Studying on our fine art courses will 

also give you the opportunity to meet, and share 

lectures and other learning situations, with MA 

students from across the School and College. 

The values embedded in our positive 

acknowledgement of the importance of the 

local to the global are further amplified through 

our emphasis, in all courses, on research. We 

understand the specific research requirements 

of creative expression and practice-based 

enquiry – and the relevance of these methods to 

the professional application of your arts practice. 


Our new MA in Art & Environment is a further 

innovative development from the Fine Art and Art 

& Ecology MA courses adding to our portfolio 

of Art MAs at Falmouth. With strong subject 

expertise amongst our staff, stemming from 

the RANE group (Research in Art, Nature & 

Environment), we can offer excellent guidance 

and experience. 

Above all else, we value the individual voice of 

each student. At the root of our teaching is an 

acknowledgement of the strengths and interests 

of each practitioner and, from this starting 

point, we nurture confident and independent 

artists who go on to practice nationally 

and internationally. 

Within the School of Art & Performance you 

may wish to concentrate and focus on your 

specialist area, or build upon your professional 

profile by pushing the boundaries in a dynamic 

and stimulating setting. Whatever your 

expectations, Falmouth is an exciting and 

innovative place to study. 

www.falmouth.ac.uk/art 

art & 

performance

Performance at Falmouth 

Performance at Falmouth is aimed at 

arts practitioners who want a structured 

and challenging opportunity to extend 

and deepen their practice. You’ll be part 

of a vibrant postgraduate community 

where you’ll push the boundaries of 

your practice through discussion, 

experimentation and collaboration. 

Our MA Performance programme comprises 

a number of discrete awards that share some 

common modules and aims. One of the features 

of postgraduate work in Performance is the 

dynamic interdisciplinary engagement across 

art forms; collaboration forms a strong element 

of our work in performance, whilst also allowing 

for specific focus on your own area of interest 

whether this is music, choreography or theatre. 

Director of the School of Art & Performance 

Sara Reed 

Following initial study and training at Laban and The 

Place, London, Sara taught, choreographed and 

performed in a variety of different contexts working 

as a freelance dance artist for a number of years. 

She later studied for an MA in Performing Arts at 

Middlesex University, working across the disciplines 

of theatre, dance and music. Her experience as 

a freelancer and at the universities of Surrey and 

Chichester involved her in interdisciplinary practice 

across art, music, theatre and choreography. Latterly, 

through an initial interest in performance medicine 

and science, she has pursued her research and 

practice in the area of somatics with a particular 

interest in the training of performers and the 

development of creative practice. 

You’ll have access to superb facilities and 

technical support in our new purpose-built 

Performance Centre at Tremough. Falmouth’s 

recently expanded postgraduate community 

provides a perfect environment to foster crossdisciplinary 

practice. Design and media graduate 

practitioners inspire exciting collaborations in 

performance, live art, music, movement, text, 

and sound. Equally, you can clarify the specific 

goals within your discipline in the context of this 

new array of practices. An extensive community 

of practitioner-teachers, whose research profile 

directly influences their teaching, will support 

you throughout this exciting journey. 

www.falmouth.ac.uk/performance 

She continues to develop her wide experience and 

training in a range of somatic practices and is trained 

in the Pilates method and yoga. She has recently 

been involved in the creation of the first university 

department of contemporary dance in Poland and is 

external examiner at the Royal Academy of 

Dance, London. 

Sara sees the portfolio of Art & 

Performance MA awards as offering a unique 

opportunity to study with fellow students within a 

framework of cross-disciplinary performance making. 

“This is an exceptionally exciting place to be working 

with colleagues from a wide range of arts practices 

and extraordinary teachers with outstanding 

experience in their own fields.” 

45

MA Art & De�gn 

Hi�ories & �eories 

Campus: Woodlane 

Mode of study: Part-time blended learning 

www.falmouth.ac.uk/maart&design 

Do you want to work in the arts and 

cultural industries? Or, if you do so 

already, would you like to deepen your 

knowledge, develop your research 

profile and enhance your skills? 

Alternatively, art and design may be an 

interest that full-time employment or other 

commitments have prevented you from 

studying in depth. If so, this flexible, part-time 

course, which offers opportunities to work with 

specialists, in galleries, independently and with 

peers, in a supportive environment tailored to 

suit your individual needs, could be for you. 

This is the only part-time two-year blended 

learning MA course available in Britain that 

covers the histories of art and design, offering a 

unique opportunity to study these at advanced 

level. The recent growth of interest in visual and 

material culture has brought changes to the 

study of art history. 


The subject area has broadened from a primary 

concern with the history of stylistic change 

in fine art to an interdisciplinary approach 

encompassing questions of social context and 

cultural diversity, or the relationships between 

fine art and the mass media, and this course is 

instrumental in developing this wider and more 

inclusive field of study. 

A team of research-active tutors and 

internationally recognised experts will introduce 

you to the latest thinking in art and design, and 

guide you through a series of structured taught 

units exploring theories and concepts through 

thematic topics. The course’s flexibility allows 

you to move from a broader consideration of the 

subject field to in-depth study of areas of special 

interest, and culminates in a written thesis on a 

self-selected topic. 

Study Trips to Paris, Berlin, Stockholm or 

London will enable you to engage with 

international art and design ‘in the gallery’, while 

Study Schools located in Falmouth, at the Tate 

St Ives, or at other venues in the UK, will help 

you explore issues around art and community, 

archives and collections, art writing, curation 

and display. 

You’ll also benefit from being taught in the 

context of a lively and creative campus, with 

opportunities to debate emerging ideas, 

collaborate on interdisciplinary projects, gain 

invaluable work experience in the cultural 

industries, and push the boundaries of research. 

How is the course �ru�ured? 

This is a two-year part-time course built around 

20 credit units delivered over 90 weeks. There 

are three one week condensed residential 

blocks, and eight study blocks for which you 

will complete written assignments and distance 

learning projects; optional weekend Study Skills 

events help support research, essay writing and 

presentation skills.

The one-week blocks are delivered at Falmouth, 

St Ives, or other strategically located study 

centres in the UK, and include one Study Trip 

abroad. These allow you to meet other students, 

share information and ideas, and to experience 

and interpret art and design at first hand 

supported by lectures from tutors and 

gallery experts. 

You are expected to undertake approximately 

eight to ten hours private study a week and 

spend three to five hours consulting course 

materials and communicating with your peers 

to develop collaborative learning. Tutors will 

be available at specified times each week and 

will lead units, seminars, workshops and 

study forums. 

The Course culminates in a written dissertation 

on a self-selected topic, negotiated with 

your tutor. 

Year 1 

A series of sessions on the theories, concepts 

and approaches that underpin the study of art 

and design will introduce you to the conceptual 

tools and methods of enquiry and help you 

structure writing and research. Beginning 

with a consideration of art and design history 

as discrete disciplines, the unit will explore 

their increasing openness to the methods and 

methodologies of other fields of enquiry such as 

cultural geography, oral history or feminism. 

This is followed by themed units on Cities 

and Suburbs: Case Studies in Modernism and 

Modernity, which supports the study trip 

abroad, and Art and Design in the Shadow of 

Catastrophe, exploring the art and culture of the 

period from the end of the Second World War 

to the ‘crisis of modernism’ in the late 1970s. 

Visual Culture: Themes and Debates includes 

a symposium with visiting experts, workshops 

and opportunities for you to develop your 

professional skills and work experience. 

Year 2 

The Tate St Ives School, which allows you to 

work directly with gallery staff and access 

resources at St Ives, is an enjoyable and 

stimulating start to the year. The research, 

preparation and writing of your dissertation 

(10,000 – 15,000 words) on a self-selected 

topic agreed in consultation with academic 

staff , however, is the major piece of work for 

this level. Thematic sessions on Representation 

and Meaning and Subjectivity and Identity, 

meanwhile, enable you to explore theoretical 

approaches to analysing visual art and culture. 

How is the course taught? 

The core programme will be delivered via a 

specially designed Virtual Learning Environment 

(VLE) that allows you to take part in seminars, 

workshops and tutorials with tutors and 

fellow students, listen to and interact with 

visiting speakers, and participate in 

collaborative projects. 

Individual assignments enable you to identify 

and specialise in a preferred subject area 

(such as architecture, contemporary fine art 

practice, fashion/textiles, film, graphic design 

or photography), explore theoretical 

perspectives to analyse art and design and 

develop expertise in constructing and 

sustaining academic argument. 

You’ll have regular communication with tutors 

and other students, sharing in lively debates 

and interrogating ideas through video links and 

web-based learning opportunities. A structured 

programme of selected texts and further 

reading guides you through each unit, and 

provides support for independent study. Online 

study skills tutorials and workshops help you to 

refine essay writing and presentation skills and 

support problems with library research, while 

access to visiting speakers adds variety and new 

perspectives to your studies. 

47

Profes�onal Pra�ice 

MA Art & Design Histories & Theories attracts 

students who want to pursue careers in the arts 

and cultural industries, as well as those who 

study for the sheer pleasure of it. Professional 

practice is an important aspect of the course 

and Study Schools help students develop 

professional skills in arts writing and gain 

insights into how museums and galleries work. 

An optional professional practice element exists 

at the end of year one and you’ll be encouraged 

to secure work placements in museums, 

galleries or other cultural institutions. Previous 

successful placements include the Victoria & 

Albert Museum, the Crafts Council, Tate St Ives, 

Newlyn Gallery and the Falmouth Art Gallery, 

amongst others. 

Students are encouraged to get involved with 

professional projects, attend conferences and 

write for academic journals and magazines. The 

course recently hosted the Networks of Design 

conference, at University College Falmouth. 

Professor Bruno Latour, one of the most 

respected experts in this field, was the keynote 

speaker and the conference attracted over 

300 delegates from across the world; with 

over 150 speakers the conference gave 

students unique access the latest work in 

this fast developing field. 

MA Art & Design Histories & Theories is also 

actively involved in collaborative research 

projects with the Tate, the Leach Pottery, the 

St Ives Archives Trust and other arts providers 

in the region, exploring art communities and 

cultural practice in the South West. 


How is the course assessed? 

We create a supportive environment for lively 

debate in which you develop your views and 

benefit from exchange with others. There 

are no formal exams, written assignments 

will be submitted at the end of each unit, and 

continuous written assessment and regular 

tutorials help you to monitor your progress, 

identify your weaknesses and develop your 

strengths as the course progresses. 

Facil�ies 

You can take advantage of the excellent library 

and information services across both campuses, 

with up-to-date publications in art and design, 

a wide range of journals, collections, and 

research database facilities accessible through 

the library database within College and remotely 

via the internet. 

Both campuses also offer advanced IT 

facilities with a range of specialist and general 

software. All students have access to a Virtual 

Learning Environment (VLE) through which 

to communicate with each other and course 

tutors, collaborate on group projects and access 

a range of online resources, including lecture 

podcasts, our library of selected texts, videos 

and images and ‘Coming to Terms’- a glossary 

of specialist terminology. Please note that 

access to a broadband-enabled computer will 

be needed for students to take advantage of 

the VLE. 

Library staff provide online tutorial support for 

individual projects and students can sign up 

for a wide range of IT workshops. Academic 

Support staff are there to guide those less 

confident about essay writing, and there are 

excellent services for students who are dyslexic. 

There’s also a rapidly developing postgraduate 

culture at Falmouth and you’re encouraged to 

access the MA shared lecture programme of 

visiting speakers.

Car�rs 

As a graduate from the course, you may go on 

to pursue the subject through teaching and 

research, museum curating, arts education, 

journalism, publishing, or arts administration. 

University College Falmouth has a thriving 

research culture and recent graduates from 

MA Art & Design Histories & Theories have 

won full-time funded places to study at doctoral 

level. Others lecture in higher education or 

work in galleries, museums, arts journalism or 

arts education. 

Student Profile Laura Smith 

In addition to studying on this MA, Laura is currently 

working on an oral history commission for radio and 

lecturing at Cornwall College on bookbinding and 

drawing and painting courses, as well as working 

part-time at Falmouth Art Gallery. She says: “The 

course is the only one of its kind that concentrates 

on art and design of the 20th century and allows 

part-time study. This really appealed to me as I was 

keen on both continuing working and spending an 

extended period of time on my studies. This MA has 

allowed me to really develop a critical awareness of 

contemporary culture, focusing my research interests 

independently and involving myself thoroughly in my 

chosen area in order to influence and inspire career 

choices. The annual study trips are a fantastic part of 

the course, as were my work placements at Falmouth 

Art Gallery and The Liebermann Villa, Berlin. These 

placements were possible due to the flexibility 

and part-time nature of the course and have been 

invaluable in preparing me for my chosen career.” 

Typical Entry Requirements 

Entry requires no specialised knowledge of 

either art or design history. A first degree, 

Dip AD, NDD, or a teaching certificate are 

normally appropriate, but you are also invited 

to apply if you have equivalent professional 

qualifications, suitable prior learning or 

experience. Applicants whose first language is 

not English are required to demonstrate their 

command of written and spoken English with 

formal IELTS certification to Level 6.5. 

Applications for places on our taught MA 

courses should be made using the UCAS 

facility UKPASS: www.ukpass.ac.uk. 

Course Leader Fiona Hackney 

Fiona is passionate about art practice and the 

history and theory of art and design. With MAs from 

Edinburgh University and the Royal College of Art, 

an academic and professional background in the 

subject and a PhD near completion, her students 

benefit from her extensive knowledge and experience. 

As an active researcher, she specialises in aspects 

of gender, modernity and print; recent publications 

include an essay in Transatlantic Print Culture, 1880 

– 1940 (Palgrave, 2008). Fiona was lead convener 

for the international conference Networks of Design 

(2008), the proceedings of which are available from 

Brownwalker press, and is currently working on a 

special issue of the Journal of Design History about 

actor-network theory and design history. She’s 

enthusiastic about art and culture in the South West 

and, with colleagues at Falmouth, is developing 

research in the visual culture of the region. 

49

Personal Profile / MA Art & De�gn Hi�ories & �eories graduate: 

hilary 

ideal 

homes 

“Falmouth really supported and 

encouraged my application to the 

Arts & Human�ies Resear� Council. 

�e process of apply�g for �nd�g is 

so difficult that hav�g this support 

was really �portant at the outset of 

my PhD; � made a huge difference.” 


How do architecture and design affect the way people live? After winning 

prestigious funding from the Arts and Humanities Research Council, 

PhD student Hilary Phillips is looking at post-war urban regeneration in 

Plymouth to try to find out. 

I studied MA Art & Design Histories & 

Theories at Falmouth. I decided to do my PhD 

at the College because I wanted to continue 

having Fiona Hackney involved in my work; 

she was very enthusiastic about my PhD project. 

I did look at another university too, but in the 

end it was only Falmouth that really supported 

and encouraged my application to the Arts and 

Humanities Research Council (AHRC). 

The process of applying for funding is so 

difficult that having Falmouth’s support 

was really important at the outset of my 

PhD; it made a huge difference. My funding 

application was successful so it kind of speaks 

for itself – only a third of AHRC applications 

are accepted. AHRC funding recognises both 

the quality of the project and the quality of the 

support promised by the proposed supervisory 

team, so it’s a good endorsement of the 

institution as well. 

My PhD research is a subject that I started 

studying for my MA dissertation. I’m looking 

at a suburb in Plymouth that was designed 

and constructed as part of the city’s 

post-war reconstruction. This suburb was 

generated out of nothing, so it really reflects 

the ideology of social democracy that came 

about as a result of the war and the Labour 

government’s victory and implementation of the 

welfare state. It’s a real utopian place, although 

to look at it’s not particularly spectacular so has 

been completely neglected in history. When 

you actually dig in, there’s a lot of interesting 

ideological thought processes behind it. 

My particular interest is finding out how 

architecture and design affect the way 

people live. There’s a big oral history element 

to my research; asking people who have lived 

there since the beginning to tell me about their 

experiences and the kind of transformation 

brought about by moving from a grotty tenement 

into a house with lots of space and a garden and 

a bath. It was a really generous provision and 

it would have made a substantial difference to 

people’s lives. I’m also doing archive research 

into local authority records, finding out how it 

came about, what the rents were and how it 

was decided who would live there. 

Fiona in particular, and the ethos of Falmouth 

as a whole, is really accommodating to the 

things that you need for your particular 

project. This is really important; other 

institutions might be a bit more focused on 

what the institution wants and less concerned 

about what the individual student is after. Other 

people that I know who have applied to different 

institutions have found that they want to 

pigeonhole you a bit more. Falmouth doesn’t do 

that; it’s not set in its ways and is really flexible. 

Images: Plymouth & West Devon Record Office 

51

Jane Atkinson 

MA 

Art & Environment 


Mode of study: Full-time & part-time 

www.falmouth.ac.uk/maart&environment 

For centuries artists have interpreted 

and represented the natural 

environment. It has provided materials 

and subject matter, as well as inspiration 

and knowledge. 

In recent times – particularly since the growth of 

the environmental movement – there has been 

a dramatic change in our understanding of the 

many ways our society impacts upon the Earth. 

This awareness has galvanised around the fact 

that the relationship between humanity and our 

life-giving planet is in a critical state. 

This change in knowledge has been reflected 

in contemporary art practice. MA Art & 

Environment encourages a focused engagement 

with ecological and environmental issues. 

Designed to give you the skills, expertise and 

confidence to operate as a professional artist in 

this critical area of practice, the course will also 

enable you to develop strategies and practices 

that use art as a cultural agent – as a tool for 

knowledge, understanding and change. 


In addition to poetic and holistic interpretations 

of the environment, artists now regularly 

collaborate with scientists to exchange 

knowledge about water, air, energy and soil and 

incorporate this knowledge into their practice. 

Similarly, the environmental crisis suggests 

that we reconsider many of the social activities 

upon which we depend, including concepts 

of community, health, food, waste, transport, 

building, economics and education. 

Within this context, the MA Art & Environment 

course will help you use art to: • Frame and 

draw attention to issues and problems • Create 

a space where new ideas can be explored 

• Generate radical and creative solutions 

• Devise and promote new ways of thinking 

• Engage with a broader public context. 


For full-time students this is a one-year course 

delivered over 45 weeks. Alternatively, you 

can study the course part-time over two years, 

totalling 90 weeks. The academic year begins in 

October and ends in September. 






This course has been developed from the 

research group in Art, Nature & Environment 

(RANE) and has built upon aspects of the MA 

Arts & Ecology formerly run at Dartington. It 

combines staff-led and group-led workshops 

and seminars, independent research, individual 

tutorials, ongoing practice-based projects, 

written assignments, a dissertation and the 

realisation of a final body of work. There may 

also be occasional ‘intensives’ during the course 

together with the potential for exhibitions and 

events beyond the College context.

The seminars reflect on the many different ways 

that artists engage with issues of environment. 

They’re designed to provide a broad knowledge 

of this mode of practice and focus in depth on 

specific examples. These act as a catalyst for 

further research and exploration to consider 

how artists engaged with such work reach their 

selected audiences and interact with them. They 

also provide case studies and methods you can 

draw on to enrich your own practice, as well as 

subject specific knowledge for researching your 

particular environmental art project. 

Some of the teaching is shared with other MA 

courses in the School of Art & Performance. 

This shared provision provides opportunities 

for you to engage, and potentially collaborate, 

with other students and disciplines and includes 

a practical introduction to research methods 

appropriate for contemporary art. Research, in 

this context, is understood to feed directly into 

the making and understanding of art. 

A series of workshops examines ways that 

artists use mark-making, images, sounds and 

texts to generate, categorise and present 

knowledge. The programme also provides 

professional skills to enable you to develop your 

practice, including learning about generating 

funding, writing proposals, documenting work, 

making presentations and exhibiting. You’ll also 

be expected to test out your ideas and work in a 

public context. 

The core of the course culminates in your final 

project, which develops from your individual 

creative practice that engages with some aspect 

of the environment and is informed by your own 

research interests. 

In the second half of the course you’ll 

complete a dissertation that theorises your 

work and contextualises it within the field of 

environmental art and thinking. 

You’ll be encouraged to see your writing as a 

tool to help you gain a deeper understanding of 

your practice. In order to support this, a series 

of seminars will study texts and statements 

by environmental artists, encouraging you to 

develop your own style of writing and establish 

a structure for your dissertation. 

The course engages with the wider community 

of art and environment through the RANE 

research group, led by Daro Montag. This 

provides a guest lecture series and further 

seminars and conferences, drawing on the 

expertise of international artists and others 

working with the environment in a lively 

programme of events. Past speakers have 

included Alan Sonfist, Lynne Hull, John Jordan, 

Basia Irland and Newton and Helen Mayer 

Harrison. Additionally, visitors on the Arts & 

Ecology MA have included Red Earth, Karen 

Guthrie, Wrights & Sites, Dr Christian Taylor, 

Pauline Oliveros and Martin Prothero. 


Our overall teaching philosophy caters for 

diversity and is aimed at individual development. 

There’s considerable flexibility on the course 

and you’ll have good access to staff for tutorials 

and informal discussion. The course-specific 

content is taught through small group seminars, 

workshops and crits. The units shared with 

other MA courses are taught through lectures 

and seminars. 

Professional Pra�ice 

You’re expected to use the course to develop a 

professional practice. There are opportunities 

to establish exhibitions and other public events 

at our partner venues including the Centre 

for Contemporary Art and the Natural World 

in Haldon Forest, Exeter and Aune Head 

Arts, Dartmoor. You’ll also be encouraged to 

undertake a work placement with a relevant 

individual or organisation. 

53

The course’s close connection with RANE 

also provides an international context and 

network opportunities with artists, writers, 

filmmakers and others working creatively in the 

environmental sector. You’ll also benefit from 

the strong links with Cape Farewell and the 

Eden Project. The link with RANE also offers a 

progression to doctoral study for those wishing 

to further their learning through a 

research degree. 


Your work and performance is assessed against 

a set of criteria that consider artistic quality, 

knowledge, critical understanding and relevant 

practical and professional skills. Guidance and 

feedback is provided at evaluation points, and 

final assessment takes place at the MA exhibition. 

Facil�ies 

Full-time students will be provided with space 

in the College’s studios, whereas part-time 

students will need to secure appropriate studio 

or work space. All students have access to 

well-equipped facilities including the library, IT 

resources and our innovative Photography and 

Media Centres and workshops. 

Car�rs 

Students completing this course are likely to 

pursue a career as a professional artist or to use 

their skills in a related field, such as teaching or 

curating. The specialist provision of this course 

will also offer opportunities to undertake further 

work in environmental projects and research. 



The majority of candidates will have an 

undergraduate degree in the arts or related 

practice and be keen to develop their work 

further within an environmental context. 

However, as a trans-disciplinary course, 

applicants who have previously studied an 

environmental subject are welcome to apply. 

This mixture of previous experience and 

backgrounds creates an interesting and dynamic 

peer group within which to learn. 

Applicants who do not have a first degree in art 

will need to show some evidence of previous 

engagement with the subject. Those seeking to 

enter the course without the requisite academic 

qualification may apply for entry on the basis 

of Accreditation of Prior Experiential Learning 

(APEL or APL). Applicants whose first language 

is not English are required to demonstrate their 



We welcome enquiries and applications at any 

point in the year; however applicants who apply 

before the end of January, for an October start, 

may be eligible to submit an application for 

AHRC funding or other bursaries. 




Interview 

All applicants should send some evidence of 

their previous practice or proposed project (CD, 

DVD, slides or printed matter are all acceptable). 

Interviews are arranged for all those applying 

to the course.

Andy Webster Social Cycles 

Course Team Dr Daro Montag 

An international leader in his field, Daro’s work 

concerns the integration of art with contemporary 

ecological thinking and real world issues. His research 

examines the creative potential of organic materials 

and processes, and his work on art and climate 

change led to his being invited to participate in the 

2009 Cape Farewell expedition to the Peruvian 

glaciers and rainforest. Previously Daro’s work has 

been exhibited at galleries in the UK, USA, Europe 

and United Arab Emirates, and published in a number 

of journals and books. In 2002 he was awarded the 

prestigious L’Oreal Art-Science prize in Tokyo, and 

has also worked with the Institute of Animal Health, 

the Met Office and Deutsche Bank. He also leads the 

RANE research group at Falmouth. 

Course Team Dr Richard Povall 

Richard is a digital artist, composer, cultural manager 

and co-director of Aune Head Arts. He has held senior 

research fellowships at Middlesex University (London) 

and at Dartington where he was joint programme 

leader for MA Arts & Ecology and MA Arts 

Management He has taught in numerous colleges 

and universities and was director of the Division of 

Contemporary Music in the US from 1997 to 1999. 

He holds a BA(Hons) in Music from Dartington, an 

MFA in Music Composition and Electronic Media 

from the Centre of Electronic Music at Mills College 

(California, USA) and a PhD from the University of 

Plymouth. He lives on the edge of Dartmoor, sits 

on the board of numerous arts organisations in the 

region and chairs Dance in Devon. 

Student Profile Will Foster 

Will joined the MA Arts & Ecology as a full- 

time student in 2008. He completed his BA in 

Environmental Art at Glasgow School of Art in 2004, 

and has since worked as a freelance artist and cultural 

producer. His practice is framed by the provision of 

opportunities for, and collaboration with, a diverse 

range of artists. Will’s work investigates modes 

of presentation that engage with public space; he 

undertook the MA to refocus his work, give him 

greater insight into ecological systems and develop 

his writing skills as a way of contextualising his work. 

55

Ryuichi Sakamoto on the Cape Farewell Disko Bay Expedition. Photographer: Nathan Gallagher 


W�h cl�ate �ange a real�y, 

an arti�ic re�onse to this threat 

can help communicate and promote 

po�tive discus�on surround�g our 

planet’s �ture. Univer�� College 

Falmouth’s Daro Montag was �v�ed 

to jo� Cape Farewell as they lead the 

creative fight. 

cape 

farewell 

57

Ar�ic Pion�rs 

Most scientists now agree that climate 

change poses the most significant threat 

to the planet and humanity. 

Cape Farewell is an organisation bringing artists 

and scientists together to raise awareness 

of the potentially disastrous impacts of our 

changing climate. Since 2001, it has led groups 

of artists, writers and scientists on a series of 

Arctic expeditions, where, inspired by the epic 

wilderness and informed by the latest scientific 

research, they have brought home stories and 

artworks that tell how a warming planet is 

changing our environment. 

Director David Hinton and film crew at the foot 

of Kongsvegen Glacier, 2004 


Fra�le ecosy�em under threat 

Cape Farewell, widely acknowledged to 

be the most significant sustained artistic 

response to climate change anywhere 

in the world, is now heading into the 

Amazon rainforest in Peru. 

Daro Montag, leader of the RANE research 

group and MA Fine Art: Contemporary Practice 

Course Leader, was invited to participate, 

alongside Life of Pi author, Yann Martel, and 

several other leading artists, designers, 

photographers and scientists. The Andean cloud 

forests and neighbouring Amazonian lowlands 

have the richest biodiversity in the world, home 

to some 15% of all plant species on the planet, 

Daro has witnessed firsthand the impact of 

climate change on this most beautiful, diverse 

and vulnerable of places. 

The Noorderlicht at the Kongsfjorden glacier, 

Tempelfjorden, Svalbard, 2004

Scientific resear� 

to ��ire arti�s 

The three-week trek, which took place 

in the rapidly melting Salcantay glacier, 

the tropical Montane forests and areas 

of deforestation in the Amazon, was 

designed to support the scientific work 

being carried out in the region by the 

Environmental Change Institute at 

Oxford University. 

The group visited multiple science stations and 

took part in varied climate research, helping 

them gain a greater understanding of both the 

scientific work being undertaken and the serious 

implications that human activity has on this 

remarkable landscape. Engaging this closely 

with the beauty and the fragility of the Andes 

inspired the participants to respond creatively, 

both during and after the trip. 

Ice cap, Svalbard, 2004 

Falmouth’s l�ks 

Daro makes art with living matter, 

including micro-organisms, plants, 

insects and toads. His most recent work, 

commissioned for an exhibition at the 

Met Office, recorded the activities of 

the wind and rain. 

Daro’s inclusion in this significant project 

is further recognition of the work already 

achieved by the RANE research group and the 

developing relationship that Cape Farewell 

has with University College Falmouth. This 

relationship provides opportunities for both staff 

and students to become involved in expeditions, 

exhibitions, seminars, debates, film screenings 

and other cultural activities. It provides a rapidly 

evolving platform where expertise can be 

shared and new research can be developed. 

The programme challenges the next generation 

of artists to build climate change into their 

thinking and practice. Graduating artists will 

work with the existing Cape Farewell model and 

contribute to its future development. They’ll be 

encouraged to take conceptual risks and test 

out new ideas that help us meet the climate 

challenge and lead us away from global disaster. 

Peter Clegg’s Ice Towers, and Ian McEwan’s projected 

text shown at The Ice Garden, 2005 

59

Christina Jensen 

MA Choreography 

Campus: Tremough 


www.falmouth.ac.uk/choreographyma 

Choreography is an ever-expanding 

aspect of performance making 

– relevant not only to dance and 

movement languages but to visual art, 

theatre, writing and new media. 

If you’re interested in investigating movementbased 

languages and compositional forms 

within a framework of cross-disciplinary 

performance making, this is the Choreography 

MA for you. 

We challenge existing conventions, test 

boundaries and encourage new and different 

connections between ideas, bodies, movement, 

technology and writing. At Falmouth, we look 

both inwards and outwards; exploring the 

questions that are specific to the discipline 

of choreography while expanding its 

boundaries in relation to cross-disciplinary 

performance making. 


Our Choreography MA investigates: 

• Different compositional forms for the 

performance of movement on bodies and 

between bodies • Processes and devising 

methodologies for making performance 

in parallel with conceptual, contextual and 

theoretical enquiries • Performance-making 

within a range of modes: studio, theatre and 

site-based work together with choreography 

for new media and film-based performance 

• Relations of engagement between performer 

and maker and between performer and 

spectator • Choreography within the practicebased 

context and innovative cross-disciplinary 

performance framework at University 








In addition to MA Choreography, Falmouth’s 

School of Art and Performance also offers 

MA study in Contemporary Music, Theatre: 

Contemporary Practices, Art and Environment, 

Curatorial Practices and Fine Art. Students 

in Choreography will be studying alongside 

students on these courses, enabling a dialogue 

and exchange to develop between the 

different disciplines. 

MA Choreography follows the same structure 

as a number of the other MA courses in the 

School of Art and Performance:

Part 1: 

Diagnostics and Methodologies 

Theories for Arts Practices 

Questions of Practice 

Part 2: 

Written Dissertation & Performance Project 

You’ll receive expert and specific tutorial guidance, 

feedback and technical advice throughout the 

course, designed to guide your development 

of theoretical investigation and 

choreographic practice. 

How is the course taught 

and assessed? 

The curriculum combines staff-led and groupled 

workshops and seminars, independent 

research, individual tutorials, ongoing 

practice-based projects, written assignments, 

a dissertation and the realisation of a final 

choreographed performance. 

Part 1 Comprises Diagnostics and 

Methodologies which enables you to confidently 

develop research strategies which you can then 

apply to choreography. This unit is designed to 

underpin an approach to Masters level study, 

which works for a productive relationship 

between practice and theory. It enables 

you to identify learning needs at Masters 

level; plan and negotiate an appropriate and 

manageable proposal for your dissertation; and 

practice within an awareness of the range of 

methodological possibilities. 

Questions of Practice is studio-based and 

addresses choreographic questions of research, 

focusing on your own work at postgraduate 

level and exploring the practice/theory interface, 

mainly through practice. You’ll be challenged to 

extend and question your practical procedures 

in relation to debates about definitions of 

‘choreography’ past and future. 

You will begin by developing a shared 

understanding of each student’s current 

practice and you’ll be offered a series of 

workshops designed to open up processes 

about choreography within the acrossdisciplinary 

MA programme. 

The workshops are also designed to positively 

address your research through ongoing tasks 

that are both staff and student led. Peer-led 

analysis and feedback will become an important 

element in the development of your practice. 

This unit connects with the unit in Theories for 

Arts Practices and parallels are made between 

choreography and the wider contextual, 

theoretical and philosophical concerns across 

the disciplines. Ongoing choreographic 

performance making is inherent to this 

unit through tasks, practical exercises and 

assignments. Assessment is through portfolio 

and documentation of practice. 

Theories for Arts Practices In this unit you’ll 

be presented with a series of theoretical and 

philosophical texts addressing broad cultural 

and cross-disciplinary issues. Seminars relating 

to choreographic theories, histories and 

philosophies will take place alongside critical 

discourses across fields of practice. In this way, 

the unit poses questions about the relation of 

choreographic enquiry to contemporary metadiscourses, 

interconnecting with Questions of 

Practice and translating theories into practice 

(and vice versa). 

61

Part 2 

Independent research and practical work leads 

towards a final public project and a dissertation. 

You can choose the credit weighting and ratio 

for assessment between your two projects. 

Dissertation Drawing from Part 1 and 

particularly from your own practice, you’ll 

engage in research methodologies and 

conceptual enquiries leading to a written 

dissertation. You’ll be encouraged to 

explore outwards from your practice; taking 

choreographic ideas into a written pathway 

and making connections to your choreographic 

practice while undertaking investigations that 

move you into new arenas of thought. Indicative 

written choreographic research draws on 

movement/dance and choreography in relation 

to: genealogies, histories, aesthetics, cultural 

politics, postmodernism, postructuralism, 

gender, performativity, identity politics, 

architecture, visual arts, film and new media. 

Practice This culminating element of the 

MA gives you the opportunity to create a 

practice-based project for public showing. This 

can be presented within a variety of formats, 

ranging from studio-based or site-based work 

to film and new media. You’ll be encouraged 

to undertake in-depth movement and 

choreography research within the framework 

of cross-disciplinary performance 

collaborations. Your role as performer and 

maker will be encouraged, making work 

for yourself and for/with other performers. 

Through practice and related debate, 

you’ll address senses of boundary for your 

practice and thereby extend your conceptual 

framework for what choreography might be. 

You’ll acquire and develop appropriate skills, 

knowledge and processes for expanding 

your practice. 



& Car�rs 

Our aim is to expand your knowledge of 

performance-making practices. You’ll engage 

in questions of performance research that will 

shift your own practice. You’ll also interweave 

your own performance practices with relevant 

theoretical discourses leading to a written 

dissertation and practice-based project that 

takes your research along interweaving 

conceptual/practical pathways. Falmouth’s 

MA Choreography considers the practice of 

performing as equal to the practice of making, 

encouraging the in-depth investigation of the 

role of performer choreographer. 

Facil�ies 

You’ll have access to a variety of large and 

small practice-based studios in the brand 

new Performance Centre at Tremough, 

library collections dedicated to art research, 

and expansive technical and media resources. 

You’ll be able to attend the BA dance and 

bodywork classes that happen on a daily 

basis, as well as choreographic workshops by 

visiting artists – in the past these have included 

workshops with Fin Walker, Tetsuro Fukahara, 

Kirstie Simpson, Marie Gabrielle Roti, Sten 

Rudstrom and Kwesi Johnson. There’s also an 

opportunity to negotiate with 1st - and 2nd-year 

choreography students to be involved in your 

final project.

Typical entry requirements 

Applicants will usually have an undergraduate 

degree or equivalent qualification in dance 

and/or related performance practices. 

We encourage applications from mature 

artists and students. Choreographers with a 

professional record of over five years are also 

encouraged to apply with or without a degree 

if you are able to demonstrate equivalent 

competence, both in practical and theoretical 

work. Successful applicants will be practitioners 

who are capable of researching, thinking, talking 

and writing about practice at postgraduate level. 

Applicants whose first language is not English 

are required to demonstrate their command of 

written and spoken English with formal IELTS 

certification to Level 6.5. 




Interview 

All applicants will submit an application form, 

a written research proposal, a video/dvd of 

choreographic practice and attend an interview. 

For overseas applicants, the interview takes 

an appropriate form, which may be submission 

of a portfolio and a telephone interview. 

Student Profile Marie Oldaker 

Marie is a site-specific artist. She says: “It is at times 

a real challenge to focus in on what is relevant and 

important to personal practice because of an almost 

constant sense of discovery, newness – the fact that one 

mode of research can lead to another ten. Tutors are 

all very approachable and have a wealth of experience 

on which to draw for support. Because they all continue 

to practice as artists and learners in their own right, 

they inspire and reaffirm the desire for continued 

research and practice within the student body. The 

course is amazing, overwhelming, moving, challenging, 

inspiring and sense/mind-opening... But don’t come 

to it thinking you’ll get an easy ride – it’s not that!” 

MA Choreography Leader 

Professor Emilyn Claid 

Dr. Emilyn Claid, Professor of Choreography, is an 

independent dance artist and academic. Her book, 

Yes? No! Maybe ... Seductive Ambiguity in Dance 

(Routledge 2006), investigates performer spectator 

relations in Western contemporary dance theatre 

from the 1950s onwards. The main focus is the UK- 

based phenomenon of 1970s New Dance and its 

influences on independent dance culture. From 2000 

to 2003, Emilyn co-directed Embodying Ambiguities, 

an AHRC funded performance and writing project. 

Emilyn is co-director of M&DE (Music and Dance 

Exchange), a performer-led research lab for cross- 

disciplinary performance. 

She’s external examiner for MA 

programmes at University of Auckland, Hong 

Kong Academy of Performing Arts and Middlesex 

University and has been closely involved with MA 

programmes at Laban and Central School of Speech 

& Drama. She also leads choreographic workshops at 

University of Surrey, and University of Roehampton. 

In January 2008 Emilyn presented a paper at the 

Danse et Resistance conference at the National 

Centre for Dance in Paris. She is a practice-based 

researcher for the Danscross Project between 

RESCEN and Beijing Dance Academy. Her article, 

"Still Curious", will be published in the new Routledge 

Dance Reader in 2010. She’s training as a 

Gestalt psychotherapist. 

63

Personal Profile / MA Choreography �udent: 

sue 

sm�h 

a �e� 

perspe�ive 

“Be�g able to get �put �om tutors 

across the subje� fields has b�n really 

pivotal � the way that my work has 

developed; if I was only work�g w�h 

�oreography le�urers I th�k � may 

have taken me longer to get to the 

po�t that I’m at.” 


MA Choreography student, Sue Smith, explains how Falmouth’s interdisciplinary 

collaboration and the open, non-prescriptive approach of the tutors have been 

vital elements in the evolution of her work. 

I’m writing and making work around the 

ideas of audio description for performance. 

It’s a tool for providing blind audiences 

with a commentary of what’s happening 

on the stage. My research is about what that 

information is and how you describe it; making 

the visual aural. Is it just a descriptive tool or is 

there a potential for that voice to be an artistic 

or creative component of the devising and 

performance of the work? It’s raising questions 

about how we write about what we see and 

how to capture the immediacy of performance 

in the spoken word. 

I’m also vice principal of the Northern School 

of Contemporary Dance and have been a 

choreography lecturer and an independent 

dance artist working across a range of 

different practices – performance making, but 

also working with community organisations 

with a socially driven agenda, such as issues of 

participation, self-esteem, returning to work 

and looking at how dance and choreography 

can support attaining those aims. I’ve also 

made dance films and used new technologies in 

work with young disempowered people to help 

engage them. 

The most important thing for me in 

embarking on my postgraduate study was 

making sure I was going somewhere that 

was going to challenge my practice in the 

way I wanted to be challenged, cracking 

open what I did and finding questions 

rather than being taught in a more 

prescribed way. My course has an ethos of 

interdisciplinary practice, helping me think 

about my choreographic practice from different 

beginnings and standpoints, and I knew that I 

was going to get that diversity in the ways that I 

could think about my work. 

The majority of the lectures for my MA have 

been cross-field so the course has really 

challenged my perspective, especially when 

you’re talking to someone form a different art 

form who might be tackling the same questions 

as you but from a completely different place. 

That’s a very important reason why I wanted to 

do my MA here. 

One of the things we did was a three-day 

intensive devising and improvisation 

laboratory. During that time we swapped 

around and worked with each other; there 

were theatre, choreography, writing and visual 

art students, and we explored lots of different 

starting points for collaborating. It was brilliant 

because there was no pressure to make; it was 

just about exploring different beginnings and 

processes. 

There are lots of opportunities to show work 

in progress and to get feedback. The tutors 

are very open and feed into that process 

without directing it, which is very valuable, 

and the feedback can take you in unexpected 

directions. Being able to get input from tutors 

across the subject fields has been really pivotal 

in the way that my work has developed; if I was 

only working with choreography lecturers I 

think it may have taken me longer to get to the 

point that I’m at. 

65

Stephen Cornford 

MA 

Contemporary Mu�c 



www.falmouth.ac.uk/contemporarymusicma 

Contemporary music is constantly 

evolving, drawing on a diverse range 

of influences and spanning a variety 

of disciplines. As a contemporary 

musician or musicologist, you need 

to be able to work both collaboratively 

and across disciplines. 

This MA is designed for original, contemporary 

musicians and musicologists who wish to 

develop their skills further and to extend their 

practice. You’ll study both acoustic and digital 

technologies, music theatre, improvisation and 

performance practices, as well as working with 

dance, writing, architecture and visual arts. 

With the new Performance Centre providing 

an inspirational environment for your studies, 

you’ll blend the theoretical with the practical to 

develop a wide range of skills that will prepare 

you for a fulfilling career in this most dynamic 

and exciting of worlds. 


Supported by our experienced and 

knowledgeable staff, you’ll work in territory that 

lies close to the frontiers of music as a subject, 

and investigate the latest new acoustic and 

digital technologies. 

Areas of study include: acoustic and electroacoustic 

composition, contemporary and 

non-Western performance practices, extended 

instrumental techniques, performance 

technology, improvisation, installation and 

site-specific work, music and dance, music 

theatre, music and gender, music and language 

and ethnomusicology. 







The course is structured around an integrated 

and symbiotic relationship between theoretical 

and practical study. It’s divided into two large 

components: if you’re taking the full-time course 

you’ll undertake both of these components in a 

single year; if you’re taking the part-time course 

you will do one in each year. 

The first component is divided into three units, 

during which you’ll exhibit your own practical 

work and receive feedback from others 

(both music and other students) as well as 

contributing such feedback yourself. You’ll 

then devise a portfolio of work and a written 

paper following on from a series of lectures 

dealing with theories for investigating 

and contextualising musical practice. The 

second component consists of a large-scale 

dissertation, which should relate closely to your 

practical work, and a presentation of practical 

work itself together with a framing statement. 

The precise weighting of such units allows for a 

certain degree of flexibility.


The first component of the course involves 

an extensive amount of teaching, especially 

with respect to theoretical issues and models, 

and a good deal of group work with collective 

feedback. You’ll be encouraged to interact 

with students engaged in different fields of 

music-making, as a means of providing a wider 

contextualisation for your own practice. 

The second component involves drawing 

upon the experiences, understanding and 

perspectives you have acquired through 

the first, and working together with your 

supervisor to produce the necessary work. 


The second and third units of the first 

component of the course are marked and must 

be passed in order to proceed to the second 

component. Marks from this component are 

included, together with those for the practical 

presentation and dissertation, towards your 

final degree classification. 


& Car�rs 

The course will enable you to gain a much 

deeper understanding of both your own 

work and the wider musical and cultural 

environment in which it exists, including 

commercial issues and other structures 

conditioning music-making. It will well equip 

you to be able to operate within the musical 

world when you choose to develop your 

practice in a professional environment. 

Facil�ies 

MA Contemporary Music is based in the 

new £15 million Performance Centre at 

our Tremough Campus. Purpose-built for 

your specific needs and with the very latest 

equipment, facilities at the Performance 

Centre include a performance studio designed 

for acoustic music; a performance studio 

designed for amplified music; a recording 

studio complex; and music rooms for bands 

and solo occupancy. 


Applicants will usually have a relevant degree 

or considerable and demonstrable experience in 

the field, both in practical and theoretical work. 

Successful applicants will be practitioners who 

are capable of researching, thinking, talking and 

writing about practice at postgraduate level. 






courses should be made using the UCAS facility 

UKPASS: www.ukpass.ac.uk. 

Interview 


to the course. They are held with one or more 

members of the course team, and are very 

informal. Please contact Admissions to arrange 

an interview. EU and international students will 

typically be interviewed by telephone rather 

than in person. 

67

Graduate Profile Matthew Kerr 

Now a renowned producer and musician going under 

the name of MaJiKer, Matthew has co-written and 

co-produced albums with the French singer, Camille, 

appeared on Later... With Jools Holland and toured 

the world over. He is adamant that his time at the 

College has been invaluable to his success: “The 

number one thing I gained from my time there has 

been the collaborations that are still going on today,” 

he says. “I think the best thing to do when you come 

somewhere like this is to make the most of all the 

people that are here, because you’re going to meet 

some incredible people. And just try and get the 

collaborations going that you talk about. When you’re 

here, you’ll say ‘oh yeah, let’s make some music, write 

a song...’ Well, make sure you do it – because you 

never know where it’s going to lead.” 

The Performance Centre - Artist’s Impression 


Course Team Ian Pace 

Ian joined the College in 2007. He was previously 

an AHRC Creative and Performing Arts Research 

Fellow at the University of Southampton and is also 

an internationally renowned pianist specialising in 

contemporary music, as well as a writer on music 

and musicology. 

Stephen Cornford 

Ian’s current research involves the 

development of avant-garde music and aesthetics in 

the early years of the Federal Republic of Germany, 

also dealing with elements of music during the Third 

Reich and the period of Allied Occupation. 

He’s also finishing a book on Brahms Performance 

Practice and writing articles and papers on 19th 

century instrumental performance, the relationship 

of recordings to practical experience, the work of 

Theodor Adorno on musical performance, new music 

in Britain during the Wilson years and the relationship 

of postmodern aesthetics to the marketplace. Wider 

musicological and research interests include critical 

theory, Marxist aesthetics, the history of modernism 

and the New Musicology. 

As a performer, he has premiered well 

over 100 new works by major composers, recorded 

around 20 CDs, and played in many countries around 

Europe and North America. He’s also an occasional 

composer with a particular interest in interactions 

between music and spoken text. 

69

Heimo Zobernig. Photo © Tate 

MA 

Curatorial Pra�ice 


Mode of study: Full-time 

www.falmouth.ac.uk/curatorialpractice 

Curatorial practice has become an 

increasingly diverse, collaborative and 

creative activity; the dynamic interface 

between contemporary art and its 

audiences. Falmouth’s MA Curatorial 

Practice puts dialogue with artists and 

exploration of art world structures at 

the heart of the learning process. 

The course encourages you to develop a 

curatorial position through practice, testing 

ideas in real situations. This MA collaborates 

with three main partners, who are closely 

involved in the delivery of the course: Tate St 

Ives, Newlyn Art Gallery and The Exchange, 

and ProjectBase. They provide fantastic learning 

opportunities for you to develop the critical and 

practical skills required for professional curating 

in the field of contemporary art. 



This is a one-year, full-time course delivered 

over 45 weeks. The academic year begins in 

October, and ends in September. 

The course is delivered through both taught and 

independent research units, including the final 

MA Project, which carries the highest credit 

rating. As you move through the course, you’ll 

develop the skills needed to complete each 

component. Although you’ll be supported by 

tutors and art-world expertise, a high level of 

independent study, collaborative engagement 

and commitment will be required throughout. 







The course is taught through a series of 

seminars, workshops, lectures and tutorials 

given by Falmouth’s staff, partner organisations 

and guest speakers. While assessment tasks 

require you to demonstrate critical and 

reflective thinking, they are also indicative of 

the kind of tasks curators might be expected 

to perform in real situations. 

The first course units prepare you for 

subsequent projects. The development of 

critical and imaginative thinking is encouraged 

through Curatorial Models, a series of tutor and 

student-led seminars that introduce curatorial 

strategies and concepts, and provide a forum 

for peer group discussion. Complementing this 

unit, you’ll also explore curatorial roles and 

contexts through visits to a range of art-world 

professionals, and attend seminars on the 

practicalities of exhibition-making.

You’ll also learn research skills and 

methodologies, and pursue independent 

research – visiting studios and galleries as well 

as libraries – which feeds back into all your 

assignments. 

You’ll then work individually and collectively 

on two separate projects, which, in different 

ways, offer direct experience of professional 

curatorial process. Firstly Professional Practice, 

delivered in collaboration with staff at Tate 

St Ives (or another partner organisation), will 

typically involve you devising a hypothetical 

display of contemporary art for the gallery, 

using Tate’s collection. Complying with Tate 

procedures, you’ll also produce a range of 

curatorial writing to support a presentation 

of your proposal and receive feedback from 

Tate staff. 

Secondly, you’ll work collaboratively to initiate, 

develop and deliver an exhibition or other 

curatorial project with a public art venue such 

as Newlyn Art Gallery. You’ll be assigned a 

particular role and work in a team to deliver all 

aspects of this ‘live’ project. This process will be 

supported by tutorials, but will require a high 

level of commitment as you’ll be responsible 

for the project’s successful delivery. 

The final stage of the course is the MA Project, 

which encourages you to identify and explore 

an aspect of curatorial practice relevant to 

your own interests and desired career path. 

To this end, you may negotiate the form of your 

project from a number of options, including a 

curatorial dissertation, an extended arts-based 

essay, an independent exhibition project, 

a fully-developed exhibition or curatorial 

project proposal. 

Professional pra�ice 

Industry-facing, MA Curatorial Practice is 

designed to foster professional skills and 

awareness from the outset. Through contact 

with collaborating partners and a range of 

other national and international art-world 

professionals – artists, curators, educators, 

critics – the course provides you with 

opportunities to both develop and critique 

curatorial practice, and to establish networks 

and contacts relevant to your individual 

areas of interest. 


You’ll be marked for each unit of the course, 

and are required to pass each unit in order to 

obtain an award at MA level. A distinction will 

only be awarded to students achieving a mark 

of 70% or higher for the MA Project. 

Assessment criteria for each unit provide 

the means by which you can evaluate your 

own work (and the work of your peers), the 

development of your skills, your progress on 

the course and your strengths and weaknesses. 

Throughout the year, you’ll be made aware 

of your achievements within the work you’ve 

submitted, through written and verbal feedback. 

Facil�ies 

All students have access to IT facilities, workshop 

facilities, printmaking, the Photography Centre, 

the Media Centre and the libraries. The course 

is located in our Arwenack Avenue building 

(just off Woodlane), alongside MA Fine Art: 

Contemporary Practice. MA Curatorial Practice 

has its own office, teaching and base room here, 

and you’ll have additional access to areas shared 

with MA Fine Art students. 

You’ll also have access to the College’s central 

learning resources throughout your period of 

study, although library hours will be shortened 

during the summer months. 

71

Car�rs 

While focused on enabling you to become 

a curator of contemporary art in a range of 

contexts – notably museums, public art venues 

and contemporary art commissioning agencies 

– MA Curatorial Practice will also provide you 

with excellent transferable organisational and 

communication skills. The experience of the 

course may lead you to specialise in such related 

careers as exhibition organising and promotion, 

teaching, critical writing, gallery management 

and fundraising. 


Candidates are expected to have a good 

undergraduate degree in a relevant discipline, 

typically art history or fine art practice, or 

an equivalent combination of academic 

qualifications and professional/vocational 

experience. Applicants seeking to enter 

the course without the requisite academic 

qualification may apply for entry on the basis 

of Accreditation of Prior Experiential Learning 

(APEL or APL). Applicants whose first language 




Kate Parsons 


All candidates will need to demonstrate a 

proven interest in contemporary art. Practical 

experience in a museum, gallery or related 

work (either paid or voluntary) would be 

an advantage. 

Please be aware that, during the first two 

study blocks, you’ll incur some travel costs 

for scheduled trips to partner venues and 

other organisations in the region, which are 

an integral part of the course. Your individual 

MA project is also self-funded. 




Interview 

All applicants will be expected to attend an 

interview as part of the selection process. 

In exceptional circumstances an interview 

may be conducted by telephone, and EU 

and international students will typically 

be interviewed by telephone rather than 

in person. 

While there is no formal deadline for 

applications, early application is advised 

since places on the course are limited. 

Those who submit their application before 

the end of January may be eligible to apply 

for AHRC funding. 

Partner Information 

For more information on the course’s 

partners, please visit: 

www.tate.org.uk/stives 

www.newlynartgallery.co.uk 

www.projectbase.org.uk

Student Profile Phil Rushworth 

“I wanted to be able to train for a career that retained 

my interest in art but was more practical. I also love 

museums and felt that this might be a good way into 

working in that area. The course teaches you a wide 

breadth of practice, from conceptual thinking to 

planning, organisation and other practical skills. The 

most valuable lesson in exhibition planning has been 

to anticipate everything that could go wrong, and to 

develop the ability to think on your feet! The course 

gives you an insight into how a curator realistically 

works, from meeting artists and creating concepts 

to writing skills and actually following through with a 

real exhibition. We’ve had practice pitching to Newlyn 

Art Gallery and Tate St. Ives, which, while nerve- 

wracking, is valuable experience. There’s no better 

way to learn than to actually physically do something, 

which is what this course lets you do. It has also 

enabled us to start building professional networks, 

as well as establishing our contacts with artists.” 

Tate St Ives, curved gallery © Bob Berry 

Course Leader Dr Virginia Button 

Trained as an art historian, Virginia worked as a Tate 

curator in London for ten years before moving to 

Cornwall in 2001. At Tate she curated the permanent 

collection, artists’ projects, and major exhibitions 

including the Turner Prize (1993-8). In 2000 she 

co-curated, with Charles Esche Intelligence, the first 

Tate Triennial at Tate Britain. In Cornwall she has 

worked as writer, teacher, consultant and 

independent curator. 

Virginia has written numerous exhibition 

catalogues on contemporary art, and published books 

on Christopher Wood and Ben Nicholson. Her history 

of The Turner Prize, first published in 1997, is now in 

its fifth revised edition, and her companion guide for 

Tate St Ives, St Ives Artists, was published in 2009. 

73

Rob Mclachlan 

MA F�e Art: 

Contemporary 

Pra�ice 

Campus: Woodlane Annexe 


www.falmouth.ac.uk/fineartma 

The MA in Fine Art: Contemporary 

Practice enables you to engage in a 

substantial period of study which will 

provide you with the opportunity to 

review, change, develop and strengthen 

your position as an artist. 

The course is designed to encourage artistic 

responsibility, self-direction, and competence 

through the development of individual expertise 

and the professional excellence necessary to 

operate as a successful artist. 

Fine art practices are a rich and potent source 

for imagining and developing unique ways of 

conceiving, thinking, and acting in the world 

today. As such, we emphasise the importance of 

practice where work often encompasses a range 

of media such as drawing, textiles, fibre arts, 

painting, printmaking, sculpture, performance, 

installation, video, sound, photography and 

digital media – to express and explore your ideas. 


Your artwork and its associated ideas and 

concepts will be subjected to artistic and critical 

scrutiny. This provides a means of gaining a 

critically informed understanding of your own 

individual practice and its position within the 

field of contemporary art. 

We recognise that current art practice demands 

formal and contextual knowledge and skills 

across a wide range of practices, disciplines 

and critical enquiries including; questions of 

the conceptual, the spatial, of material, body, 

text and site. Inspiration for recent projects 

have been drawn from diverse areas including 

archives, narratives, philosophies, personal 

histories, sciences, literatures, geographies, 

religions, space, gender, childhood memory, 

time, technologies, body, weather cycles, 

gardening, perception and ritual. 

The School of Art & Performance has a vibrant 

research culture including PhD students, post 

doctoral research and specialist research activity 

in Art, Nature & Environment and Network 

Art. All staff teaching on the course are active 

researchers, artists and writers who exhibit, 

perform or publish nationally 

and internationally. 







The course combines staff -led and group-led 

workshops and seminars, independent research, 

individual tutorials, ongoing practice-based 

projects, written assignments, a dissertation 

and the realisation of a final body of work.

There may also be occasional ‘intensives’ during 

the course and the potential for exhibitions and 

events beyond the College context; recent years 

have seen students exhibiting work in Lithuania 

and Germany. Visitors have included Miranda 

July, Becky Shaw, Alvin Lucier, Lee Wen and 

Gustav Metzger. 


Much of the course is taught through individual 

and small group tutorials. At the core of the 

course is your individual creative practice which 

is informed by your own research interests and 

supported by a series of seminars relating to 

discourses in contemporary arts and interfaces 

and interactions. 

Through seminars and discussion you will 

consider a number of themes pertinent to 

contemporary arts practice thus providing 

a wide range of ideas acting as a catalyst for 

further research and exploration. Seminars 

around interfaces and interactions focus 

on the various methods and strategies that 

contemporary artists use to reach a 

public audience. 

You will also be introduced to a range of 

appropriate research methodologies and 

be given direct support and preparation for 

dissertation writing. Much of the teaching is 

shared with the other MA courses in the School 

of Art & Performance. This shared provision 

provides opportunities for you to engage, 

and potentially collaborate, with other students 

and disciplines. 

In addition there is a series of weekly lectures, 

Models of Practice, by guest speakers and 

shared with the other Masters courses. This 

series sets out to provide a cross-section of 

the many different ways professional artists, 

working with a broad range of media, carry out 

their practice. The lectures aim to be diverse, 

stimulating, engaging and thought-provoking. 

There are also a number of other lectures 

throughout the year that MA students can 

attend, including those hosted by Falmouth’s 

research groups. 

Facil�ies 


in the College’s studios, whereas part-time 

students will need to secure appropriate studio 

or work space. All students have access to 

well-equipped facilities including the library, 

IT resources and our innovative Photography, 

Media and Performance Centres and workshops. 

Car�rs 

Throughout the MA Fine Art: Contemporary 

Practice, we aim to help you develop skills 

relevant to contemporary art as well as the 

transferable skills to succeed in other areas of 

creative employment. These may be expressed 

through a career as a professional artist, 

an independent practitioner, in exhibiting, 

publishing, teaching, curatorial practice or 

criticism, some combination of these, or 

something you have not yet considered. 


The course is broadly suited to practitioners 

who wish to expand, extend, or change 

an established practice. The majority of 

candidates applying for admission will have an 

undergraduate degree in a related art or design 

subject. However, exceptions to this can be 

made and candidates from other disciplines will 

also be considered. 

75

You will need to demonstrate: 

• A range of technical skills relevant to the 

studio work you propose as part of you 

application • An established pattern of working 

independently in a studio or workshop • A set 

of values about art in general, and your own 

work in particular • A conscious desire for some 

kind of change in your practice; specifically the 

kind of change that could come about through 

study, with the inevitable emphasis on verbal 

discussion, reading and writing. 

Applicants seeking to enter the course without 

the requisite academic qualification may apply 

for entry on the basis of Accreditation of Prior 

Experiential Learning (APEL or APL). You should 

be able to demonstrate the level of preparation 

described above, or give evidence of a capacity 

to reach this level within the first unit. 




certification to Level 6.5, as well as providing a 

contact telephone number so that a member of 

the MA Fine Art: Contemporary Practice course 

team can conduct a telephone interview. 

The Sandra Blow Scholarship for MA Fine 

Art: Contemporary Practice students 

This scholarship was bestowed on the College from 

the legacy of Sandra Blow, the English painter who 

lived in St Ives from 1994 until her death in 2006. 

The end of an MA course is a crucial juncture in the 

career of a new artist, and this scholarship aims to 

assist graduating students in the first few months of 

their career, for example by helping to pay for studio 

space. Students will be selected for the scholarship 

before the end of their course by a panel including 

the Course Leader and the Director of Art and 

Performance. The scholarship is worth £5,000 each 

year, shared between two or three students. 


We welcome enquiries and applications at any 

point in the year, however applicants who apply 

before the end of January, for an October start, 

may be eligible to submit an application for 

AHRC funding or other bursaries. 




Interview 

All applicants should send a completed 

application form and some evidence of their 

previous practice or proposed project (CD, 

DVD, slides or printed matter are all acceptable). 

Interviews are arranged for all those applying to 

the course. 

Student profile Rod Maclachlan 

Rod studied sculpture at Glasgow School of Art 

before establishing both his individual arts practice 

and collaborative work with the Bristol-based art 

collective, Blackout Arts. His projects ranged from 

VJing to production design for arts events and music 

festivals. He joined the Fine Art MA course motivated 

by his desire undertake a sustained and uninterrupted 

period of practice and subject his work to dialogue 

and critique with staff and students on the course. 

During the course, his work re-evaluated 

the use of digital projection technologies, looking 

closely at early chemical, optical, and electrical devices 

used in 18th and 19th centuries. His experimental work 

explored phantasmagoria and pre-cinema projection 

techniques, such as simple candlelit white-shadow 

projection to candle, gas and limelight powered 

magic lanterns, fantascopes and megascopes. Setting 

up experimental assemblages and installations in the 

course’s dedicated project space, he also tested this 

work at events in Bristol and at Tate Britain, London. 

For his MA show installations, Rod, along with two 

other MA Fine Art students, was awarded the Sandra 

Blow Scholarship.

Course Team 

Dr Daro Montag 

An international leader in his field, Daro’s work 

concerns the integration of art with contemporary 

ecological thinking and real world issues. His research 

examines the creative potential of organic materials 

and processes, and his work on art and climate 

change led to his being invited to participate in the 

2009 Cape Farewell expedition to the Peruvian 

glaciers and rainforest. Previously Daro’s work has 

been exhibited at galleries in the UK, USA, Europe 

and United Arab Emirates, and published in a number 

of journals and books. In 2002 he was awarded the 

prestigious L’Oreal Art-Science prize in Tokyo, and 

has also worked with the Institute of Animal Health, 

the Met Office and Deutsche Bank. He also leads the 

RANE research group at Falmouth. 

Gillian Wylde 

Gillian is a visual artist working with video performance 

activities, installations and object-led work. Her practice 

alludes to instances appropriated from the unpopular 

popular, the extraordinary everyday and high vs. low 

art and things. In her own words: “Comedy + trauma 

= traumedy as a rupture in aesthetics + little 

investigations/big ideas of the pathetic, poetics + 

shoddiness. Temporalities and timing vs the rubbishy 

within the composite live or mediated moment like 

maybe a rude smell or hairy logic.” 

She has exhibited at Lounge Gallery London, 

the 2007 Alytus Biennial 2 International Festival 

of Experimental Art Lithuania, a Taoh Residency in 

Stavanger City Norway and created one of six beach 

huts for GeekFest Poole. She’s also received several 

awards including a One To One Individual Artists’ 

Bursary in Live Art, an Arts Council England Grants 

for Arts Research and Development Bursary and PVA 

Media Lab Training Residency at Vivid Birmingham. 

Andy Webster 

Andy Webster is a Senior Lecturer on MA Fine Art: 

Contemporary Practice and is also a researcher for 

RANE, (Research: Art, Nature & Environment) at 

University College Falmouth. In July 2009, Andy 

participated in an expedition to the source of Dollis 

Brook, organised by artist Nick Edwards and Cape 

Farewell. Andy recently represented RANE at Emoção 

Art:ficial, Itau Cultural, Brazil at the São Paulo Biennale, 

in 2008, where he presented his recent research with 

collaborator Jon Bird, University of Sussex. 

Andy and Jon have collaborated on 

numerous art projects and are the co-authors of 

several published research papers, which include; 

‘Experiments in Open-Ended Curation’, 2006, and 

‘Better Living through Electrochemistry’, 2008. 

Since February 2008, Andy has led the project ‘Social 

Cycles’, which provides 41 bicycles for students 

and staff to use for the duration of their studies and 

employment at University College Falmouth and 

University of Exeter. Other recent exhibitions include 

‘Colour’, Hilton Young Gallery, Penzance, 2008, 

‘Maverick Machines’, Matthew Gallery, Edinburgh, 

2007 and ‘Living Architectures Laboratory’, 

Demarcació de Girona del COAC, Girona, Spain, 2006. 

Rob Gawthrop 

Works mainly in a ‘live’ context using sound, music, 

film, installation and performance. Dealing with the 

relationships between the aural and the visual, sound 

and signification, music and noise. Collaborates 

with Bob Levene under the name of Automated 

Noise Ensemble since 2000. In addition he performs 

individually and collaboratively as an improviser/ 

composer using percussion, strings and other stuff. 

His films have been screened widely including A 

Century of Artists Films & Video at Tate Britain, the 

sound work has been performed at various venues 

and events including: Dundee Contemporary Art, 

Manchester Cornerhouse, Globe Gallery (Tyneside) 

and a 12” vinyl picture disc Turntable Strings (ANE) 

is also available. 

77

Moon Ribas 

MA �eatre: 

Contemporary 

Pra�ices 



www.falmouth.ac.uk/theatrema 

Seeking to expand the possibilities 

of theatre by exploring dialogue 

and interaction with other disciplines, 

including choreography and live 

art, MA Theatre: Contemporary 

Practices challenges existing 

performance conventions. 

The emphasis throughout is on critical reflection 

and debate, diagnostic sharing of processes and 

questions, and focused support in the development 

of new work. You’ll investigate methods of 

composing material for live performance within a 

cross-disciplinary performance framework, explore 

questions specific to devised theatre and expand 

its possibilities through dialogue with other 

disciplines and discourses through practice. 

This expanded field of performance 

encompasses live art, physical theatre, 

choreography, site-specific performance, 

performance art, installation, new media and 

new writing, challenging existing conventions 

and encouraging new connections between 

critical concepts and languages, spaces, 

bodies, technologies and audiences. 


We want to expand your knowledge and 

understanding of performance-making practices. 

You’ll engage in questions of performance 

research that will inform and shift your own 

practice. You’ll also interweave your own 

performance practices with relevant theoretical 

discourses and critical tools, leading to a written 

dissertation and practice-based project that are 

in dialogue with each other. 







In addition to MA Theatre: Contemporary 

Practices, Falmouth’s School of Art and 

Performance also offers MA study in 

Choreography, Contemporary Music, Art and 

Environment, Curatorial Practices and Fine Art. 

Students in Theatre: Contemporary Practices 

study alongside students on these courses, 

enabling a dialogue and exchange to develop 

between the different disciplines. 

Part 1: 




Part 2: 

Written Dissertation & Performance Project 

You’ll receive expert and specific tutorial guidance, 

feedback and technical advice throughout the 

course, designed to guide your development of 

theoretical investigation and practical making. 

How is the course taught 

and assessed? 

The curriculum combines staff-led and groupled 

workshops and seminars, independent 

research, individual tutorials, ongoing 

practice-based projects, written assignments,

a dissertation and the realisation of a final 

performance. The three units that make up Part 

1 are all taught units, helping you to further 

develop and focus your work as you move 

towards the two requirements of Part 2. 

Questions of Practice is studio-based and 

specific to theatre students. Individual questions 

of theatre practice will be explored in Part 

2, which focuses on a dialogue between 

performance-making and written dissertation. 

You’ll receive tutorial guidance, feedback and 

technical advice throughout the MA. 

Indicative theatre/performance research in 

Part 2 may embrace methodologies of devising; 

issues and practices of context; studio-based 

performance as well as work in non-designated 

spaces (including site work); cross-disciplinary 

collaboration; composition/scoring/ 

documentation; digital arts and so on. 

Part 1 


This unit is designed to underpin an approach 

to MA level study and a productive relationship 

between practice and theory. It enables you to 

identify learning needs; to plan and negotiate an 

appropriate and manageable proposal for MA 

dissertation and practice within an awareness 

of the range of methodological possibilities. The 

unit enables you to confidently develop research 

strategies, which you can then apply to theatre. 


This unit specifically addresses questions of 

research in devising, addressing your own 

practice as a field of praxis at postgraduate level 

– exploring the practice/theory interface mainly 

through practice. You’ll be challenged to extend 

and question your practical procedures in 

relation to debates about what defines theatre, 

what it has been and what it’s becoming, its 

relations with performance and its connections 

with other practices. You’ll be offered a series 

of workshops designed to open up processes 

and debates about contemporary performance- 

making. The unit aims to help you acquire 

and develop appropriate skills, knowledge 

and processes for expanding your practice 

and extend your conceptual and practical 

framework for what theatre might be. 

It begins by developing a shared understanding 

of each student’s current practice. The 

workshops are designed to positively address 

these practices through ongoing staff and 

student-led tasks. Peer-led analysis and 

feedback become important elements in the 

development of practice. This unit connects 

with the unit in Theories for Arts Practices, 

making parallels between contemporary theatre 

making and wider contextual, theoretical and 

philosophical concerns across the disciplines. 

The unit includes practical and theoretical 

investigations of: sources and strategies for 

creating material, and a range of compositional 

models; devising processes for performers, 

writers, directors; improvisation as a generative 

tool; application of digital media in live events; 

solo and group performance-making, showing 

work and offering critical feedback; practices 

of site, location, context, space, and relations 

between performers and audiences; and models 

of documentation within a creative process. 

Questions of Practice is delivered through a 

series of workshops led by members of the 

theatre team, associate lecturers and visiting 

artists. Ongoing performance-making and the 

development of new work will be central to 

this unit through tasks, practical exercises and 

assignments. Final assessment is through 

a portfolio documenting your practice. 


This unit presents you with a series of 

theoretical/critical texts addressing specific 

cultural issues in art-making in diverse 

disciplines. Additional focused readings related 

to theatre and performance will be offered 

alongside these wider models of discursive 

practice in other fields. In this way, the unit 

79

poses questions about relations between 

performance-making as a mode of enquiry 

and a range of contemporary discourses. 

This unit interconnects with Questions 

of Practice, inviting an exploration of theories 

in practice and vice versa. 

Part 2 

Independent research and practical work 

leads towards a final public project and 

dissertation. You choose the weighting/ratio 

between the two. 

Dissertation 

Drawing from Part 1 and particularly from 

your own practice, you’ll engage in appropriate 

research methodologies and conceptual 

enquiries leading to a written dissertation. 

You’ll be encouraged to explore outwards 

from your own practice, making connections 

to your own performance-making practice 

while undertaking investigations that move 

you into new arenas of thought. 

Pra�ice 

This culminating element of the MA gives 

you the opportunity to create a practice- 

based project for public showing. This can 

be presented within a variety of formats 

and may include studio-based or site-based 

work, installed work, live presentation of a 

body of work with documentation, solo or 

collaborative project. Furthermore, a range 

of roles for possible engagement includes 

deviser/performer, deviser/director, deviser/ 

writer, deviser/scenographer and so on. 

Facil�ies 

Based in the brand new Performance Centre 

at Tremough, you’ll have access to a variety of 

large and small studios equipped with state-ofthe-art 

technical resources (light, sound etc.); 

a library dedicated to arts practice and theory; 

and expansive technical and media resources. 


You’ll be able to attend any presentations 

by guest artists and resident staff on the 

undergraduate programme. You’ll also be able 

to participate in a programme of workshops 

by visiting artists. In recent years these have 

included: Mike Pearson, members of Forced 

Entertainment, Goat Island, Lone Twin, 

Gob Squad, Baktruppen, Phelim McDermott, 

Uninvited Guests, Reckless Sleepers, and 

Kirstie Simson. 


& Car�rs 

You’ll be encouraged to place your practice in 

a professional context from day one. This MA 

helps you develop skills that are applicable to 

a wide variety of careers. Our past graduates 

have gone into roles including professional 

theatre making, acting and performing, arts 

administration, project management, teaching, 

research, media and community arts practices. 


Applicants will usually have a degree or 

equivalent qualification in theatre and/or 

related performance practices. We encourage 

applications from mature artists and students. 

Performance-makers with a substantial body 

of professional work are also encouraged to 

apply with or without a degree if you’re able to 

demonstrate equivalent competence in both 

practical and theoretical work. Successful 

applicants will be practitioner-thinker-makers 

capable of researching, articulating and writing 

about practice at postgraduate level. 







UKPASS: www.ukpass.ac.uk.

Interview 

All applicants need to submit an application 

form, with a short sample of written work, 

and any video/DVD material that supports the 

application. Usually, candidates will be invited 

to attend an interview. For overseas applicants, 

the interview can take an appropriate form, 

such as submission of a portfolio of work and 

a telephone interview. 

Graduate Profile Klaus Kruse 

Klaus is a German director, scenographer, performer 

and poet. He’s currently a part-time lecturer at 

Falmouth and is co-founder of Living Structures, a 

multi-disciplinary collective engaged in the creation 

of immersive performance installations, and The 

Solvents Performance Collective – both formed 

during his studies at the College. 

Having toured England and Europe, 

Living Structures have recently engaged in a series 

of residencies including Battersea Arts Centre, 

Shunt, and The Pleasance, London. Klaus won the 

Directors’ Guild Award at the National Student Drama 

Festival (NSDF), and the Solvents Award for Best 

Soundscape and Versatility. “The course challenged 

many of my preconceived ideas and opened me up 

towards new ways of thinking and working, giving 

me the confidence to commit to being an artist and 

vitally influencing the furthering of my professional 

practice,” he says. “The cross-disciplinary approach 

provides a lively pool of collaborators across different 

artistic fields, and generates numerous networking 

opportunities. Most of my current collaborators are 

contacts and friends I made as a student.” 

Course Team Joanne ‘Bob’ Whalley 

Joanne completed the first joint practice as research 

PhD to be undertaken within a UK arts discipline 

in 2004. Working with her research partner Lee 

Miller, they explored the ‘non-place’ (Marc Augé) 

of a particular stretch of the M6 motorway, and 

through various performance strategies attempted 

to reinscribe it as a place of ‘everyday life’ (Michel de 

Certeau). The project reflected upon the process of 

creative collaboration and knowledge production by 

drawing on the ‘two-fold thinking’ of Gilles Deleuze 

and Félix Guattari. 

Joanne continues to be interested in 

non-places, both in terms of writing about them 

and performing in them. The practical elements of 

her research relocates the abstract observations of 

Augé to the sites in which such observations apply, 

and encourages the development of an operational 

knowledge in the users of the service station, airport 

lounge and shopping mall. Visit her performance 

website: www.dogshelf.com 

Course Team Misha Myers 

Misha Myers is a live artist and Senior Lecturer in 

Theatre at Falmouth. Originally trained in dance, she 

completed a BA in Anthropology and Philosophy at 

George Washington University, an MA in Theatre and 

the World at University of Wales, Aberystwyth and is 

currently completing a practice-as-research PhD at 

University College Falmouth. 

She has presented work and engaged in 

research world-wide including in Japan, Denmark, 

Romania, Spain, Germany, France, Guatemala and 

USA. Misha makes contextually-based, dialogic and 

relational performances, installations, events and 

processes that often invite an active, self-determined 

and collaborative participation and contribution of 

particular individuals or social groups, such as in her 

recent projects Way from home and VocaLatitude, 

involving collaboration with inhabitants of Plymouth 

who are refugees and asylum seekers and refugee 

support organisations. 

These projects are documented online at 

www.homingplace.org. Other recent works have 

been shown at Spacex Gallery1’s public art exhibition 

Homeland and in Tract, Newlyn Art Gallery’s 

programme of site-specific and live art. 

81

Kazuaki Harada 

86 MA 3D De�gn 


94 MA Contemporary Cra�s 

98 MA Di�tal Manufa�ur�g 

102 MA Garden & Landscape De�gn 

106 MA Graphic De�gn 

110 MA Illu�ration: Authorial Pra�ice 

116 MA Interior & Landscape De�gn 

122 MA Textile De�gn 


De�gn today has never b�n more 

�fluential. No longer only concerned 

w�h how th�gs look and �n�ion, 

de�gners are a�ive � all areas of the 

economy and socie�, play�g a lead�g 

role � �ap�g the �ture for bu�ness, 

commun�ies and the environment. 

de�gn 

83

De�gn at Falmouth 

Studying for an MA in Design at 

Falmouth places you right at the heart of 

our dynamic institution. Our courses are 

small, flexible and responsive to students’ 

interests and needs and you’ll find 

yourself able to draw on expertise from 

the College’s research groups, across 

Falmouth’s disciplines and the professional 

world through the networks and 

contacts of our MA course leaders. 

“What I love about Falmouth is its hands-on 

nature,” says John Miller, Former Director of 

the School of Design. “We design and make 

ourselves, as well as teach. Whether a student 

or lecturer, everyone interacts as a designer, 

which is a really exciting relationship to have.” 

It’s not just the staff’s hands-on approach 

that students gain from. The Design team are 

passionate about what students go on to do 

after their studies. They have worked hard to 

build up networks of professional contacts and 

new business collaborations that offer students 

and graduates a valuable springboard into the 

world of professional design. 

Recent developments that will open up a host 

of exciting opportunities for both students and 

graduates include two major new initiatives. 

Dott Cornwall (www.falmouth.ac.uk/dott) , 

in conjunction with the Design Council and 


local/regional government, and AIR 

(www.falmouth.ac.uk/air) , the College’s 

Academy for Innovation and Research. These 

projects are both about placing design thinking 

and process at the heart of communities, 

business and innovation, developing new 

opportunities for designers in society.These 

projects are both about placing design thinking 

and process at the heart of communities, 

business and innovation, developing new 

opportunities for designers in society. 

Falmouth’s blend of teaching excellence, 

inspirational location and commitment to 

providing the very best spaces and facilities 

make studying design here a unique experience. 

Our approach attracts high calibre teaching 

staff, as passionate about design as they are 

about your success. As our international 

reputation grows, Falmouth is set apart by our 

freedom of approach and professional outlook. 

We’ll encourage you to develop new ways of 

working through research, driving your own 

direction and finding your unique place in the 

design world. Our emphasis on research 

combined with fresh professional and theoretical 

perspectives, as well as improved technical 

skills, will help you to think about design in new 

ways. Together with our commercial links both 

locally and internationally, this means that 

you’ll complete your MA more confident, 

experienced and equipped to make your mark 

in the design world. 

de�gn

Rowena Ardern 

Course Leader MAs in Design 

Andrew Harbert 

Andrew currently oversees all the Design MAs at 

Falmouth and leads MA Interior & Landscape Design. 

He originally trained as an architect, culminating in 

an MA Architecture (Design and Theory) in 1995. 

For the next 10 years, he worked across Europe on a 

diverse range of projects from retail spaces, industrial 

buildings and very large-scale advertising to houses 

and offices. All projects considered the user and 

context as key factors in their design. His principles 

for education are to work with people through 

dialogue and reflection, never taking anything or 

anyone for granted. 

In September 2005, Andrew decided to become a 

full-time academic at Falmouth. He has previously 

worked as a tutor in Architecture and Interior Design 

on undergraduate and postgraduate courses and was 

Course Leader for MA Interior Design at Birmingham 

Institute of Art and Design, University of Central 

England. He has also taught in Singapore and Hong 

Kong. Currently Andrew contributes to the validation 

and development of degree and postgraduate courses 

at other UK institutions, and is an external examiner 

for Bournemouth University. He also still likes to 

design things, both large and small. 

Cumulus 

University College Falmouth has recently achieved 

full membership of Cumulus, the prestigious 

international association of universities and colleges 

of art and design, based in Helsinki. Membership of 

Cumulus not only validates the College’s position as a 

major international player in the global art and design 

arena, but also provides extensive opportunities for 

staff and student exchanges, and joint teaching and 

research projects. 

85

Dan Gallally 

MA 3D De�gn 



www.falmouth.ac.uk/3ddesignma 

3D Design is about relationships; between 

you the designer, the manufacturer and 

the consumer, wherever you’re located. 

We all depend on designers to shape 

our futures. In recent years, new ways 

of thinking about design mean that it’s 

evolving on two fronts – principle 

and production. 

Our 3D Design MA is broad-based, open to 

both generalists and specialists wishing to 

expand or refresh their design and making 

skills. We emphasise the influence design has 

within communities and its potential to enhance 

quality of life as well as wider implications, so 

you’ll have the opportunity to study design 

within the contexts of education, healing, 

child development, culture, sports and lifestyle, 

as well as aesthetics – incorporating sustainable 

practices and an awareness of ethical issues 

into your designs to help minimise the 

impact of production at both social and 

environmental levels. 


Global manufacturing means you may be 

required to work remotely or abroad, while 

advances in digital manufacturing technologies 

like CNC machining and rapid prototyping are 

enabling new localised forms of production 

that challenge economy of scale: a one-off 

can be made as easily as hundreds of 

identical products. 

At Falmouth, we want you to consider all of 

these factors when developing your design 

concepts and future career path. This course 

is about developing new methods of working 

through research, focussing on your own 

direction and finding your unique place in the 

design world. From idea conception, to planning 

and making original pieces, you’ll enhance your 

design and making skills. 

You’ll have the opportunity to boost your existing 

knowledge and explore new technologies. Your 

creative problem-solving, idea generation and 

design development skills will be advanced to a 

professional standard. Our hands-on approach 

means you’ll spend most of your time in the 

studios and workshops designing, making and 

testing your ideas as well as with the users 

themselves. We also want you to develop 

your awareness of other design disciplines and 

advances in multidisciplinary practice. 



delivered over 45 weeks and divided into three 

15-week study blocks. Alternatively, you can 

study the course part-time over two years, 

totalling 90 weeks. All study blocks are worth 

60 credits with summative tutor assessment at 

the end of each.

You can choose to exit the course and obtain 

a recognised postgraduate award once you 

have completed each one. Having obtained 60 

credits, you can gain a Postgraduate Certificate 

in 3D Design; or a Postgraduate Diploma with 

120. You’ll need to gain 180 credits in order to 

receive your MA award. 

Study Block 1: 

Research & Reflection / 60 credits 

During the initial stage of the course you’ll 

work towards producing a portfolio that 

demonstrates investigation, experimentation, 

planning and development. This will enable 

you to advance your practical work and skills of 

critical analysis. Your portfolio of work will be 

shown at an in-house exhibition. 


Engagement & Immersion / 60 credits 

Applying your enhanced research skills to 

your own practice, you’ll create original and 

progressive designs. Emphasis is placed on a 

problem-solving approach to design where 

theory informs practice. 

Study Block 2 prepares you for your final Major 

Project and you’ll be asked to develop your own 

design proposal. 


3D Design Major Project / 60 credits 

The project’s final outcome must demonstrate 

your practical and theoretical engagement and 

expertise. We encourage you to explore a range 

of related themes in contemporary 3D Design. 

You’ll negotiate the format of your project 

work, methodology and presentation with your 

course tutor. Typically you’ll produce prototypes 

supported by visual material, evidence of 

research and development of ideas, all of which 

is substantiated by a written design report. 

Your project work can be based on your 

established interests or the intended direction 

of your design practice. During your Major 

Project you’ll also have the opportunity to work 

on live projects or complete a work placement. 

We expect you to demonstrate the creative 

problem-solving skills that are essential to help 

you succeed in industry. Your Major Project will 

be presented at public exhibition and provides 

the opportunity for us and you to invite guests 

and potential employers to view your work. 


Our full-time and part-time staff are 

experienced, practising designers, makers and 

researchers dedicated to providing a mutual 

learning environment. Emphasis is placed 

on self-directed project work with tutorial 

support throughout the course. In addition to 

developing individual initiative, we encourage 

you to work in groups to strengthen your skills 

of communication and negotiation. 

The course is delivered through study blocks 

which contain units covering all aspects of 3D 

design with particular emphasis on research, 

professional and personal development. 

Your practical work will be underpinned by 

theoretical, historical and cultural studies. 

Project work is supported by lectures, 

seminars, professional experience and tutorials. 

In addition, the College’s Virtual Learning 

Environment provides information to assist you 

with research and project work. 

Your research will consider the history and 

future of design within broad social, political, 

economic and cultural contexts to help develop 

your understanding. Further theoretical 

studies will deepen your knowledge, generate 

original ideas, help you to critically assess and 

contextualise your own and others’ work. 

87


A professional perspective underpins all 

elements of the MAs in Design, be it intellectual, 

theoretical or practical. You can choose to 

develop live projects with local and national 

companies and organisations, enabling you 

to work on real briefs for real clients. Direct 

consultation with users and clients will also 

ensure that you’re able to communicate your 

design ideas in a variety of formats. 

Exploring the legal and ethical frameworks of 

the industry is a vital part of each course and will 

enable you to become an expert in the practical 

and professional aspects of design. Plus, 

we’ll support and help you develop a unique 

professional portfolio so that you find your niche 

in the design market. 


The course operates on a basis of continuous 

assessment. Early on, you’ll be introduced to 

the criteria used to assess your project work. 

Assessment is via a combination of visual, verbal 

and written assignments including project work, 

essays and seminar presentations. 

The focus of each stage of the course is the 

production of a portfolio that reflects an 

appreciation of the course’s core values. That 

means your portfolio should demonstrate 

your awareness of design methodologies 

and professional practice, as well as an 

understanding of the theories that inform design 

and making. Study Blocks 1 and 2 lead to the 

Major Design Project that you must complete in 

order to receive your MA award. 

Assessment at Falmouth is regarded as part of 

the personal learning process. Therefore you’ll 

be asked to develop peer and self-evaluation 

skills, which will be used in critical, conceptual, 

productive and professional capacities. 


Facil�ies 

The Design Centre benefits from world-class 

facilities and provides the opportunity to 

experiment creatively with a range of traditional 

and digital technologies, processes and materials. 

We have specialist ceramics and glass equipment, 

laser cutters, rapid prototyping machines and 

a five-axis milling machine. Just as important 

are our traditional workshop facilities, which 

you can use for experimentation, modelling and 

prototyping. There is also an ICT teaching suite, 

specialist software and purpose-built studios, 

and you’ll have the chance to share ideas across 

disciplines in our communal working areas. 

MA students have a base room as part of the 

Business and Research Centres. This provides 

direct access to these facilities, encouraging 

informal and formal interaction with researchers 

and business users in the Design Centre. 

Car�rs 

Our course prepares you for a diverse range 

of career options. The skills you’ll acquire will 

enable you to work as a sole practitioner, senior 

designer or a design consultant as part of an 

in-house design team either here or abroad. 

Considerable demand in the UK for 3D designers 

with a mix of creative and technical skills means 

there are plenty of job opportunities working 

as part of multidisciplinary teams on diverse 

projects, such as site-specific work and media 

projects. Equally, many designers go on to set 

up their own businesses combining design and 

manufacture. Further possible options include 

teaching and research.


Most applicants will hold an honours degree 

in a related discipline, at 2:1 level or above, 

and will have a relevant portfolio of work that 

explores your previous practice, experience 

and processes. As a postgraduate course, we’ll 

also accept applications from those without a 

formal, or directly-related, qualification within 

the discipline under an APL or APEL application. 

We also require you to submit a single-page 

proposal with your application that outlines 

your aims, intended methods and aspirations. 

This proposal is not binding; it is just a starting 

point for discussion and an initial framing of 

your studies. 








Interview 

Please contact Admissions directly. Once 

an application form and proposal have been 

returned and processed, we’ll contact you to 

arrange a date and time of interview. Interviews 

can also be offered at Postgraduate Fairs 

with prior arrangement. EU and international 

students will typically be interviewed by 

telephone rather than in person. 

Graduate Profile Aaron Moore 

Aaron is a designer and maker of bespoke furniture 

producing mostly private commissions, as well as 

clients like the Eden Project. He became increasingly 

concerned about the impact that designers have on 

the environment and wanted to play a part in trying to 

reduce this. He went on to design a range of furniture 

aimed at the green market, but came to realise that 

eco design was a very complex subject which led 

him to consider further study. “Enrolling on the MA 

gave me the opportunity to gain a deeper insight into 

the issues of many aspects of sustainable design,” 

he says. “Guided by staff and utilising the facilities at 

Falmouth, I’ve been able to develop skills in design, 

research digital manufacturing and formulate a more 

cohesive design methodology.” 

Pathway Leader Su Vernon 

Su has an MA in Industrial Design, having initially 

trained as a metalwork and jewellery designer. She 

has had a career as a designer maker and her work has 

been exhibited internationally. Recent work includes a 

glass screen for the Met Office and a range of unique 

eating implements. Her research interests include 

the social and cultural influences on design as well as 

the ways in which human and environmental factors 

influence the design process. 

89

Amy Kameda 

MA Ceramics 



www.falmouth.ac.uk/ceramicsma 

Are you looking for a fresh challenge? 

Would you like to explore new 

digital technologies and the latest 

contemporary techniques, whilst 

also building on the traditions of an 

internationally significant pottery? 

Our new Ceramics MA offers a unique 

opportunity to develop your practice, hone your 

practical skills and undertake in-depth research 

– whilst also playing an active role in the life 

of St Ives’ famous Leach Pottery. Delivered 

in partnership with the pottery, this exciting 

new course includes intensive periods of 

development at the pottery, under the guidance 

of Lead Potter, Jack Doherty. 

Developing your skills and innovative ceramic 

practice – as well as refining your conceptual, 

technical and theoretical approaches – you’ll 

also benefit from practical involvement in the 

life of this historically important yet commercial 

studio. This could include marketing and public 

relations, producing Leach Standard ware 

and running the shop, gallery and museum, 

helping you acquire key entrepreneurial and 

business skills. You’ll also have the opportunity 

to showcase your work in the Leach Pottery 

gallery at the end of the course. 


Aspiring to excellence, you’ll be committed to 

making and exploring ceramic technologies 

and materials, soda and contemporary glazes, 

as well raising standards within the field of 

ceramics and studio pottery. 







60 credits with summative tutor assessment at 

the end of each. 



This is focused upon the development 

of practical skills and innovative ceramic 

practice, plus in-depth research into previous 

practitioners/designers/ artists that influence 

your practical outcomes and developing a 

rigorous understanding of the methods required 

to work at MA level. On average two days per 

week will be undertaken at University College 

Falmouth, and three days at the Leach Pottery. 



Applying your enhanced research skills to your 

own practice, you’ll create an innovative body 

of practical work that’s framed by your proposal 

re-presented in the latter stages of the Research 

& Reflection Portfolio Practice Unit. This study 

block includes an immersive period of practice 

development at the Leach Pottery of four to 

six weeks, full-time. You’ll also undertake the 

Professional Innovation unit, which allows 

the development of key entrepreneurial and 

business skills, alongside the curatorial, and 

public relations focused aspects of running a 

ceramic studio.

Delivery of this stage is at both the College and 

Leach Pottery. An average of two days per week 

will be spent at Falmouth, and three days at 

the pottery. 


Ceramics Major Project 60 credits 

The culmination of your 45 (or 90) weeks of 

study, this stage allows your work to reach an 

individual focus at a highly refined level. The 

project’s final outcome must demonstrate 


expertise. It’s an opportunity for you to focus 

upon one project or process and produce a 

professional and accomplished body of work. 











You’ll be supported by experienced technical 

instructors and members of academic staff at 

the College, and be allocated a suitable space 

within our Design Centre. Meanwhile, your time 

at the Leach Pottery will allow you to develop 

a range of professional skills relating to the 

running of a studio pottery. 

Taught sessions will range from practical 

IT skills to marketing to MA level research 

methods training, whilst student-led seminars 

will enable you to develop communication 

skills and demonstrate your knowledge and 

understanding of your area to others. 

You’ll be asked to keep development journals 

presenting the developmental stages of your 

work, for example recording form development, 

glaze tests, body tests, firing temperatures and 

so on, as well as other aspects of professional 

life at both Leach and the College. You can show 

this through sketchbooks, notebooks and online 

journals, amongst other suitable forms 

of recording. 

Your Major Project in Study Block 3 focuses 

upon your individual practice and production, 

with specific tutorials and guidance from both 

Falmouth and Leach’s staff at relevant times. 

Your work should show a rigorous process 

of development with clear and appropriate 

methodologies, and a highly professional 

and dynamic language. You’ll also create an 

exhibition of work in a professional format 

appropriate for assessment and public viewing, 

which could include the gallery at Leach Pottery. 


You’ll become fully immersed in the day-to-day 

running of the famous Leach studio, gallery 

and shop, honing your practical business 

and entrepreneurial skills. In addition, the 

Professional Innovation unit in Study Block 

2 looks at the curatorial and public relations 

aspects of running a ceramics studio. Formal 

marketing lectures given at the College will 

be supported by direct practical experience 

within the Leach Pottery gallery. You’ll also be 

encouraged to engage with studio potteries 

further than Leach and spend time analysing 

their process. A 4,000-word Professional 

Innovation report will allow for a clear reflection 

of both practical and commercial contexts, and 

will also include an outline business plan and 

costings for specific elements relating to your 

chosen mode of practice. 





Assessment is via a combination of visual, 

verbal and written assignments including 

project work, essays, development journals 

and seminar presentations. 

91

The focus of each stage of the course is 

the production of a portfolio that reflects 

a development of experimental practical, 

intellectual and conceptual skills and an 

innovative approach to ceramics. Study Blocks 

1 and 2 lead to the Major Design Project that 

you must complete in order to receive your 

MA award. 

All assessment will be undertaken by 

appropriate Falmouth and Leach Pottery 

staff, as well as the external examiner, to 

meet standard University College Falmouth 

postgraduate regulations. 

Facil�ies 

In addition to working in the Leach Pottery 

studios, you’ll also be based at Falmouth’s 

world-class Design Centre, which provides the 

opportunity to experiment creatively with a 

range of traditional and digital technologies, 

processes and materials. We have specialist 

ceramics and glass equipment, laser cutters, 

rapid prototyping machines and a five-axis 

milling machine. Just as important are our 

traditional workshop facilities, which you 

can also use for experimentation, modelling 

and prototyping. 

There’s an ICT teaching suite, specialist software 

and purpose-built studios, and you’ll have the 

chance to share ideas across disciplines in our 

communal working areas. MA students also 

have a base room as part of the Business and 

Research Centres, which provides direct access 

to these facilities and encourages informal and 

formal interaction with researchers and business 

users in the Design Centre. 


Car�rs 

The independent practical, research and 

professional skills you’ll develop will enable 

you to work as a sole practitioner or within 

an established studio. 





explores your previous practice, experience and 

processes. As a postgraduate course, we’ll also 

accept applications from those without a formal, 

or directly-related, qualification within the 

discipline under an APL or APEL application. We 

also require a proposal that focuses upon the 

benefits of the experience, and the contribution 

you can make to the Leach Pottery. You must 

have a proven and high level of experience of 

throwing, with a focus upon vessels and a body 

of work that reflects the required standard of 

both University College Falmouth and the 

Leach Pottery. 








Interview 




arrange a date and time of interview, which will 

be held with a representative from the Leach 

Pottery as well as a member of Falmouth staff. 

EU and international students will typically be 

interviewed by telephone rather than in person.

Pathway Leader Jason Cleverly 

Jason is an applied artist who designs and makes 

automata, furniture and sculpture pieces that have 

been exhibited nationally and internationally from 

Ireland to Chicago. He has recently completed an 

interactive exhibit for the Museum of the Jewellery 

Quarter in Birmingham, and an interpretative 

installation at the Royal Cornwall Museum, Truro. He’s 

currently planning projects with several significant 

sites of international resonance. Jason specialises in 

helping students with their design development from 

ideas generation to evolution, as well as the ways in 

which their work can be displayed and interpreted by 

an audience. 

Lead Potter at the Leach Pottery 

Jack Doherty 

Jack has been making Doherty Porcelain for more 

than 30 years. In the early days he was involved with 

the production of domestic ceramics made in both 

stoneware and porcelain; now he makes thrown and 

slab-built functional forms ranging from exquisitely 

fine translucent vessels to large rugged wall pieces. 

He has been Chair of the Craft Potters Association 

of Great Britain for many years and is involved with 

the organisation of potters’ conferences, fairs and 

workshops – including the Ceramic Art London 

2009 Organising Committee. “I enjoy the softness of 

porcelain clay and use this quality to produce surfaces 

which are pierced, stretched or ribbed,” he explains. 

Sian Andrews 

93

Slip Cast Handles - Sarah Hunt 

MA 

Contemporary Cra�s 



www.falmouth.ac.uk/contemporarycraftsma 

Contemporary crafts practices in the 

21st century are growing in breadth and 

depth. Increasingly individual products 

and unique material qualities are valued 

over uniform, mass production. 

At Falmouth, we encourage a variety of 

practices, from conceptual work and installation 

to public and private commissions, as well as 

one-off and small-scale batch production. 

Whatever your interests, we want you to 

question the definition of craft, and challenge 

and extend boundaries through practice-based 

research to explore the value of craft in the 

21st century. With access to extensive 

traditional and digital technologies – as well 

as workshop facilities for work with ceramics, 

glass, wood, metals, plastics and textiles and 

new and related materials – you’ll get the very 

best support available as you think about 

design in new ways. 


Falmouth also has an impressive reputation for 

its research work exploring digital technologies 

and developing methods of production closely 

aligned with the ‘humanity’ of craft practices. 

From idea conception to planning and making 

exciting pieces, you’ll enhance your design 

and making skills. Early on in the course we 

focus on further developing your aptitude for 

research and analysis, in order to substantiate, 

and reflect upon, your work. You’ll boost your 

existing knowledge and your skills of creative 

problem-solving, idea generation and design 

development will be advanced to a professional 

standard. Plus, our hands-on approach means 

that you’ll spend plenty of time in the studios 

and workshops, designing, making and testing 

your ideas. 

Design is the key to sustainable living. We want 

you to design innovative pieces that consider 

not only aesthetic and technical issues, but 

also the environment, your market, users and 

your role as a commercial designer within the 

community. The course explores the processes 

and theories of production and consumption, 

placing particular emphasis on your ability 

to demonstrate awareness of other design 

disciplines and the global interrelationship 

between designers, manufacturers and markets. 

Your research will consider the history and 

future of design within broad social, political, 

economic and cultural contexts to develop 

your understanding of how and why design 

can help to improve quality of life.







60 credits with summative tutor assessment 

at the end of each. You can choose to exit the 

course and obtain a recognised postgraduate 

award once you have completed each one. 

Having obtained 60 credits, you can gain a 

Postgraduate Certificate in Contemporary 

Crafts; or a Postgraduate Diploma with 120. 

You’ll need to gain 180 credits in order to 


Study Block 1 


During the initial stage of the course, you’ll 





critical analysis. 

Study Block 2 


Applying your enhanced research skills to your 

own practice, you’ll create original and 



theory informs practice. You can test a range 

of design ideas or processes to develop both 

conceptual and practical skills that allow you 

to be an expert in your field. Study Block 2 

prepares you for your final Major Project and 

you’ll be asked to develop the brief for your final 


Study Block 3 

The Contemporary Crafts / Major Project 

60 credits 



expertise. It is an opportunity for you to focus 

upon one project or process and produce a 

professional and accomplished body of work. 











The course is delivered through study blocks, 

which contain units covering all aspects of 

contemporary crafts with particular emphasis 

on research, professional and personal 

development. Our open plan Design Centre 

means that students from all disciplines share 

space, ideas and inspiration. Your practical work 

will be underpinned by theoretical, historical and 

cultural studies and project work is supported 

by lectures, seminars, professional experience 

and tutorials. In addition, the College’s Virtual 

Learning Environment provides information to 

assist you with research and project work. 

We encourage you to explore a range of related 

contemporary craft themes. The format of your 

project work, methodology and presentation 

are negotiated in advance with your course 

tutors; typically you’ll provide evidence of your 

research and development of ideas, and produce 

final pieces supported by visual material – all of 

which is substantiated by a written report. 

95

You’ll also have the opportunity to work on real 

briefs or complete a work placement to support 

the development of ideas. In your final project 

we’ll expect you to demonstrate the creative 

problem-solving skills that are essential to 

help you succeed within industry. Your Major 

Project will be presented at public exhibition and 

provides the opportunity for us and you to invite 

guests and potential employers. 












the industry is a vital part of each course and 

will enable you to become an expert in the 

practical and professional aspects of design. 

Plus, we’ll support and help you develop a 

unique professional portfolio so that you find 

your niche in the design market. 










appreciation of the course’s core values. 


That means your portfolio should demonstrate 



understanding of the theories that inform 

design and making. Study Blocks 1 and 2 lead 

to the Major Design Project that you must 

complete in order to receive your MA award. 






Facil�ies 



creatively experiment with a range of traditional 

and digital technologies, processes and 

materials. We have specialist ceramics and glass 

equipment, laser cutters, rapid prototyping 

machines and a five-axis milling machine. 

Just as important are our traditional 

workshop facilities, which you can use for 

experimentation, modelling and prototyping. 

There is also an ICT teaching suite, specialist 

software and purpose-built studios, and 

you’ll have the chance to share ideas across 

disciplines in our communal working areas. 






Car�rs 

The majority of craftspeople are self-employed. 

Our focus on professional practice, support for 

business start-ups and links with practitioners 

aims to prepare you for this. Contemporary 

crafts is a broad discipline, rich in transferable 

skills, and our course prepares you for a 

diverse range of career options within the 

creative industries.

Kazuaki Harada 

Today’s creative practice often involves 

multidisciplinary teamwork and the 

environment at our Design Centre reflects 

this. You’ll have the opportunity to work 

with designers in other disciplines, leading 

to potentially stimulating, lucrative and new 

areas of design practice. Further possible 

options include teaching and research in 

related arts fields. 















your studies. 








Interview 









Pathway Leader Jason Cleverly 

Jason is an applied artist who designs and makes 

automata, furniture and sculpture pieces that have 

been exhibited nationally and internationally from 

Ireland to Chicago. He has recently completed an 

interactive exhibit for the Museum of the Jewellery 

Quarter in Birmingham, and an interpretative 

installation at the Royal Cornwall Museum, Truro. 

He’s currently planning projects with several 

significant sites of international resonance. Jason 

specialises in helping students with their design 

development from ideas generation to evolution, 

as well as the ways in which their work can be 

displayed and interpreted by an audience. 

97

Drummond Masterton 

MA Di�tal 

Manufa�ur�g 



www.falmouth.ac.uk/digitalmanufacturing 

Whether you’re a traditional craft 

practitioner wanting to engage with 

digital processes more directly or 

you’d like to focus on more abstract 

interpretations of virtual concepts 

then manifest them as made objects, 

Falmouth’s Digital Manufacturing MA 

offers a great opportunity to explore 

processes, experiment with new 

materials and transform ideas into 

made form. 

Located within an Art & Performance, Design 

and Media institution – as opposed to a faculty 

of engineering or mathematics – this unique 

course will enable you to develop professional, 

innovative ways of making and manufacturing 

by experimenting with our comprehensive 

range of digital technical resources in our 

impressive Design Centre. 


Looking at how digital tools can transform 

practices, processes and objects, whilst also 

testing the methodologies of making and 

finding the limitations of the tools themselves, 

you’ll collaborate with other disciplines to 

explore how digital technologies can realise 

technically complex ideas to create physical and 

interpretative forms. 

You’ll develop skills in digital processes relating 

to your practice and we encourage direct 

collaboration with other practitioners to explore 

new techniques and produce challenging and 

innovative outcomes. We imagine you’ll engage 

with our researchers at Autonomatic 

(www. autonomatic.org.uk) – and the way that 

they approach or subvert digital technologies 

and combine them with original and traditional 

techniques – as well as the discipline specific 

staff and our Design Centre Business Relations 

team, shadowing or contributing to the projects 

they undertake. This engagement with research 

and live projects will allow you to develop your 

skills in direct relation to cutting-edge practice. 

The scope of this course is enormous; whatever 

your area of interest, you can take it in an exciting 

new direction, using the potential of digital 

making to engage with tools that work a micro- 

scale and a macro-scale – like rapid prototyping 

to make refined production ready jewellery scale 

objects, produced using 3D software tools, or 

even exploring the potential of hybrid digital 

jacquard loom woven textile pieces, for example 

– to then produce quite large objects produced 

on our CNC router. These could be large-scale 

topographies, frameworks or space frames, 

becoming quite architectural in scale, utilising 

new hybrid techniques, or developing new uses 

for our advanced equipment.




can study the course part-time over two 

years, totalling 90 weeks. All study blocks 

are worth 60 credits with summative tutor 

assessment at the end of each. You can choose 

to exit the course and obtain a recognised 

postgraduate award once you have completed 

each one. Having obtained 60 credits, you 

can gain a Postgraduate Certificate in Digital 

Manufacturing; or a Postgraduate Diploma with 

120. You’ll need to gain 180 credits in order to 









critical analysis. You’ll develop new digital skills 

that enhance your already high level of previous 

knowledge, as well as having inductions on 

relevant machinery and processes. 







theory informs practice. You can test a range 

of design ideas or processes to develop both 

conceptual and practical skills that allow you 

to be an expert in your field. Study Block 2 

prepares you for your final Major Project and 

you’ll be asked to develop the brief for your final 


You’ll also undertake the Professional 

Innovation unit, which allows the development 

of key entrepreneurial and business skills, 

while Creative Enterprise Cornwall placements 

could allow you to work directly with Cornish 

industries, developing strong relationship 

through live projects. 


Digital Manufacturing Major Project / 

60 credits 


your practical and theoretical engagement 

and expertise. It is an opportunity for you to 

focus upon one project or process and produce 

a professional and accomplished body 

of work and really show your knowledge 

and understanding of skills and process in 

made form. 











There is a strong process of contextual research 

and placing your ideas back into a wider context 

of histories and theories, constructing a journal 

that records your findings from both historical 

and theoretical perspectives, as well as your 

practical findings. You’ll undertake a critical 

contextual review which summarises what 

you’re doing, how you’re doing it, why you’re 

doing it, who else influences your work and 

why? The course is primarily driven by your 

portfolio; there are other elements but the work 

is driven by the processes of making. 

99

Key technical workshops will develop your skills 

as you work with our pathway specialists. There 

are also individual tutorials and practical training 

on the machines and equipment you’ll use to 

experiment and explore making processes. 

Linking with our research groups, you’ll have 

the opportunity to develop alongside existing 

live research projects, and move your work 

towards Higher Research degree focus, as well 

as professional practice. 



elements of the MAs in the School of Design, be 

it intellectual, theoretical or practical. You can 

choose to develop live projects with local and 

national companies and organisations, enabling 

you to work on real briefs for real clients. Direct 





the industry, as well as meeting other local and 

national designer-makers, is a vital part of the 

course and will enable you to become an expert 

in the practical and professional aspects of 

design. Plus, we’ll support and help you develop 

a unique professional portfolio so that you find 











appreciation of digital making’s core values. 














Facil�ies 



creatively experiment with a range of traditional 

and digital technologies, processes and 

materials. We have specialist ceramics and glass 

equipment, laser cutters, rapid prototyping 

machines and a five-axis milling machine. Just as 

important are our traditional workshop facilities 

which you can also use for experimentation, 

modelling and prototyping. 

There is an ICT teaching suite, specialist 

software and purpose-built studios, and you’ll 

have the chance to share ideas across disciplines 

in our communal working areas. Taught sessions 

will develop and enhance your skills in technical 

areas such as equipment and software. MA 

students also have a base room as part of the 

Business and Research Centres, which provides 

direct access to these facilities and encourages 



Car�rs 

The independent research skills you’ll develop 

will enable you to work as a sole practitioner 

or senior designer. We anticipate that our 

graduates will go on to work across the design 

and crafts disciplines in developing innovative 

forms of creative practice and research using 

digital technologies.















your studies. 








Pathway Leader Andrew Harbert 

Andrew trained as an architect, culminating in an MA 

Architecture (Design and Theory) in 1995. For the next 

10 years he worked across Europe on a range of projects 

from huge retail and distribution sheds to medium- 

sized houses and offices, to the design of smaller 

items such as door handles, often using computer 

applications to make, design and realise built forms. 

His work also incorporated using computer 

modelling to generate and analyse new forms of 

architecture, looking at the experience of these new 

forms by testing and prototyping at a model scale 

– including projects for BMW and English Heritage 

– with 3D software as a key tool for development, 

prototyping and manufacturing running alongside the 

main process of hand sketching and model making. 

All his projects had the user and the context as key 

factors in their design, working with people and place. 

Interview 

Please contact Admissions directly. Once your 

application has been processed, we’ll contact 

you to arrange a date and time of interview. 

Interviews can also be offered at Postgraduate 

Fairs with prior arrangement. EU and 

international students will typically be 

interviewed by telephone rather than in person. 

These are also his principles for education; working 

with people through dialogue and reflection, and 

never taking anything or anyone for granted. Andrew 

is also overall Course Leader for MAs in Design and 

has previously worked as a tutor in Architecture and 

Interior Design on undergraduate and postgraduate 

courses, been a Course Leader for an MA in Interior 

Design, and taught in Singapore and Hong Kong. 

He’s currently external examiner for 

Bournemouth University, as well as contributing 

to the validation of degree courses at other UK 

institutions. Andrew’s research interests lie in design 

that responds to the wider social and geographical 

notion of place, peripherality and identity, genius 

loci, and as an evolution from his own postgraduate 

studies, design for the heritage and museum sectors. 

101

Katie Stock 

MA Garden & 

Landscape De�gn 



www.falmouth.ac.uk/garden&landscapeblended 

Are you a designer wishing to explore 

new markets, develop new areas of 

specialism, challenge the way we use 

outdoor space and push the boundaries 

of garden design as a discipline? Or 

perhaps you’re a landscape architect 

seeking opportunities to specialise? 

Would you like to diversify your 

practice, look for new opportunities 

to design publicly-funded external 

spaces as well as privately-funded 

domestic gardens? 

This new, internationally unique MA could be 

just what you’re looking for. Providing you 

with an entry into work with different sectors 

to develop expertise in inclusive design, you’ll 

have the opportunity to design sensory gardens, 

gardens for play or performance environments; 

or create experimental/conceptual gardens for 

commissions – all within a lively environment 

where you can experiment, research, push 

boundaries and debate emerging ideas about 

the future role of gardens in the 21st century. 


This part-time course offers a perfect 

opportunity for students in full-time 

employment (or constrained by other 

commitments) to develop distinctiveness 

within their chosen profession, reflect and 

focus on their practice, and pioneer new modes 

of practice within an academically rigorous 

environment. The programme offers a range of 

approaches to design, from site-based through 

to experimental and conceptual gardens. 

Our aim is to develop your knowledge, skills and 

communication of ideas at a professional level, 

giving you an opportunity to work alongside, 

or in collaboration with, students, businesses 

and design professionals from garden design, 

landscape and spatial design, interior design, 

product design and other design disciplines to 

build teams and new approaches to influence 

the design, use and enjoyment of private and 

public spaces. 

Focusing on people, place and environment, 

the course will build new areas of knowledge, 

introduce alternative design approaches, 

explore a range of research methodologies, 

build innovative business models and develop 

skills in the communication of ideas at a 

professional level. It will also develop advanced 

understanding of the key issues facing 

garden and landscape designers including 

environmentally responsible design, ecological 

gardens and specialist requirements for a range 

of users. Projects might include inclusive/ 

sensory design, design for special needs, design 

for children, show garden design, sustainable 

design, edible gardens, outdoor performance 

spaces and community spaces.


This is a two-year, part-time course built 

around 20 credit units. There are five one-week 

condensed residential blocks; and four 13-week 

distance learning project units. The one-week 

blocks are delivered at Falmouth, or at other 

strategically located study centres in the UK, 

to allow you to meet other students, share 

information and ideas, and to experience and 

interpret landscapes and gardens. One block is 

abroad to help give the course an international 

perspective. All the residential study blocks 

enable you to participate in intensive 

workshops, attend lectures, learn new skills and 

visit important gardens and landscapes. 


You’ll be taught by leading professionals, 

practitioners and academics from the worlds 

of landscape architecture, garden design, 

horticulture, architecture and interior design 

in collaboration with industry, public sector 

organisations and key research establishments. 

The project units are delivered by distance 

learning. You’ll work within a virtual studio 

and have regular communication with tutors, 

practitioners and other students, sharing in 

lively debates, interrogating ideas and testing 

emerging designs through video links and 

web-based learning opportunities. Projects 

are delivered through negotiated focused 

projects, which have similar learning outcomes 

and objectives but are centered around your 

negotiated course of study. In the second 

year you can collaborate with peers or 

business partners. 

You’ll also learn how to produce computer 

visualisations, make models using CAD/CAM, 

and develop advanced planting design skills. 

Year 1 

• Research methodologies • Approaches to 

individual learning • Distance learning strategies 

• Negotiating topics • Specialist units 

• Self Reflection • Professional Practice 

Year 2 

• Collaborative design • Business partnerships 

• Specialist design projects • Professional 

Practice • Marketing and website design 

• Exhibition design 

Throughout the course you’ll receive regular 

feedback on your work. 










design ideas in a variety of formats. Specific 

professional practice elements on this course 

also include costing, specifications, running 

contracts, website design and marketing. 








103


Formative assessment takes place at interim 

stages within each unit and is intended to guide 

you in terms of your levels of achievement 

and performance. Summative assessment of 

portfolios takes place at the end of each 20credit 

unit. Assessment methods will help you 

to engage with the learning process, obtain 

feedback on your progress and help you identify 

areas of strength and weakness. 

All work is marked by more than one tutor 

in order to gain a consensus outcome. 

Peer assessment may be used for group 

work activities. 

Facil�ies 

In our state-of-the-art Design Centre you’ll 

experiment creatively with materials, production 

processes, traditional and new technologies. It 

boasts the latest tools for designing, prototyping 

and making, and our enviably equipped 

workshops include an industry-standard milling 

machine, rapid prototyping, and model making 

equipment. There’s also a laser cutter, precision 

casting equipment and an ICT teaching suite. 

You’ll also have access to a variety of expertise 

and opportunities to share ideas across 

disciplines and work collaboratively. These 

excellent facilities will enable you to experience 

all aspects of innovative garden design to the 

highest possible standard. 

Car�rs 

This course will enhance your career 

opportunities, pushing your design in new 

directions to help unlock new markets and 

develop market distinctiveness. It’s also suitable 

for applicants wishing to diversify their own 

design practice, and for employers to develop 

staff expertise through specific development 

opportunities. Further possible options include 

teaching and postgraduate study. 







and processes. We’ll also accept applications 

from those without a formal, or directly related, 

qualification within the discipline under an APL 

or APEL application. We require you to submit 

a single-page proposal with your application 

that outlines your aims, intended methods and 

aspirations. This proposal is not binding; it is 

just a starting point for discussion and an initial 

framing of your studies. 








Interview 

Please contact Admissions directly and once 

your application has been processed, we’ll 

contact you to arrange a date and time of 

interview. Interviews can also be offered at 

Postgraduate Fairs with prior arrangement. 


interviewed by telephone rather than in person.

Course Leader Richard Sneesby 

One of the cognoscenti of the gardening world with 

a bestseller and two successful television series 

behind him, Richard has always been interested in 

challenging concepts and pushing boundaries. His aim 

for the course at Falmouth was clear. “In launching 

the Garden Design course at Falmouth, I wanted 

to produce a different kind of graduate so that we 

might start to interpret the notion of ‘the garden’ 

in a different way. Gardens aren’t just about plants, 

they’re about people and how they interact with their 

surroundings and define what a garden needs to do.” 

Despite having turned his hand to teaching 

for the last 15 years, design is still at the heart of 

what Richard does. “It’s important for me to practice 

as well as teach. I’m planning a new book and am in 

discussions about further television work. I always 

want to balance my teaching with garden design 

practice. Garden design is a fast changing industry 

and I need to be able to filter developments down to 

my students, as successful students and a successful 

course go hand in hand.” 

“There is a liveliness about the �udent 

work and a �e�ness of approa� 

whi� is mo� encoura�ng. �is is 

undoubtedly one of the be�, if not 

the be�, resourced courses � garden 

de�gn that I have s�n.” 

Andrew Wilson - External Exam�er, landscape ar��e� and 

former Chairman of the Socie� of Garden De�gners 

105

MA 

Graphic De�gn 



www.falmouth.ac.uk/graphicdesignma 

MA Graphic Design at Falmouth is 

about ideas. With industry and cultural 

landscapes constantly shifting, we 

recognise the need for designers who 

can think across boundaries and open 

new opportunities for creative thinking. 

Design process is central to this and the 

graphic ‘idea’ a fundamental part of the visual 

communication world – regardless of the way 

in which it is expressed. Our course unpacks, 

provokes and reshapes this process to inspire 

personal ambition, development of subject 

and professional practice. Solving problems 

through new insight and a drive for simplifying 

our increasingly complex world is at the heart 

of this MA. Around these principles, we also 

recognise a need for design professionals who 

are able to develop creative, strategic solutions 

in a competitive and often commercially- 

driven environment. 


Discovery, Spark, Beauty and Performance 

provide areas of focus that will allow staff and, 

importantly, a distinguished panel of visiting 

provocateurs (from associated and parallel 

disciplines) to challenge your design process. 

Leading designers from across the globe have 

taken on this role, alongside military strategists, 

writers, comedians and film directors. The 

experience provides an opportunity to renew 

your perspective as a designer at a much 

deeper level. 

Graduates and designers will see the 

opportunity for study on our MA as a way of 

exploring a new or longstanding ambition; a 

single, highly focused line of academic enquiry. 

Equally, the year can be used to reinvigorate 

and develop your own professional pathway 

by affording time and reflection for personal 

development and career planning. 


This is a one year full-time course, delivered 

over 45 weeks and divided into three 15 week 

study blocks between October and September. 

Each study block is themed and contains 

a number of units that explore issues in 

greater detail. 

Study Block 1 

Deconstruction 

The first 15 weeks provide an opportunity to 

reflect on your own design process through 

practical design projects and investigations 

(utilising Discovery, Spark, Beauty and 

Performance as areas of focus). The overriding 

emphasis is on unpacking and challenging your 

existing methodology, wherein a personal line 

of enquiry is interwoven with responses 

to input and provocation from staff and 

visiting professionals.

The units aim to identify new areas of focus, 

further develop strengths, and highlight habits 

or assumptions in your practice as a designer. 

In addition, all students share core lectures 

covering research methodology, cultural 

context and professional practice. 

Study Block 2 

Reconstruction 

You’ll continue to respond to scenarios set 

by staff and visiting professionals (revisiting 

Discovery, Spark, Beauty and Performance), but 

the focus moves on from one of personal design 

practice to consider processes in and around the 

wider design industry and beyond. Risk is 

embraced as an asset to idea development 

and you’re encouraged to incorporate new 

methodologies into your own practice that 

may begin to enhance your performance. 

Seminar and tutorial sessions further 

support the development of new ideas 

and of advanced practice. 

Study Block 3 

Reinvention 

This final stage offers you the opportunity to 

demonstrate a critical appreciation of design 

theories, methodologies and contexts within 

your own practice-based graphic design project. 

The focus is negotiated with staff (based on 

your original proposal and design journal), but is 

entirely self-directed, allowing you to evidence 

an enhanced and robust process. It supports 

the fundamental notion that the commercial 

value of your work is in the body of thinking and 

ideas. Outcomes are likely to be more practical 

in nature, although assignment weighting 

allows you to negotiate the bias between 

practical and theoretical outcomes. Work is 

supported by tutorial feedback sessions with 

staff, but remains independent in nature. 


All lecturing staff on the course are practising 

designers, have extensive teaching experience 

and a wide range of subject-specific knowledge. 

In addition, regular input from full and part-time 

staff is complimented by visiting lecturers from 

industry, otherwise known as “provocateurs”, 

who bring a richer and more challenging range 

of experiences. 

We place a strong emphasis on self-directed 

study, and you’ll document ongoing project 

development in a design journal, drawing out 

key ideas that lead to the final Masters project 

in Study Block 3. 

You’ll meet regularly with staff in studio 

teams, with additional support sessions in and 

around visits from other lecturers. Your time is 

fundamentally shared between exploring issues 

and concerns pertinent to your own proposal, 

and an objective observation of your practice 

as a designer. These practice-based areas are 

underpinned by lectures, seminars 

and workshops that discuss deep-rooted 

theoretical principles and methodologies, 

together with subject-specific tools and 

realisation techniques. 


Each of the three study blocks contain a number 

of units which give a credit weighting of 60 

credits (180 in total). The assessment process 

provides you with an opportunity to visually 

present your completed project outcomes to 

staff and, supported by a verbal discussion, 

strategically place your work in relation to the 

intended aims of each unit. Emphasis is shared 

between the journey as well as the outcome, 

and as such, developmental work (sketchbooks, 

design journals and so on) plays an important 

role in assessment. The balance between visual 

and aural presentations will draw out key 

analytical and communication skills, reinforcing 

inherent strengths in your body of work. 

107

Ongoing feedback is given through the regular 

studio team meetings, leading to formative 

assessment at the end of each study block 

(weeks 15 and 30) and summative assessment 

(and the subsequent award of MA) at the end 

of Study Block 3. 

Facil�ies 

You’ll be based in the MA Graphic Design studio 

at Woodlane, adjacent to the BA(Hons) Graphic 

Design course and sharing facilities with both 

postgraduate and undergraduate students from 

a variety of disciplines. You’ll have your own 

dedicated workspace and access to our shared 

learning resources at both campuses, notably 

the libraries and IT facilities, throughout your 

period of study (access hours and technical 

support will be reduced during the summer 

months). Apple Mac production and print 

facilities, together with high-end interactive/ 

moving image equipment, support the ongoing 

and final articulation of your ideas. 

Car�rs 

Throughout the course, we aim to help you 

refine skills relevant to practice as a designer, 

whilst moving away from stereotypical ideas 

of what a graphic designer should be. Ideas 

will always be at the heart of our industry; 

however, the course aims to broaden your 

scope and establish a variety of new working 

methodologies. In turn, this variety offers 

future career opportunities working within 

the broader graphic design industry, either 

as an employee or by establishing your own 

practice. The breadth of the course also offers 

opportunities beyond the immediate remit 

of graphic design, as well as teaching and 

continued postgraduate study. 



A first degree at honours level (normally 2:1 or 

above) in graphic design (or an appropriate or 

closely related subject area) from an accredited 

College or University is normally required for 

entry. Alternatively, appropriate proven personal 

and/or industrial experience in the subject area 

may also be considered. Applicants seeking 

to enter the course without the necessary 

academic qualification or industrial experience 

may apply on the basis of Accreditation of Prior 

Experiential Learning (APEL or APL). Applicants 

whose first language is not English are required 

to demonstrate their command of written and 

spoken English with formal IELTS certification 

to Level 6.5. 

Applications may be sent in at any time during 

the year, however those who submit their 

application before the end of January may be 

eligible to apply for AHRC funding. 




Interview 

All students are expected to submit a brief 

outline of their intended focus of study. 

Shortlisted applicants are invited to interview, 

where candidates’ suitability for the course 

is carefully considered to ensure students are 

offered places appropriately within the course 

structure. A portfolio of work evidencing 

solutions to design problems, together with 

suitable development work is required at 

interview. An existing understanding and 

application of the design process, a creative 

conceptual ability, together with a strong 

command of visual language are normally 

required as a standard condition of entry.

Student Profile Harriet Beesley 

“Falmouth’s reputation for graphic design is fantastic, 

and I was excited by the plans for the new MA. 

The structure of the year focuses on ideas, which 

was already a large part of my work, and the guest 

lecturers and workshops are amazing. The course 

is well planned, with a balance of personal design 

development and professional practice. We’ve worked 

with the Eden Project and Newlyn Gallery, gaining 

experience working with clients, and have met a wide 

range of illustrious designers from varying fields, 

finding out how they work. The amount of time 

allocated to personal work is just right, allowing us 

to explore career possibilities and how we would like 

to work in the future. The year is aimed at helping us 

find our place in the market, be it more commercial 

or verging towards the arts. We’ve done some 

useful workshops on possible career routes, and 

experimented on collaborations with other courses.” 

Course Leader Bryan Clark 

Bryan joined Falmouth in 2005 following an 18-year 

design career in London, latterly as Creative Partner 

of international design consultancy Lewis Moberly. 

As course leader for MA Graphic Design, he’s charged 

with the leadership, teaching and development of this 

postgraduate study area at the College, building on 

the award-winning BA Graphic Design course with 

which he continues to be involved. 

Alongside teaching and research, Bryan 

has been involved in consultancy and external 

examining for universities across the UK and Europe, 

and has lectured for the Design Council, V&A, ICA, 

the British Council and D&AD. He has also sat on 

design juries for professional and student award 

schemes including those for D&AD and the RSA. 

As a designer, his award-winning national 

and international work (he has been recipient of some 

36 prizes – including D&AD’s Silver Pencil) has been 

much published and recently his identity work for La 

Grande Epicerie de Paris was noted as one of the top 

10 Brand Icons in the world by international journal 

Grafik. Bryan is experienced in design for print, 

packaging and brand identity in general, with particular 

expertise in ethical trade issues. He continues to 

practice as a designer for clients in the UK and abroad. 

109

Jonathan Leach 

MA Illu�ration: 

Authorial Pra�ice 



www.falmouth.ac.uk/illustrationma 

www.authorial-illustration.org 

Most illustration involves an illustrator 

producing work to a prescribed 

commercial brief where they are 

expected to stifle their contribution 

to form and content, having very little 

input or control over their work and its 

usage. The idea behind our Illustration: 

Authorial Practice MA is that you take 

responsibility for developing your 

own ideas and material – you author 

your own content. 

This MA is a studio-based course focused on 

the development of the authorial voice within 

illustration. Recent debate has highlighted the 

need to reassert the characteristics of personal 

origination, ownership, storytelling and literary 

ideas within the discipline; this course allows 

you to take a creative hold. 

If you have begun to explore the possibilities 

of authorship and now wish to expand, extend 

or focus your interest through reflective study 

and critical exchange, this MA is for you. 


Speed of communication, access to information 

and other technological developments mean 

that the contemporary illustrator is able to live 

and work almost anywhere. 

As a location, Cornwall offers a number of 

interesting opportunities for educational/ 

research activities such as Tate St. Ives, the 

Eden Project, the National Maritime Museum 

and a range of other recognised art galleries 

and centres of interest as well as a rich 

cultural heritage. 

The course team has established a wide network 

of contacts nationally and internationally, as 

well as establishing new relationships with 

external bodies interested in extending the 

boundaries of illustration through authorship 

and entrepreneurship. 







October and ends in September of the following 

year. Part-time students have two semesters, 

rather than one, in which to complete the 

required work. 


This course places emphasis on the integration 

of all elements of study, recognising that the 

authorial illustrator needs to be aware of theory 

and be able to work well with words in order 

to deliver visual work of quality and interest. 

The core of the course will be a sequence of 

three negotiated practical projects; these 

will be based on illustration work but will be 

informed by the lectures and seminars running 

concurrently, with a research journal providing 

connection and the opportunity to reflect 

on practice.

A series of workshops and visits by high-profile 

guest speakers, including an annual illustration 

forum, provide further support and inspiration. 

The projects themselves will be proposed and 

initiated by you and developed in negotiation 

with staff and discussion with fellow students. 

Whilst they are three separate projects, they 

are expected to demonstrate progression; 

indicating the research, analysis, reflection and 

experiments necessary for the development of 

a successful and distinctive authorial illustration 

practice. MA project work will be exhibited in a 

final show, which could include the means and 

nature of its publication or appearance in the 

public domain. 

Discussion and evaluation takes place in 

the seminars related to the series of lectures 

that run through the first two components 

of the course. The lectures will consider 

authorial positions; the theories that help 

define and explain them, their contexts, and 

how and where work might be placed in the 

public domain. 

The ensuing seminars will enable you to 

discuss and evaluate each other’s work in 

relation to the theories and analysis put 

forward in the lectures. You’ll produce three 

analytical essays whilst on the course: covering 

the authorial context for your practice, 

consideration for audience, and a report 

describing the processes and development 

of your practice. You will record your studio 

practice in a research journal – a vital tool for 

the reflective practitioner. This will normally 

comprise a visual and written record of the 

practical development of each negotiated 

project, and will be included in the assessment 

of each of those projects. 

In order to foster independent learning and 

self-reliance, and to open up the broadest 

possibilities of what illustration can be, the 

course allows you a good deal of freedom 

to develop your projects, whilst requiring 

adherence to deadlines and attendance, and 

involvement in group learning situations as 

well as self and peer-evaluation. 


During the course, you’ll be given a grounding 

in all aspects of professional practice related 

to the work of an authorial illustrator and 

encouraged to consider entrepreneurial 

approaches to your practice. 


Illustration: Authorial Practice uses evaluation 

and assessment in the judgement of work. 

Evaluation will be self, peer and tutor-led, and 

will take place in seminars and group tutorials. 

Assessment will be more formal and will 

be carried out by staff towards the end of 

each unit. 

Facil�ies 


in the College’s studios and have full access to 

workshop facilities. Part-time students must 

provide their own studio accommodation 

but also have access to workshop facilities on 

campus when required. Specialist facilities can 

be used by prior arrangement. All students have 

access to central learning resources, notably 

the libraries, throughout their period of study, 

although library hours will be shortened during 

the summer months. 

111

George Hounsome 

Car�rs 

Graduates may engage in individual and 

collaborative illustration practice. This could 

involve mainstream printed and digital 

publishing, self-publishing, or you might 

explore the less conventional avenues opening 

up to illustrators as the boundaries between 

illustration, fine art, photography and 

graphic design become increasingly porous. 

You may also work in art direction, curatorial 

and educational environments, or progress 

to further study. 


Candidates applying for admission should 

have a 2.1 (or higher) degree in a relevant 

discipline, or an equivalent combination of 

academic qualifications and professional/ 

vocational experience. 

You will ideally possess: 

• A range of technical skills relevant to the 

studio work you propose as part of your 

application • An established pattern of 

independent working • Ideas and considered 

opinions about authorship and authorial 

illustration • A conscious desire for change 

and progress in your visual practice; specifically 

the change that could come about through 

study, with its inevitable emphasis on verbal 

discussion, reading and writing 


Applicants seeking to enter the course without 

the requisite academic qualifications may apply 

for entry on the basis of Accreditation of Prior 

Experiential Learning (APEL or APL). You should 

be able to demonstrate the level of preparation 

described above, or give evidence of a capacity 

to reach this level within the first ten-week 

study period. Applicants whose first language 







Interview 

All applicants must send a selection of recent 

work on disc in preparation for an interview. 

In the interview, you’ll be required to 

submit a portfolio representing your recent 

practice, along with evidence of writing skills 

adequate to meet the demands of the course.

Sue Corke 

Graduate Profile Sue Corke 

“I joined the MA because I wanted time to develop my 

own independent practice away from the pressures of 

contracts and clients. Although, like many students, 

I expected to produce a book, the research I began at 

Falmouth, with grants that I won whilst on the course, 

has now taken me in a completely different direction. 

I’m still drawing and printmaking but using the 

images I make to create illusion through scenography, 

and starting to explore the potential for installation 

work to create interactive visual narratives. This 

enquiry has involved working as an artist in residence 

and workshop participant in the UK, Germany, 

Scandinavia and the Netherlands. Who knows, in 

another year or two I may even start a PhD now that 

undertaking research by practice is an accepted 

way forward.” 

Course Leader Steve Braund 

Originally from Cornwall, Steve went on to work in 

London as a freelance illustrator where he developed 

a strong interest in narrative and sequential 

illustration. Represented in both the UK and USA, 

his client list includes Heinemann, Puffin, Corgi, The 

Sunday Times, Lloyd’s Bank, The Financial Times, 

Radio Times, Reader’s Digest, Mosby and Volvo 

Motors. He was headhunted by University College 

Falmouth in 1987. 

In 1994 Steve was invited to become a 

member of the Society of Illustrators in New York. In 

1998, he started Atlantic Press, which publishes high 

quality authorial illustration books and graphic novels. 

“Students have benefited from having a 

publishing house at close quarters with the possibility 

to gain direct experience of live projects,” says Steve. 

“We want students to develop a very independent 

and enterprising approach to their practice, and to 

understand not only the creative process – from 

conception through to realisation – but also consider 

audiences and the practical ins and outs of aspects 

such as printing, marketing and distribution.” 

113

Personal Profile / MA Illu�ration �udent: 

hounsome 

�rong 

draw 

“As a group we worked on an illu�rated 

poetry anthology that was publi�ed by 

Atlantic Press � 2008. It was extremely 

use�l to be �volved � a live proje� 

that covered all a�e�s of publi��g, 

�om work�g w�h the poets and 

de�gners, through to the pr�t�g 

process. It was exc��g to s� my work 

� a pr�ted book format.” 


Already a successful freelance illustrator and graphic design lecturer, Georgina 

Hounsome was keen to extend her range of skills further and focus on self-initiated 

projects, which had previously taken a back seat as her career progressed. 

She explains how MA Illustration at Falmouth has proved to be just the inspiration 

she was looking for. 

I was already working commercially and 

wanted to develop my own practice further 

and felt that it was the right time to do it. 

I looked at the course and visited the campus 

and I really liked the work that I saw being done 

on the course and the atmosphere in the studio. 

I’m currently represented by Eyecandy 

Illustration Agency and have worked with 

a range of clients including Random House 

Publishing, Axon Publishing, Orange, The 

Guardian, Time Out and The Big Issue. 

However, I wanted to do more self-initiated 

work, which you often start to neglect when 

you are concentrating on commercial work. 

I knew that I wanted to do more with my 

skills and with my practice. At Falmouth I’ve 

had the opportunity to experiment with the 

relationship between words and image and have 

been able to fine-tune my approach as the course 

has progressed and develop my own voice. 

The visiting lectures are really good and the 

teaching staff have been brilliant. They’re very 

supportive and encourage you to explore. The 

weekly group crits and tutorials are always very 

helpful, helping you to put your work in context. 

This ongoing reflection and evaluation has been 

an integral part of my development at MA level. 

For me it is an essential element of learning and I 

actively encourage it within my teaching. 

The Illustrators Open Forum is organised 

every year by our course leader. It’s great 

for both understanding and seeing how other 

people work, both commercially and selfinitiated 

projects. It gives you confidence that 

you too can do both. 

As a group we worked on the Coasters 

publication, an illustrated poetry anthology 

from the Brighton Stanza that was published 

by Atlantic Press in 2008. It was extremely 

useful to be involved in a live project that 

covered all aspects of publishing, from working 

with the poets and designers, through to the 

printing process. It was exciting to see your 

work in a printed book format. 

The printmaking facilities are particularly 

strong. The introduction course and subsequent 

workshops have been so helpful and have given 

me the practical skills that I needed. I hadn’t 

done much printmaking before so it was brilliant 

to be able to revisit it and I feel strongly that I 

will carry it on once I have finished my Masters. 

115

Mark Lea 

MA Interior & 

Landscape De�gn 



www.falmouth.ac.uk/interiorlandscapema 

Interior & Landscape Design is about 

exploring space and the way we think 

about and use it. At Falmouth, you’ll 

discover new ways of working, learn 

new skills and find solutions to design 

problems, giving you the opportunity 

to create original and innovative places 

that people really want to use. 

Design disciplines are merging across the board; 

we want you to take inspiration from architecture, 

landscape, interior, product and graphic design 

as well as art and visual culture to think about 

space in new ways. At the same time, you’ll 

consider wider debates like the environment 

and spatial issues, so that your designs inform 

contemporary best practice as well as unite 

function and form. We want you to take risks, 

challenge convention and make creative and 

progressive use of exterior and interior spaces, 

using spatial problem-solving to place you at 

the forefront of new collaborations between 

disciplines and practitioners. 


Drawing from our Cornish location and studying 

rural as well as urban spaces, you’ll look at 

places in a critical, creative, analytical and 

progressive way. We also want you to consider 

the needs and requirements of users, so that you 

incorporate physical, material, psychological, 

historical, experiential and temporal forms of 

enquiry into your design solutions. 

From idea conception to planning and creating 

original interior and exterior spaces, you’ll 

enhance your design and making skills, explore 

new technologies and methodologies, and 

advance your creative problem-solving, design 

development and presentation skills to a 

professional standard. 

You may choose to focus on urban and rural 

renewal or community issues, develop specific 

interventions, or help to regenerate old spaces 

as well as create designs with longevity that 

are sensitive to the environment. Whatever 

you choose, your research will consider the 

history and future of design within broad social, 

political, economic and cultural contexts, to 

develop your understanding of how and why 

design can help to improve quality of life. 

Further theoretical studies will deepen your 

knowledge; help you to generate original ideas 

and to critically assess and contextualise your 

own and others work. 










award once you have completed each one.

Having obtained 60 credits, you can gain a 

Postgraduate Certificate; or a Postgraduate 

Diploma with 120. You’ll need to gain 180 

credits in order to receive your MA award. 


Research & Reflection/ 60 credits 

During the initial stage of the course, 

emphasis is placed on research and combining 

methods, approaches, theories and skills from 

different disciplines to build new forms of 

design. You’ll also explore past practice and 

incorporate your responses into your design 

ideas. You’ll be asked to produce a portfolio of 

work that demonstrates your investigation, 

experimentation, planning and development. 

This will enable you to advance your practical 

work and skills of critical analysis. 


Engagement & Immersion/ 60 credits 





theory informs practice. At this stage you’ll 

have the opportunity to test the viability of your 

design ideas. Study Block 2 prepares you for 

your final Major Project and you’ll be asked to 

develop your own design proposal. 


Major Design Project/ 60 credits 

The project’s final outcome can either be a 

design presentation or written thesis but must 

demonstrate your practical and theoretical 

engagement and expertise. You can choose 

to focus on landscapes or interiors or a 

combination of the two; whatever inspires or 

engages you most. 

By exploring the relationship between exteriors 

and interiors, light, sound and place, you’ll 

revitalise old spaces and create new ones, 

temporary or permanent structures on both 

small and large scales. Alternatively you can 

opt to write a thesis, which may explore, for 

example, contemporary themes, theoretical 

perspectives or the design process. We expect 

you to be imaginative and innovative in your 

ideas, communicating them fluently both in 

your writing and the images and drawings that 

support it. 

You can also choose an Applied Research 

Project, which enables you to be experimental 

and explore a range of fresh ideas that push the 

boundaries of contemporary design. Whatever 

you choose, we expect you to demonstrate the 

creative problem-solving skills that are essential 

to help you succeed in industry. Your Major 

Project will be presented at public exhibition 

and provides the opportunity for us and you to 

invite guests and potential employers to view 

your work. 











Our open-plan Design Centre means that 

students from all disciplines share space, ideas 

and inspiration. Your practical work will be 

underpinned by theoretical, historical and 

cultural studies. Project work is supported by 

lectures, seminars, professional experience 


Learning Environment provides information to 

assist you with research and project work. 

117



























appreciation of the course’s core values. That 

means your portfolio should demonstrate 













Facil�ies 

The Design Centre benefits from worldclass 

facilities and provides the opportunity 

to creatively experiment with a range of 

traditional and digital technologies, processes 

and materials. We have specialist ceramics 

and glass equipment, laser cutters, rapid 

prototyping machines and a five-axis milling 

machine. Just as important are our traditional 



There is also an ICT teaching suite, specialist 

software and purpose-built studios, and you’ll 

have the chance to share ideas across disciplines 

in our communal working areas. 






Car�rs 

The independent research skills you’ll develop 

will enable you to work as a sole practitioner 

or senior designer. We anticipate that our 

graduates will go on to work in the traditional 

fields of architectural, landscape and interior 

design as well as the more hybrid discipline of 

spatial design. These may also be combined 

with newer forms of practice like regeneration, 

community and temporary design within the 

public realm. 





explores your previous practice, experience and 

processes. As a postgraduate course, we’ll also 

accept applications from those without a formal, 

or directly-related, qualification within the 

discipline under an APL or APEL application.






your studies. 








Student profile Emma Thomas 

“I’m a practising graphic designer and have been 

working in the industry since 1993. Over the course 

of my career I’ve worked in both the public and 

private sectors, for clients ranging from very small to 

very large. I’m now running my own Cornwall-based 

design consultancy, Trouper, in partnership with my 

husband who’s also a designer. Typically our clients 

come to us for the standard branding and marketing 

requirements – like a new identity, website or printed 

corporate literature; however we firmly believe that 

branding and marketing has a much broader potential 

than this, and one of the areas that constantly gets 

overlooked is the physical environment that an 

organisation operates within. I decided to do this MA 

to give me a platform to research and experiment 

in this area. I’m exploring how values and messages 

can be transmitted not just through conventional 

communication, but spatially, through physical 

manifestation and presentation in the 

occupied environment.” 

Interview 

Once your application and proposal have been 







Pathway Leader Andrew Harbert 

Andrew originally trained as an architect, culminating 

in an MA Architecture (Design and Theory) in 

1995, then worked across Europe for ten years 

on a diverse range of projects from retail spaces, 

industrial buildings and very large-scale advertising 

to medium-sized houses and offices. All projects 

considered the user and context as key factors in their 

design. His principles for education are to work with 

people through dialogue and reflection, never taking 

anything or anyone for granted. 

He is also overall Course Leader for MAs 

in Design and has previously worked as a tutor in 

Architecture and Interior Design on undergraduate 

and postgraduate courses, been a Course Leader on 

the MA in Interior Design at Birmingham Institute 

of Art and Design, and taught in Singapore and 

Hong Kong. He’s currently external examiner for 

Bournemouth University, as well as contributing 

to the validation of degree courses at other UK 

institutions. Andrew’s research interests lie in design 

that responds to the wider social and geographical 

notion of place, peripherality and identity, genius 

loci, and as an evolution from his own postgraduate 

studies, design for the heritage and museum sectors. 

119

Personal Profile / MA Interior & Landscape De�gn �udent: 

emma 

thomas 

th�k�g 

�ace 

“My MA is prov�g to be a journey that I 

believe will permanently �ange the way 

I th�k and approa� my professional 

work, for the be�er. It’s �ven me the 

personal �ace I n�ded to be creative 

w�hout the pressures and l��ations 

of day-to-day bu�ness.” 


Studying at Falmouth gives you fresh impetus and can revolutionise your 

professional work, says MA Interior & Landscape Design student Emma Thomas. 

I’m a practising graphic designer and have 

been working in the industry since 1993. I’m 

now running my own Cornwall-based design 

consultancy, Trouper, in partnership with 

my husband who’s also a designer. Typically 

our clients come to us for the standard branding 

and marketing requirements – like a new 

identity, website or printed corporate literature; 

however we firmly believe that branding 

and marketing has a much broader potential 

than this. One of the areas that is frequently 

overlooked is the physical environment that 

an organisation operates within. I decided to 

do this MA to give me a platform to research 

and experiment in this area. I’m exploring how 

values and messages can be transmitted not 

just through conventional communication, but 

also spatially, through physical manifestation 

and presentation in the occupied environment. 

The most valuable thing so far has been 

a greater understanding of myself as a 

designer. Doing the MA has forced me to 

answer questions about where I’ve come 

from, my values, my interests and where 

I see myself heading. By articulating and 

communicating those things I’ve learnt about 

myself, I’m able now to look to the future with 

a greater sense of clarity and direction. I’m 

enjoying my work more and am more personally 

motivated – these are very valuable tools that 

a designer can use to give a better service and 

stand out in a very crowded and 

competitive marketplace. 

I’ve also learnt a lot of practical, technical 

skills specifically relating to spatial design, 

which was a new direction for me when I 

started my MA. As a result, I’ve been able to 

broaden my professional service offering – 

I can more confidently undertake interior and 

landscape design briefs and am better equipped 

to work collaboratively with other spatial 

design professionals. 

The MA has led to a handful of live briefs. 

I contributed to the interior design of Miners 

Court in Redruth, a local sheltered housing 

facility currently undergoing major refurbishment. 

I also designed a piece of artwork for unveiling 

at the opening ceremony of the passing loop 

at Penryn station, and have just started an 

internship with DOTT Cornwall. 

The Design Centre at Tremough is superbly 

equipped, which helps to nurture hands-on 

material experimentation and craft-based 

work – which, for many of us, has fallen by the 

wayside in our daily practice as experimentation 

has shifted from cutting mat to screen. 

Working in the Design Centre has enabled me 

to reintroduce a material aspect to my work, 

with three-dimensional tangible application, 

allowing me to constantly push boundaries and 

experiment creatively in ways which would 

otherwise be totally inaccessible. 

My MA is proving to be a journey that I 

believe will permanently change the way I 

think and approach my professional work, 

for the better. It’s given me the personal space 

I needed to be creative without the pressures 

and limitations of day-to-day business. The 

one-to-one tutor support is akin to professional 

coaching (something I’d otherwise have to pay 

a lot of money for) and helps me to realise my 

own goals and creative potential. 

121

Zoe Jarvis 

MA 

Textile De�gn 



www.falmouth.ac.uk/textiledesignma 

Falmouth provides the facilities, 

technology, experience and support 

to put you at the cutting edge of 

contemporary textile design. 

The inspiration for your research can come 

from almost any initial source or subject field. 

We want you to be radical and inventive in 

your approach towards design, which could 

lead to working across design disciplines and 

establishing new methodologies. This may 

culminate, for example, in the creation of new 

textiles for innovative living environments 

or in the generation of experimental 

wearable textiles. 

The global communication revolution means 

that designers have greater access to world 

resources and international clients. Developing 

and cultivating this awareness is a key part of 

the course. 

The collaborative and interdisciplinary nature of the 

MA allows the opportunity to consider expanding 

your work into other areas such as surface 

pattern and the application to objects as well as 

in-depth world class high quality fabric designs. 


Our hands-on approach means you’ll spend 

most of your time in the studios and workshops 

designing, making and testing your ideas. 

However, you’ll also have the opportunity to 

explore new design technologies in the context 

of emerging design theories. This theoretical 

discourse is seen as important to the evaluation 

of your work and to how you present it to your 

niche market. 










award once you’ve completed each one. 

Having obtained 60 credits you can gain a 

Postgraduate Certificate in Textile Design; or 

a Postgraduate Diploma with 120. You’ll need 

to gain 180 credits in order to receive your 

MA award. 

Study Block 1 



work towards producing a portfolio of work that 



you to advance your practical work and skills 

of critical analysis. 

Study Block 2 




progressive designs. Emphasis is placed on 

a problem-solving approach to design where 

theory informs practice.

Study Block 2 prepares you for your final 

Major Project and by the end you’ll be asked 

to develop your final design proposal. 

Study Block 3 

Textile Design Major Project / 60 credits 

The project’s final outcome can either be a 

design presentation, written thesis or applied 

research project using alternative forms of 

media, but must demonstrate your practical 

and theoretical engagement and expertise. 

Negotiated with your course tutor, your 

Major Project will consolidate and utilise 

the theories, methodologies and practices 

you’ve explored and developed during the 

previous study blocks. Typically for the design 

presentation, you’ll produce samples or 

artefacts supported by research and visual 

material, substantiated by a written report. 

Alternatively you can opt to write a thesis 

which may explore contemporary themes, 

theoretical perspectives or the design process, 

for example. We expect you to communicate 

your ideas fluently both in your writing and 

the images and drawings that support them. 

If you choose an applied research project, you 

can be experimental and push the boundaries 

of contemporary design, exploring a range of 

diverse media. Your project work can be based 

on your established interests or the intended 

direction of your design practice. 

During your Major Project you’ll have the 

opportunity to work on real briefs for real 

clients or work collaboratively with clients, 

designers, consultants or sponsors. We expect 

you to demonstrate the creative problemsolving 

skills that are essential to help you 

succeed in industry. Your Major Project will 

be presented at public exhibition and provides 

the opportunity for us and you to invite guests 

and potential employers to view your work. 











The course is delivered through study blocks, 

which contain units covering all aspects 

of textile design with particular emphasis 

on research, professional and personal 

development. Our open plan Design Centre 

means that students from all disciplines share 

space, ideas and inspiration. Your practical work 

will be underpinned by theoretical, historical and 

cultural studies and project work is supported 

by lectures, seminars, professional experience 


Learning Environment provides information 

to assist you with research and project work. 











Exploring the legal and ethical frameworks 

of the industry is a vital part of each course 

and will enable you to become an expert in the 

practical and professional aspects of design. 

Plus, we’ll support and help you develop a 

unique professional portfolio so that you find 


123










appreciation of the course’s core values. 




understanding of the theories that inform 

design and making. Study Blocks 1 and 2 lead 

to the Major Design Project that you must 

complete in order to receive your MA award. 






Facil�ies 

The Design Centre benefits from worldclass 

facilities and provides the opportunity 

to experiment creativly with a range of 

traditional and digital technologies, processes 

and materials. We have specialist ceramics 

and glass equipment, laser cutters, rapid 

prototyping machines and a five-axis milling 

machine. Just as important are our traditional 



There’s an ICT teaching suite, specialist software 

and purpose-built studios and you’ll have the 

chance to share ideas across disciplines in our 

communal working areas. 







Car�rs 

Our course prepares you for a diverse range 

of career options, be it self-employed or 

employment in a national or international 

textile design studio. You might also work 

independently on the production of artefacts or 

collections for commission or sale through the 

gallery system. Further possible options include 

teaching, research and writing. 






and processes. As a postgraduate course we’ll 







This proposal is not binding; it’s just a starting 


your studies. 







facility UKPASS: www.ukpass.ac.uk.

Interview 

Once your application form and proposal 

have been returned and processed, we’ll 

contact you to arrange a date and time of 

interview. Interviews can also be offered at 

Postgraduate Fairs with prior arrangement. 


interviewed by telephone rather than in person. 

Student Profile Rowena Ardern 

“My reasons for enrolling on the MA at Falmouth 

were twofold; to go more deeply into my work and 

investigate a more environmentally sustainable 

product that could be batch produced. I’m particularly 

interested in creating textile window pieces that bring 

the natural world into interior spaces. Moving from 

Manchester, a city environment, to Cornwall, a very 

much natural and inspiring environment, has had a big 

impact on my work. I’ve been able to use the facilities 

to explore digital print and laser cutting, as well as 

being able to access the RANE lectures and other 

seminars and events relevant to my research. The 

course is well structured with a wealth of equipment 

and expertise at our fingertips. The University College 

Falmouth environment is welcoming and friendly with 

an excellent library and access to a wide range 

of facilities.” 

Pathway Leader Dr Simon Clarke 

Simon’s PhD research focused on East African 

textiles, which involved fieldwork on the Swahili coast 

and resulted in the production of digitally generated 

art works. As Textile Fellow at the University of 

Plymouth, he explored the relationship between 

painting and printed textiles. He studied for his MA 

and BA(Hons) in printed textiles at Birmingham 

Institute of Art and Design, University of Central 

England and Middlesex University respectively. 

Simon has lectured at Goldsmiths College, 

University of London and at Kenyatta University, 

Nairobi. Recently, he lectured at Savannah College of 

Art and Design and gave a paper on African textiles 

at a symposium on African art at the University of 

Florida. His work has been exhibited internationally 

and featured in numerous publications. He’s currently 

working on a book on textile design for the publishers 

Laurence King. 

Rowena Ardern 

125

130 MA Creative Adverti�ng 


Pra�ices � Higher Education 


144 MA Mult�edia Broadca� Journalism 

148 MA Performance Wr��g 


156 Profes�onal Media Pra�ice: 

Skillset Short Courses for Media Profes�onals 

160 MA Profes�onal Wr��g 

164 MA Televi�on Produ�ion 


At Falmouth, our po�graduate Media 

�udents recognise the �portance of 

good creative ideas coupled w�h the 

�ills, expertise and knowledge to turn 

them �to a tan�ble real�y – whether 

�’s televi�on produ�ion, scr��r��g, 

photography, filmmak�g, radio 

present�g or becom�g a 

publi�ed noveli�. 

media 

127

Media at Falmouth 

Our specialist course teams have 

a wealth of industry and teaching 

experience, and they develop nurturing 

and inspiring relationships with their 

students that see them go on to excel in 

their chosen careers. 

Our intimate approach to learning and teaching 

encourages individual creativity, ensuring that 

you’re supported in your specialisation whilst 

encouraging you to experiment freely, explore 

and push boundaries armed with a consummate 

knowledge of media frameworks. 

Practice-based and supported by theoretical 

and professional studies, every course is led by 

staff at the top of their field; excellent media 

practitioners and academics attracted to 

Falmouth because of its outstanding reputation. 

Critically, they understand the implications and 

nuances of the rapidly evolving media landscape 

and will help arm you with the skills and vision to 

succeed in the new media age. 

Director of the School of Media 

Paul Inman 

Paul brings invaluable experience to Falmouth’s 

students and staff. He has been designing and 

delivering media training projects for over 20 years 

and has extensive broadcast credits as a filmmaker 

and television producer. 


The new Skillset Short Courses in Professional 

Media Practice are an exciting and highly 

relevant addition to our portfolio this year. 

If you’re a media professional seeking the 

chance to update your skills and reflect upon 

new media theories, trends and business models 

to further your career progression without 

committing to full-time postgraduate study, 

these courses are structured to work alongside 

your current employment. 

Falmouth’s exceptional Media Centre, equipped 

with cutting-edge digital recording and editing 

technology, is at your disposal. Add to this our 

links to regional and national broadcasters 

and publishers, internships with renowned 

production companies and the up-to-theminute 

contacts that our staff can offer you, and 

whatever your direction, your future looks very 

bright indeed. 

Most recently, he managed Storylines, a documentary 

filmmaking project in West Africa for the British 

Council, and worked on the Mental Health Testimony 

Project, a filmed oral history of long-term psychiatric 

patients for the British Library. He led Falmouth’s 

successful bid to become an accredited Skillset 

Academy and is also a Board Trustee of Fifteen 

Cornwall’s Foundation of Promise, helping oversee 

the success in Cornwall of Jamie Oliver’s restaurant 

and social enterprise.

Skillset Media Academy 

Falmouth is now a member of the Skillset 

Media Academy network – a UK-wide 

group of institutions identified as 

centres of excellence in the design 

and delivery of practice-based media 

education and training. 

It celebrates innovation and creativity through 

close collaboration between education and 

business, building on strong partnerships that the 

College already has with broadcasters, training 

organisations and media production companies. 

“Media organisations are looking for people 

who do things very differently,” says Greg 

Dyke, former Director General of the BBC, 

Skillset patron and Chair of the Media Academy 

approvals panel. “You go into a college or 

university in the Skillset Media Academy 

Network and you find people who are working 

with industry and doing remarkable things 

that aren’t predictable – and that’s what we’re 

looking for all the time.” Being part of the Skillset 

Media Academy Network – with its unrivalled 

reputation and clout within the industry 

– provides the ideal environment to develop 

leading-edge creativity, innovation and talent. 

media 

129

MA Creative 

Adverti�ng 

Art Director Molly Maine, Copywriter Gaetan Uytterhaegan 



www.falmouth.ac.uk/creativeadvertising 

To succeed in creative advertising 

you’ll need to be disciplined, singleminded 

and ready to collaborate. 

Ours is a highly competitive course 

for a highly competitive market. If you 

have desire and direction, we’ll give 

you the boost you need to achieve. 

Our aim is simple; to enable you from the 

very first week to create advertising. In a 

competitive, dynamic and rapidly changing 

media environment, employers are searching 

for accomplished graduates. If you come 

prepared, are disciplined and are willing to work 

hard, we can help you develop your art direction 

and copywriting skills to industry standard. 

The course is studio-based and largely practical, 

meaning you’ll become adept at visual and 

verbal communication, self motivation, 

research, numeracy, IT and teamwork, whilst 

deepening your understanding of your specialist 

subject area. 


From idea conception to execution and 

delivery, this course develops your original 

thinking and understanding of how advertising 

is transmitted across a wide range of media 

from the traditional, like TV and posters, 

to the constantly evolving world of ambient 

and digital. 

Creative solutions depend on your insight 

into consumer behaviour. Identifying 

and understanding the relevant target 

audience is critical to a successful campaign. 

We encourage you to consider the impact 

of your work within ethical, economic, 

psychological and socio-political frameworks. 

Lateral thinking and idea generation are at the 

heart of every creative industry. We want to 

stimulate and sharpen your visual and verbal 

communication so you develop fresh, creative 

solutions to complex problems. 


This is a one year full-time course delivered 

over 45 weeks and divided into three 15 week 

study blocks. 

Study Blocks 1 & 2 

• Introduction to Professional Studio Practice 

/ 60 credits • Visual Culture & Communication 

/ 40 credits • Applied Technology / 20 credits 

Study Block 3 

• Integrated Portfolio / 60 credits 

Study Block 1 focuses on strategic thinking 

as the first step in creating solutions to 

fulfil clients’ briefs. This is achieved through 

lectures, examining case studies and analysing 

issues in group discussions – all applied during 

studio practice.

If your specialism is art direction, you’ll learn 

vital layout and typography skills, as well as 

developing your appreciation of photography, 

film, illustration and fine art, and their 

application to advertising in media both 

traditional and digital. For copywriters, a range 

of practical and varied projects will further 

your writing skills. You’ll be required to write 

in a clear, lively, visual and concise style so 

that your audiences are stimulated, engaged 

and responsive. 

During London Study Week, we visit a number 

of major advertising agencies. This intensive 

week will build upon your existing knowledge 

and help you to develop contacts within the 

industry. We normally also visit a leading headhunter, 

who’ll show you a variety of portfolios 

that demonstrate best practice in terms of 

creativity and winning jobs. 

During Study Block 3, you’ll work towards 

producing a portfolio that is fresh, inventive 

and will assist your transition into this fiercely 

competitive industry. Working with a partner 

– copywriter or art director – your portfolio can 

include live projects negotiated with agencies 

and clients. The course team plays a supporting, 

tutorial role and will advise you on your choice 

of briefs, professional practice and development. 

The practical elements of the course are 

substantiated by theoretical studies in Visual 

Culture & Communication. You’ll carry out 

research and explore methodologies when 

analysing advertising within changing 

cultural contexts. 

The Applied Technology unit gives you handson 

IT training to develop your competency. 

This includes using software packages such 

as InDesign, imaging, file conversion and 

typography as well as web development. 


Our staff are committed, experienced 

practitioners dedicated to providing a mutual 

learning environment. Teaching takes place 

in small groups, through individual and team 

tutorials, seminars and workshops, supported 

by lectures from key figures in advertising and 

related media. 

Your learning is applied through project work, 

which aims to replicate the practice of working 

in a typical full-service advertising agency. 

In addition to developing individual initiative, 

you’ll be working in groups as well as in 

copywriter/art director pairs to strengthen 

your skills of communication and negotiation. 

The College’s Virtual Learning Environment 

provides information to assist you with 

research and project work. 


From experience we know that knowledge 

of the industry is paramount to the success 

of our graduates. A professional perspective 

therefore underpins all elements of the course. 

Our London Study Week is a unique feature 

of the course and puts you at the heart of 

the creative advertising industry, building 

knowledge and making contacts. A thorough 

grounding in agency structure and how it 

corresponds and responds to clients’ business 

is vital to your understanding of organisational 

management, regulatory frameworks and your 

own role in the industry. 

These elements are corroborated throughout 

the course by working in art/copy teams, so that 

you build your skills to a professional standard 

that reflects industry practice. 

131


Early on, you’ll be introduced to the criteria 

used to assess your project work and notified 

of deadlines. Assessment is at the end of each 

study blocks and takes place as a combination 

of visual, verbal and written assignments. 

Final, external assessment takes place 

in September. 






Facil�ies 

Full IT facilities are available including a small, 

course-specific computer suite containing two 

PCs with relevant software, including InDesign 

and access to industry resource websites. 

This is in addition to a large Mac suite where 

most of the IT lectures take place. 

Other items on hand include a multimedia 

projection presentation system, digital camera, 

lightbox, a library of showreels and a roomful 

of magazines for inspiration and information. 

Car�rs 

Our graduates are employed worldwide by 

agencies, media companies and in-house 

advertising units including companies like 

DDB, the BBC, EuroRSCG, JWT, Figtree, 

Ogilvy One, VCCP, BBH Singapore, Tullo 

Marshall Warren, TBWA Hong Kong, Albion 

London, The Guardian and 180 Amsterdam. 


We are College members of the British 

Design & Art Direction (D&AD), which 

enables you to exhibit at their major show, 

New Blood, and enter their Student Awards 

competition – joining the number of our 

successful graduates who have previously 

won. In addition, the course offers the 

possibility of sought-after work placements 

at prestigious agencies. These placements, 

which depend on availability and merit, 

provide an exceptional learning experience 

and can lead to permanent employment. 


A degree in a relevant discipline or 

equivalent combination of academic 

and professional experience. 








Interview 

When you apply to join the course, we’ll 

ask you to complete a project based on a 

real advertising brief and submit a portfolio 

of your work. You may then be invited to 

meet members of the course team for an 

interview, ideally at one of our Postgraduate 

Fairs. Exceptionally, for example, for overseas 

students, interviews may be conducted over 

the phone or by video conference.

Student Profile Rose Hall 

“I graduated from Falmouth in 2006 with a degree in 

Graphic Design. It was always my intention to study 

Creative Advertising afterwards but events conspired 

against my plans in a positive way when I landed a job 

working across Europe for a large branding agency. It 

was a fantastic experience but it only confirmed that 

my heart lay in advertising. 

I feel this MA is an excellent stepping 

stone to a very exciting, creative and diverse career. 

The course has great connections to the industry, 

experienced in both the London week and work 

placement. I am under no illusions that it will be 

easy but the MA has equipped me with the skills and 

grounding in the subject that should serve me well in 

industry. I hope to go to an agency where my skills will 

be nurtured and I can learn from talent around me. 

Eventually I hope to start my own small 360 agency 

that would use both my design and advertising talents.” 

Course Leader Chris Waite 

Chris Waite arrived at Falmouth in September 2005 

after spending 28 years working in a number of 

London’s leading advertising agencies. During that 

time he created award-winning campaigns for clients 

as diverse as Tetley Bitter, The Health Education 

Council, Nationwide Building Society, Fairy Liquid 

and Wharfedale hi-fi. As a long-standing member of 

D&AD (Designers & Art Directors Association), an 

organisation whose role is heavily biased towards the 

encouragement and inspiration of new talent within 

the industry, Chris has had informal connections with 

education for many years. Continuing to write on a 

freelance basis, Chris keeps up his contacts with the 

advertising world. 

He is also engaged in research on the 

challenges and opportunities presented to the 

advertising industry by digital media. 

Cross Track Poster - Mike Insley & Joe Talboys 

133

Personal Profile / MA Creative Adverti�ng graduate: 

joe 

talboys 

creative 

class 

“Falmouth �ves you great foundations 

to build on; I haven’t forgo�en any of 

the th�gs they taught me, because I 

have to use them every day.” 


Joe Talboys, 23, had heard good things about Falmouth’s MA Creative 

Advertising course. Less than a year after graduating, he and fellow Falmouth 

graduate, Alex Allen, had won the Newspaper Society’s Best Young Creative Team 

2009 award and now continue working together at leading international agency, 

McCann Erickson. 

I knew that there were two or three premier 

postgraduate advertising courses that 

people in the industry talk about and 

Falmouth was one of the main contenders. 

If you’ve done an advertising course people will 

expect you to have gone on one of those three. 

You bump into a lot of Falmouth graduates out 

there, and often meet people who know about 

the course. The tutors are very experienced and 

have all earned an excellent reputation. 

The course is really good at teaching you 

the core principles of advertising and how 

to get it right; how to craft a good advert 

and get into the right mindset. The tutors 

were very good with language and also have a 

great knowledge of past advertising campaigns. 

We learnt all the key skills like drawing layouts, 

writing copy properly and communicating 

ideas quickly. 

The course is structured like a small agency. 

There were 20 people in my class – the 

‘creative department’ – and then the three 

tutors were the creative directors upstairs. 

We’d show them our work and they’d advise 

us and give constructive criticism. We also 

did lots of practice presentations, learning 

how to communicate and sell new concepts. 

That environment, which mimics the working 

practices of a real agency, really works. It’s not 

like that all the time, though, as we’d also have 

lessons, seminars and some digital workshops. 

The tutors were all from professional 

backgrounds, working in agencies, former 

creative directors and so on. They have 

hundreds of anecdotes, and there’s always a 

valuable lesson at the end. So they’re not just 

coming at it from an academic perspective; 

their years of experience living and breathing 

advertising are really beneficial. They also know 

people everywhere – I actually called Chris Waite a 

few weeks ago because I needed some contacts 

in a large international agency in Amsterdam. 

Working in partnership with Alex Allen, 

who also did the Falmouth course, we won 

the Newspaper Society’s Best Young UK 

Creative Team 2009 award. The competition, 

called the Wanted Ad, takes place across 10 

European countries and there were 22 creative 

teams in the UK competition. We received a brief 

from the client, HSBC, in the morning – then 

had until 4pm to come up with an idea, which 

we presented to the client and judges, who 

are all creative directors. We were announced 

as winners and the runners-up were the team 

who won last year. The recognition was great; 

we were featured in Campaign magazine and 

received a few offers from agencies. 

I still work with Alex now. We’re both at 

McCann Erickson in Manchester and work 

together as a creative team every day. 

Falmouth gives you great foundations to 

build on; I haven’t forgotten any of the things 

they taught me, because I have to use them 

every day. I still refer to some of worksheets 

now because some of the methods are really 

interesting and I keep using them. 

www.mccann.co.uk 

135

MA Education: 

Creative & Academic 

Pra�ices � Higher 

Education 


Mode of study: Part-time across three years 

www.falmouth.ac.uk/maeducation 

This Masters in Education allows 

you to explore the synthesis of your 

professional practice with professional 

approaches to teaching. 

The course recognises that teaching is an 

inherently creative activity and draws on the 

current contexts within which Art & 

Performance, Design and Media higher 

education operates. It encourages you to 

reflect on the innovation and creativity of your 

subject area to inform your approaches to 

teaching and learning. 

Delivered in three distinct stages, the course 

aims to develop confident professional teaching 

within a context of both creative and academic 

practices; introduce pedagogic scholarship and 

educational research methods and provide the 

opportunity for you to engage in a negotiated 

research project. 


The best teachers are also learners, so learning 

about teaching provides an opportunity to take 

a scholarly look at teaching and to reflect on 

the literature, practices and contexts of the 

creative curriculum. 

The higher education (HE) sector increasingly 

recognises the need to develop informed 

professionalism to support the teaching and 

learning of an increasingly diverse student 

group. This MA course is designed to meet the 

requirements of the Professional Standards 

Framework for Teaching and Supporting 

Learning in HE (2006) and is accredited by 

the Higher Education Academy. It provides 

a recognised teaching qualification for those 

involved in key roles that impact on student 

learning in higher education. 


The complete MA is studied part-time across 

three years, providing the opportunity for 

flexible study and allowing the broadest range of 

practising professional educators to participate 

in the programme. 

The three stages of the course comprise 

the Postgraduate Certificate (PGCHE), 

Postgraduate Diploma (PGDipHE) and 

the Masters research project, each stage 

accumulating 60 credits. We anticipate that 

students will achieve the Certificate stage 

within one year of study, the Diploma within 

two years and the Masters after three. 

The Certificate stage has a January start, 

allowing new staff to familiarise themselves 

with institutional processes and contexts 

before embarking on the course.

Students who have a circumscribed role in 

teaching and or/supporting learning may 

follow the Associate Teaching route through 

undertaking two units of the PGCHE which 

will enable you to apply for Associate status 

of the Higher Education Academy. 

This may be appropriate for postgraduate 

teaching assistants and staff whose professional 

role includes a small range of teaching and 

learning support activity. 

Stage 1 

PGCHE 

Three 20-credit units, assessed through a 

teaching portfolio and peer observation. 

• Planning of teaching and learning in creative 

and academic practices in higher education: this 

unit, delivered as a ten-week course, introduces 

the theories and practices of planning teaching, 

learning and assessment that are current in 

creative subjects in higher education. 

• Teaching and supporting learning: explores 

key policies and practices of teaching and 

supporting learning particularly those aspects 

relating to a diverse student population within 

a creative curriculum. Again delivered as a 

ten-week course of weekly seminar and 

workshop sessions. • Learning environments 

in creative and academic practices: this is a 

week-long intensive unit that explores teaching 

practices appropriate to a range of educational 

environments including studio, seminar, 

lecture and virtual spaces. 

Stage 2 

PGDipHE 

Three 20-credit units extending the teaching 

portfolio through scholarship and research. 

• Extending learner horizons: allows you to 

explore your teaching practice by engaging in 

innovative and contextualised teaching through 

peer observation activities, in order to extend 

learner horizons within a creative context. 

• Scholarship and research: introduces 

education research methods and provides 

the opportunity to explore aspects of 

teaching practice through case study research. 

This unit is introduced through a two-day 

intensive course and sustained through action 

learning sets. • Continuing professional 

development for advanced practice: allows 

you to engage with professional standards and 

currency in your subject area, to inform your 

own teaching practice in HE. 

Stage 3 

MA 

This comprises a negotiated 60-credit 

supervised research project into an aspect 

of teaching and/or learning in creative 

disciplines in HE. 


Before starting the course, you’ll have the 

opportunity to undertake some preparatory 

reading and explore the online learning 

environment. During the PGCHE, you’ll be 

supported by subject-specific mentors who’ll 

encourage you to apply learning and teaching 

knowledge to your subject. 

The ten-week units are delivered on Wednesday 

afternoons, with other units comprising a 

range of online, intensive and group teaching 

methods, including videoconferencing. This will 

be further supported through the use of the 

VLE – where you’ll be encouraged to engage 

with the forum to discuss and debate supplied 

readings. In addition, there will be two research 

days each year to be attended by participants 

from all stages of the course. 

137


This course is intended for those in existing 

teaching and/or learning support roles. It is 

designed to take advantage of this in order 

to facilitate reflection on teaching events. 

A minimum of 90 hours teaching is required in 

the academic year of the course (60 hours for 

Associate Teacher route). Arrangements for this 

teaching are participants’ own responsibility. 


By the end of the PGCHE, you’ll have compiled 

a teaching portfolio comprising individual 

assignments that encourage critical reflection 

on teaching in your subject area. This portfolio 

is designed to provide a relevant and meaningful 

resource for future reference and will be 

extended through the scholarship and research 

of the PGDip stage of the course in preparation 

for the final MA research project. 

Facil�ies 

Recognising the strategic aspiration to 

develop innovative teachers who are responsive 

to all the needs of learners, the MA Education 

utilises the Learning and Teaching Research 

Centre as a base room for small group sessions, 

tutorials and individual study. This centre will 

operate as a flexible space in which you can 

engage with a range of learning technologies 

and experiment with new pedagogies in a 

supportive environment, before applying 

what you have learnt in your actual teaching. 

Through Falmouth’s excellent library resources, 

you’ll have access to a wide range of journals 

(online and printed), current publications 

(including e-books) and may also order 

books from Exeter University. IT support and 

workshops are available for you to enhance 

your computing skills and the Academic Skills 

(ASK) team are available to support those less 

confident in academic writing. 


Car�rs 

The course is accredited by the Higher 

Education Academy and graduates of the 

course will be able to apply for Fellowship of 

the HEA, indicated by the post-nominal FHEA. 

This is a nationally recognised indication of the 

professional status of teaching and supporting 

learning in higher education. 



in their specialist subject area at 2:1 level or 

above. As a postgraduate course, we will 

also accept applications from those without 

formal, or directly related qualifications, but 

demonstrating some experience of teaching 

and/or supporting learning. This will be 

negotiated under an APL or APEL application. 

A minimum of 90 hours teaching is required in 

the academic year of the course (60 hours for 

Associate Teacher route). Arrangements for this 

teaching are participants’ own responsibility. 








Interview 


to the course. They are held with one or more 

members of the Course Team, and are very 

informal. Please contact Admissions to arrange 

an interview.

Student Profile Angela Annesley 

“As a practising journalist turned lecturer with 

little teaching experience, this course has given 

me the opportunity and space to discuss teaching 

methods and theory with other teachers of varying 

levels of experience, and find new ways of using my 

professional experience to enhance my teaching. It 

has helped me evaluate how I approach my students 

– both as individuals and as learners – and completely 

changed my methods of planning. I feel I have a 

much stronger grasp of the bigger picture and I am 

far less likely to get bogged down by small details 

and uncertainties. 

The course has helped me see how my 

teaching methods align with current educational 

theory and why some learners react the way they do, 

and how to help those who do not respond as you 

would wish. The opportunity to reflect and learn from 

others has been invaluable, both in reinforcing my 

knowledge of teaching practices in HE and giving me 

the confidence to try out some new ideas to make my 

teaching more inclusive and engaging. I’ve found that 

my students have reacted positively to my new, more 

open approach and I feel more confident in helping 

them to learn.” 

Course Leader Caroline Cash 

With an MA in Modern Poetry and a keen interest in 

the written word, Caroline’s teaching career includes 

a range of English literature and creative writing 

courses. Managing an academic support service 

across a multi-university campus has given her insight 

into a range of learning and teaching initiatives related 

to academic literacy and effective learning. Caroline 

is currently undertaking doctoral research with key 

interest in teaching and assessing in a creative and 

academic context. She is a member of the steering 

group for the Association for Learning Development 

in Higher Education and, in 2005, was a founder 

member of the LearnHigher CETL. 

139

Mike Sunderland 

MA International 

Journalism 



www.falmouth.ac.uk/internationaljournalism 

Would you like to travel to far-off 

countries and report on some of the 

world’s most important and exciting 

stories? Or maybe you see yourself 

breaking international news stories 

from a digital newsroom in London, 

Doha or New York? 

If you want a career in global news, Falmouth’s 

MA in International Journalism will help you 

make your mark in the expanding world of 

international news. With a course team made 

up of professionals with a vast range of 

experience from within the news industry, 

you’ll learn how to produce high quality 

journalism for television, radio, online and print. 

If you’re serious about international journalism, 

we’ll give you the multimedia skills and 

experience to make it in this challenging field. 


You’ll also be shown how to keep yourself safe 

in tricky situations through our unique Hostile 

Environment course, and your training also 

includes going on work placements at news 

organisations such as the BBC, Reuters, APTN, 

Sky News and Sky Radio, the Independent and 

the Telegraph. 

MA International Journalism comes from the 

same team as the highly respected Falmouth 

MA Multimedia Broadcast Journalism and is 

designed to train journalists who want to work 

in TV, radio, online and print on 

international news. 


The normal duration of the course is 45 weeks’ 

full-time study. The teaching year runs from 

August of one year through to August in the 

following year and you’ll engage with seven 

units of study: • International Legal 

Frameworks • International Political 

Frameworks • International Ethical Frameworks 

• International Broadcast Journalism 

• International Print Journalism • International 

Newsgathering • Hostile Environment Training 

• The MA Professional Practice Unit. 


The course tutors are all from within the news 

industry and bring their valuable experience to 

bear on their subjects. Teaching is very handson 

and every effort is made to replicate the 

conditions of newsrooms across the world. 

The first term is spent learning the practical 

skills needed to use newsroom equipment, 

as well as studying what news actually is. 

The second term concentrates on using those 

skills to produce news bulletins for radio, 

television and online as well as print journalism.

Editors from the BBC and independent radio and 

television stations visit the course to act as news 

editors for the day and give advice in question 

and answer sessions. As part of international 

legal frameworks, you’ll report live from real 

cases going through the courts. 

The third term is when you undertake your 

Hostile Environment Training, as well as 

placements within the industry and your 

MA Projects. 


The MA Professional Practice unit offers 

you the opportunity to travel overseas and 

report in-depth on international news stories. 

You’ll experience the shift from producing 

five-minute international news packages and 

short print features during the first 30 weeks 

of the course. The possibility of making a 

30-minute documentary or extended print 

feature provides you with a stimulating 

challenge, allowing you to demonstrate mature, 

fluent and professional working practices. 


Assessment is by portfolio of print, online and 

broadcast work, examinations, assignments 

and presentations. 

Facil�ies 

Falmouth’s facilities are second to none. 

The course is based in our recently refurbished 

multi-million pound Media Centre. The new 

newsroom is fully digital and is linked to the 

radio and television studios, meaning we can 

reproduce accurately what it’s like to actually 

work in a professional newsroom – whether 

it’s print, online, radio or television. 

Car�rs 

Graduates from MA International Journalism 

will be qualified to work as reporters, producers, 

writers and presenters in television, radio, 

online and print, in both the UK and abroad. 

Former students have secured work at the BBC, 

Reuters and Sky World News among other 

leading news organisations. 

This MA is fully recognised by the Broadcast 

Journalism Training Council (BJTC), which 

provides a unique link to the news industry and 

a work placement scheme that gives you the 

experience of working in some of the world’s 

best known newsrooms. 

While we can never guarantee that you’ll secure 

a job within the industry, we’re rightly proud 

of the fact that over 90% of our students do 

succeed. Matthew Amroliwala, Hugh Pym, 

Daniel Boettcher, Fergus Walsh, Angus Walker, 

Lorna Dunkley, Sophie Benzing and Dan Rivers 

are just some of the Falmouth graduates who 

have gone on to work in the BBC or commercial 

television and radio stations across the UK, 

Europe and around the world, from the 

United States to Nepal. 


A degree in a relevant discipline or equivalent 

combination of academic and professional 








141

Interview 

UK applicants will be required to attend an 

interview and present a portfolio of appropriate 

work. Your portfolio should include examples 

of the range of your work, development of ideas, 

interests and experiences. EU and international 


telephone rather than in person and will be 

asked to submit a portfolio of work online or 

on CD/DVD. 


Graduate Profile Mike Sunderland 

“While at Falmouth, I managed to get a three-week 

work placement at Sky News in London. Thanks to 

the practical focus of my MA, I was able to make 

myself more useful than most trainees. I knew the 

little but important things like what UPSOT or a tease 

was, and crucially I knew how to write news. I’ve since 

been taken on as a producer on Sky’s World News 

show. My MA was instrumental in this because it gave 

me the foundations of knowledge in foreign news to 

confidently contribute to production meetings and 

put myself forward for all types of work. I love my job 

and am getting the opportunity to do so much in a 

short space of time. I now regularly write and voice 

my own packages, edit pictures, write script and 

have a real say in what goes into our show. At the end 

of the day, being successful in news is down to the 

individual and how hard they’re willing to work. What 

the course at Falmouth does is puts you in a position 

to realise your own potential and give you a real shot 

at achieving it.” 

“W�h �s mixture of tra��g 

and common sense preparation, 

Falmouth’s course will prove of 

la��g benefit.” 

David O Sullivan - Executive ITV News Johanne�urg

Hostile Environment Training 

Course Leader George Matheson 

George is an award-winning journalist with over 20 

years’ experience at local, national and international 

level in newspapers, radio and television. He’s been 

a foreign correspondent working for a variety of 

publications including the Guardian, the Daily Express, 

the Evening Standard and the Times; a freelance 

broadcast reporter for BBC Radio Scotland, GWR 

Radio and LBC; a staff reporter for Independent Radio 

News; and a bi-media reporter for ITN contributing 

to the main bulletins including The News at Ten 

– covering stories such as the lead-up to and the 

eventual fall of the Berlin Wall (for which he was 

awarded a silver medal at the New York International 

Festival of Radio), the end of apartheid in South 

Africa, the Gulf War (from Jordan, Saudi Arabia and 

the UAE), English football fan violence throughout 

Europe (including the World Cup), as well as many 

of the other top national and international stories 

of the day. 

Having achieved as much as he could as a reporter, 

George moved to a senior position at Reuters as 

an editor on the news service. He then joined the 

BBC where, among other duties, he helped launch 

News 24 as an output editor. He then returned to 

ITN as a programme editor, working on a variety of 

programmes including overseeing the live network 

coverage of the fall of Baghdad. 

Outside of his work at Falmouth, George 

also keeps his hand in as a producer/director for 

independent television companies, does occasional 

work for BBC South West Television and has recently 

been involved with several documentaries for Radio 

4. George’s approach to this MA was to “use my 

experience as an international correspondent to 

create an MA that would equip students with the 

skills in television, radio, online and print, to be able to 

secure a career in international journalism – a course 

I’d like to have taken.” 

143

Joanne McCabe 

MA Mult�edia 

Broadca� Journalism 



www.falmouth.ac.uk/mmbroadcastjournalism 

The exceptional technical facilities 

available in our multi-million pound 

Media Centre form the hub of this course, 

which is accredited by the Broadcast 

Journalism Training Council (BJTC). 

Here you’ll learn to put together multimedia 

news bulletins, magazine programmes and 

feature reports. You’ll act in turn as news 

editor, presenter and reporter, and conduct 

live interviews, using state-of-the-art digital 

equipment to get to grips with the editorial 

and technical roles of a multimedia broadcast 

newsroom. You’ll also learn about the social, 

economic, ethical, regulatory, political, legal, 

financial and technological frameworks within 

which multimedia news and current affairs 

operate, and become proficient in news 

gathering, script writing, recording, editing 

and uploading stories to our dedicated website 

www.ucfjourno.org. 


You’ll also gain valuable experience from local 

radio stations and undertake a three-week 

work placement, organised through the BJTC. 

When you leave us you should be ready to 

step straight into the exciting and demanding 

world of multimedia broadcast journalism, as a 

graduate of what’s regarded within the industry 

as one of the leading courses in the country. 


This is a 45-week full-time course commencing 

in October. You’ll complete the five taught units 

and then specialise in one of four MA options for 

your sixth (see below). The MA in Multimedia 

Broadcast Journalism option is a generic course. 

You may also offer projects in a genre not 

covered by the three specialist subjects. Projects 

commissioned recently include: • An awardwinning 

documentary on the after-effects of the 

tsunami in Thailand and the impact of property 

developers on the local population • An award- 

winning documentary examining how 

education in Israel and the occupied West Bank 

is reinforcing the sectarian divide. 

During the first term, you’ll learn multimedia 

broadcast and journalism skills from experienced 

broadcasting professionals. The teaching of Law 

and Political Frameworks helps develop your 

understanding of the current debates around 

media ethics, law and regulations. 

These studies continue during the second term, 

with an ever-increasing emphasis on practical 

programme making. You’ll also learn to produce, 

direct, script and edit television news packages 

and news magazines. 

In the final term, practical work runs alongside 

a three-week placement in either a BBC or 

commercial radio station.

MA Investigative Multimedia 

Broadcast Journalism 

If you’re passionate about hard-hitting 

investigations into failures within society’s 

systems of regulation and the ways in which 

the rich, the powerful or the corrupt circumvent 

those systems, then the MA in Investigative 

Multimedia Broadcast Journalism will teach 

you the specialist – often confrontational – 

skills you’ll need in order to elicit the truth, as 

well as how to structure the complex stories 

that such investigations yield. 

Investigative journalism is about encouraging 

reporters to dig beneath the given facts. 

The course focuses on identifying potential 

investigations; developing, handling and 

protecting confidential sources and structuring 

the often-complex stories. 

Undercover recording, frowned upon in 

conventional journalism, is a common tool 

and higher level media law is an essential 

component of the course. Students will learn 

how to use the Freedom of Information 

Act to obtain significant material, how to 

interpret statistical analysis to reveal otherwise 

unidentified patterns and how to read accounts 

in order to spot dubious transactions. 

MA Science Multimedia 

Broadcast Journalism 

Concerned about the public’s inability to 

understand scientific ideas, technology or the 

basis of scientific discoveries and disputes? 

MA Science Multimedia Broadcast Journalism 

examines the relationship between the 

scientist and the journalist, and teaches you 

how to translate the language of science for 

the general listener or viewer. 

The course examines the nature of science 

and scientific method. It looks at science as 

a social process and examines how that 

helps to understand scientific disputes 

among scientists. 

The course examines mechanisms of control 

in scientific fields, how research is funded, 

how government policy affects the freedom 

of science to pursue its own goals and how 

government uses, or misuses, science to 

justify its policy. 

MA Sports Multimedia Broadcast Journalism 

Are you a sports fanatic who wants to learn 

more about current practice, trends, concepts 

and issues that feed contemporary sports 

journalism? Are you aware of the latest changes 

in key areas such as drugs, corruption, the 

Olympic movement and the politics of sport? 

MA Multimedia Sports Broadcast Journalism 

will produce a new generation of journalists 

who can adapt to the rapidly changing world 

of modern sports and who are sufficiently 

visionary to anticipate where sport will be 

tomorrow. You’ll learn about the social, 

ethical, commercial, financial and cultural 

issues affecting worldwide sport, together 

with appropriate personal and management 

skills. You’ll also understand the essential legal 

frameworks in which sports operate, and be 

able to provide live commentary on a wide 

range of sports. 


All the course staff are skilled practitioners 

within the industry, who bring a wealth of 

expertise to their teaching. During the first 

term, your time is divided equally between 

studying theory in seminar groups, and learning 

practical skills using the newsroom equipment. 

As time progresses, increasing emphasis is 

placed on utilising the skills you have developed. 

You’ll visit locations and events that will 

enhance your understanding of the journalist’s 

role, such as local courts, council meetings and 

police briefings, filing live reports into the news. 

Editors from the region’s radio and television 

stations also visit the course to act as news 

editors for the day and give advice in question 

and answer sessions. 

145


Assessment is by a portfolio of broadcast work, 

examinations, assignments and presentations, 

together with an MA Project; a 15 to 20-minute 

TV, radio or multimedia documentary coupled 

with a contextual review. 

Facil�ies 

Falmouth’s multi-million-pound Media Centre 

incorporates a television studio with 15 AVID 

editing suites, as well as four radio control 

rooms and a large talk studio. All our recording 

and editing facilities are digital and each 

student has their own computer work station 

in the newsroom. 

Car�rs 

While we can never guarantee that you’ll 

secure a job within the industry, we’re rightly 

proud of our successes: Matthew Amroliwala, 

Sophie Long, Alison Mitchell, Hugh Pym, Fergus 

Walsh, Angus Walker, Lorna Dunkley and 

Sophie Benzing are just some of the Falmouth 

graduates who have gone on to work as 

broadcasters in the UK and around the world. 




equivalent combination of academic 

and professional experience. 








Interview 

UK applicants will normally be required to 

attend a selection interview. EU and 


interviewed by telephone rather than 

in person. 

Graduate Profile Kirsty Hemming 

“I needed to do a BJTC-accredited course, and 

Falmouth seemed ideal because it had the best 

facilities. It was a fantastic start and we felt like we 

were in a job from day one. We’d go in at 8.30am, 

have a news meeting, then go off and do our stories. 

It’s hard work but it prepares you for what it will 

be like – I didn’t have any nasty surprises when I 

started my first proper job. I was offered a job as an 

investigative journalist on ITV Westcountry’s West 

Eye View current affairs programme before I even 

finished my MA. I went on to work as a producer 

at ITN and BBC Wales before setting up my own 

television production company, Boxing Bear Films. 

If I had gone into my first job at ITV without having 

done the course at Falmouth, I wouldn’t have felt 

as confident. The course meant I was able to hit the 

ground running.”

Joint Course Leader Guy Pannell 

Guy began his career over 40 years ago, reporting 

for weekly and evening newspapers in west London. 

In 1971, he joined the Western Morning News and 

Evening Herald as a reporter and then subeditor. 

Two years later, he fulfilled his ambition to move 

into broadcasting, joining Westward Television as a 

news subeditor. In 1982, Guy became news editor 

at Television South West and was responsible for 

coverage of many of the region’s major news stories, 

including blizzards, floods, heat waves, strikes and 

industrial stories, air crashes and coverage of the 

Penlee lifeboat disaster. 

Appointed programme producer, he was a 

regular editor of the evening news magazine, outside 

broadcasts, sports programmes, current affairs and 

episodes of the live audience show, The Time, The 

Place. Since 1993, Guy has combined teaching on the 

Multimedia Broadcast Journalism course at Falmouth 

with continuing practice in the television newsroom 

for ITV Westcountry. As a freelance news producer, 

he has close links with professionals responsible for 

employing many of the course’s former students. 

Joint Course Leader Dr Denis Gartside 

Prior to joining University College Falmouth, Denis 

spent 24 years working with BBC Television and BBC 

Radio as a journalist, senior director and executive 

producer working on regional news and current 

affairs, outside broadcasts, network entertainment 

and events, sport, daytime television and light 

entertainment. He was part of an internal team at the 

BBC responsible for developing and writing the NVQ 

qualifications in television and radio, working with 

Skillset as well as the BBC. 

As part of this process, he gained NVQ 

qualifications in Journalism, Broadcasting, Training 

and Development. Since joining Falmouth, Denis has 

retained a professional commitment to the broadcast 

industry as a consultant journalist. He’s also an 

internal verifier for Skillset and BBC Training. Over the 

past five years, Denis has produced and broadcast 

over a thousand hours of live radio. He’s a member 

of the Royal Television Society and a Fellow of the 

Higher Education Academy. In 1999, he was awarded 

the RTS Silver Medal for services to the industry. 

147

Bram Thomas Arnold 

MA Performance 

Wr��g 

Based at: Arnolfini Gallery, Bristol 


www.falmouth.ac.uk/performancewritingma 

This unique MA programme, based at 

the Arnolfini in Bristol (one of Europe’s 

leading contemporary art venues), 

takes a broad approach to what writing 

is and does in a range of social and 

disciplinary contexts. 

The course explores writing and textual 

practice in relation to visual art, digital media, 

installation, performance, collaborative 

practices and sound/audio work, as well 

as book art and page-based media. MA 

Performance Writing at Falmouth takes full 

advantage of a new and exciting partnership 

between University College Falmouth and the 

Arnolfini Gallery, which enables you to work 

and study in an internationally renowned 

professional practice environment and draw 

upon a range of resources, opportunities and 

networks that such a context provides. 


This is a student-led, practice-based course 

driven by a commitment to develop and 

enhance professional futures for all its students. 

It’s a critically rigorous programme, but one in 

which theoretical debate and critical thinking 

are always taken on as integral elements of 

sustainable practice. At all stages research, 

theoretical enquiry and self-reflective 

commentary are embedded components 

of practice-based curricula and teaching. 

Overtly interdisciplinary in its approach, this 

MA sets out to explore the boundaries and 

intersections between different forms and 

media, and to engage with new possibilities 

and technologies for the production and 

dissemination of writing in the 21st century. 

You’ll benefit from participating in an area 

of the College’s work that is extremely well 

networked, enjoying links and partnerships 

with a range of artists, writers, institutions, 

art producers and publishers. 


The course is structured over 4 terms; the first 

three being 10 weeks and the fourth 15 weeks, 

making a 45-week academic year. During the 

first three terms, the course is delivered (at the 

Arnolfini) on Mondays. The fourth term has 

considerably less group teaching, as you work 

towards the completion of your Final Major 

Project; this process is supported by significant 

tutorial guidance and three ‘work in progress 

events’ at the Arnolfini, also on Mondays. 

Throughout the course, you’ll be in regular 

contact with a designated tutor, accessed 

through email, telephone, virtual learning 

technologies and, at certain stages in the 

course, in person at the Arnolfini.

Diagnostics and Methodologies 1 / 20 credits 

This unit requires you to undertake an in-depth 

analysis of your practice and to identify potential 

areas for the development of new work and 

methodological strategies for proceeding with 

your ideas. 

Questions of Practice / 40 credits 

Drawing on the outcomes of the previous fiveweek 

block, you’ll be presented with models 

of contemporary textual practice, which will 

initiate practical enquiries that lead your work 

in new directions 

Theories for Writing Practice / 40 credits 

Drawing on your existing practice, as well as 

new directions explored in the previous block, 

this unit asks you to locate your work within 

wider cultural and theoretical contexts. 

Diagnostics and Methodologies 2 / 20 credits 

This unit has a summative, reflective function, 

which allows you to take account of the 

progress of your work so far and forms the 

basis of an extended proposal for your Final 

Major Project. 

Final Major Project / 60 credits 

This large-scale practical project sees 

the culmination of the MA programme 

and comprises the development of a 

significant body of work for presentation 

in a professional context. Work produced is 

accompanied by related written research 

and critical commentary. 

Please note that there is the scope for you 

to make minor adjustments to the scheme 

outlined above, to enable the writing of an 

extended dissertation. 


Our staff are committed, experienced 

practitioners dedicated to providing a mutual 

learning environment. Teaching takes place 

in small groups, through individual and team 

tutorials, staff and student-led seminars, 

presentations, specialist workshops and 

work-in-progress events, supported by visiting 

professors, industry specialists and practising 

artists and writers. 


This MA has a strong focus on professional 

practice, which is written into all stages of 

the core curriculum. This emphasis will be 

significantly enhanced by regular contact 

with visiting artists and writers, as well as 

professional development guidance from 

industry specialists based at the Arnolfini. 

You’ll be well-placed to progress from the 

MA into the Arnolfini’s Associate Artist’s 

scheme.The MA will culminate in a curated 

MA degree show in the Arnolfini gallery, 

providing students with a high-profile career 

development platform. 


Early on, you’ll be introduced to the criteria 

used to assess your project work and notified 

of deadlines. The course is assessed through 

a mixture of presentations, your portfolio of 

practice, a written research project, proposals, 

your Final Major Practical Project and research, 

and critical commentary. 






149

Facil�ies 

You’ll have access to a range of spaces within 

the Arnolfini including studios, the auditorium 

and reading room. You’ll also have access to 

the gallery’s archive, supported by professional 

archivists and curators of international repute. 

Further support will be provided by a range 

of technicians and gallery staff. All students 

will also enjoy full access to University College 

Falmouth’s Cornwall campuses at a level 

commensurate with MA study, including 

libraries, online research facilities and the 

Media and Performance centres. It’s also hoped 

that a research relationship will be put in place 

with a Bristol-based university library. 

Car�rs 

Performance Writing MA graduates 

are currently advancing sustainable careers 

in independent writing/performance 

practices, publishing, education at all levels, 

academic research, curation and networked 

multimedia projects. 












Interview 



work. Your portfolio should include examples 

of the range of your work, development of ideas, 





on CD/DVD. 

www.arnolfini.org.uk

Emma Bennett 

Graduate Profile Mark Greenwood 

Since graduating in 2006, Mark has continued his 

professional practice as an artist, presenting new 

work at galleries and festivals across the UK and 

mainland Europe. He has also begun PhD research 

at Kingston University and is contributing to taught 

programmes at a number of higher education 

institutions as an associate lecturer. In addition, 

he has published critical writing in various magazines 

and journals, including ArtArtArt Mgazine, A-N 

Interface and Total Theatre. 

Course Team Jerome Fletcher 

Jerome is a writer and artist whose work ranges from 

innovative books for children to literary concept 

novels and digital text work. His work is widely 

published and has been translated into nine languages. 

He has performed and exhibited internationally and 

his research interests include digital poetics, theories 

of translation, notions of decadence and collaborative 

writing. He has recently performed/exhibited work at 

Leo Koenig Gallery (New York), Barbican (London), 

Kunstalle (Vienna) and University of Saint Denis 

(Paris). His current research into the relationship 

between performance and digital text practices 

has seen contributions to a number of international 

symposia, including Performance Studies International 

(Zagreb 2009) and E-Poetry (Barcelona 2009). 

He also has a chapter included in the forthcoming 

DataText Yearbook. 

151

Ben Hobbs 

MA Photography 



www.falmouth.ac.uk/photographyma 

This MA is designed primarily to 

allow students with an interest in 

photography to pursue that interest in 

depth to learn something new about the 

medium and, often, about themselves. 

Above all, the course offers time for reflection, 

experiment and decision-making. It provides 

resources both in terms of equipment and 

expertise, as well as stimulating encounters with 

a wide range of people, photographs and ideas, 

in an atmosphere of support and constructive 

criticism. You’ll finish the course with a focused 

body of your own work, a broader perspective 

on photography as a force in contemporary 

life, and clearer sense of your own identity as 

a photographic practitioner. 



The course is divided into three study blocks of 

15 weeks for full-time students, and 30 weeks 

for part-time students. Full-time students start 

in October; finish Study Block 1 at the end of 

January, Study Block 2 in May, and the degree in 

September. Part-time students start in October 

of their first year and complete Study Block 1 

in May, Study Block 2 in January and the degree 

in September of the following academic year. 

After their first study block (30 weeks), 

part-time students may elect to continue 

to participate in weekly seminars, or pursue 

Study Block 2 on a more independent basis. 

After 60 weeks, they join another cohort of 

full-time students for the final study block and 

completion of the degree. 


The course consists of seminars, lectures, 

workshops, tutorials and independent study. 

Required work can be done in one (long) day of 

attendance each week. Incoming full-time and 

part-time students meet weekly, participating 

in one series of seminars investigating 

photographic practice and another series 

focusing on theoretical and contextual study. 

There is, finally, a series of lectures by visiting 

practitioners, scholars and critics. Tutorials are 

arranged as needed. 

The course is delivered by a team of experienced 

and knowledgeable tutors from a variety of 

backgrounds. This core team is supplemented 

by visiting lecturers who provide specialist input 

from their own particular fields.


There are two points of formal review and 

feedback at the end of Study Blocks 1 and 2, 

and an assessment at the completion of the 

degree. The formal reviews do not enter 

into a calculation for the final assessment; 

they’re given to encourage good work and 

pinpoint difficulties with respect to the course 

learning outcomes. 

The course learning outcomes are divided into 

four areas: Practical, Theoretical, Conceptual 

and Professional. Each of these headings is 

further divided into specific points (for example, 

under Professional one point reads: “manage 

time and resources effectively”). Feedback 

on work submitted for assessment discusses 

strengths and weaknesses in terms of the 

outcomes, so that it’s easy to see which areas 

demonstrate strong points and which need 

further attention. 

The course tends to emphasise experimentation 

at the beginning and finished presentation at the 

end. For this reason, different learning outcomes 

are emphasised at different points. However, all 

learning outcomes apply to both photographic 

work and written work (photographs can be 

assessed for evidence of conceptual awareness, 

and writing can be assessed in terms of 

professional presentation). 

The principle outcome of your studies will be 

a major photographic project. This could be 

a gallery exhibition, a publication, website, 

site-specific installation or other appropriate 

form of presentation. The final essay that 

accompanies the work is focused on that 

project, yet draws on the understanding 

you’ve gained over the entire period of study 

of both your own practice and its place within 

the field of photography. 

Facil�ies 

The College’s new purpose-built Photography 

Centre was completed in 2007. In addition 

to an extensive range of cameras – including 

large-format and digital – it provides increased 

studio space, print-finishing and mounting 

facilities, black-and-white and colour 

processing darkrooms, and extensive digital 

suites equipped with up-to-date software and 

excellent technical support. 

Access to neighbouring media, such as film, 

video, or printmaking, is also available and 

can be arranged for MA students as required. 

Library facilities are divided between Woodlane 

and Tremough, with most of the books and 

journals specifically devoted to photography 

located at Tremough. 

Car�rs 

By establishing your own strengths and 

ambitions as a practitioner, you’ll gain the 

capacity to make both realistic and creative 

career choices. These may be in exhibiting, 

publishing, teaching, journalism, curating 

or criticism, some combination of these, 

or something you have not yet considered. 

The course specifically encourages students to 

take advantage of opportunities for exhibition 

and publication that may become available 

during the period of study. 

153

Ted Duncan 


The most usual entry qualification is a 

BA(Hons) degree in photography or in another 

field of visual art practice, such as fine art, 

graphic design, or illustration. However, 

we also welcome students whose interest 

in photography has arisen in the course of 

research experience in a different field. 

Photography may figure centrally in fields 

as diverse as philosophy, education, geology, 

biology, behavioural science or psychology. 

In such cases, the ground for undertaking a 

specifically photographic study should be very 

clear, and basic technical skills should be in place. 









Interview 

At interview we try to estimate how well 

the course and the student are suited to one 

another. We’re interested in seeing completed 

photographic work and hearing you discuss 

your approach to producing it and your 

reflections on the work over time. We always 

ask about why you want to come to Falmouth, 

and why you want to study at MA level at this 

particular point. Above all, we’re looking for a 

strong, sustained curiosity about photography.

Joint Course Leader Deborah Baker 

For many years Deborah has worked as a photographic 

artist and lecturer. She has taught on numerous 

photographic degree courses at universities across 

the UK, including West Surrey College of Art, London 

Institute, University of Westminster and the 

University of Central England before moving to 

Cornwall to work at University College Falmouth in 

2003. She’s an experienced external examiner for 

photography and video. 

Deborah studied photography at Trent 

Polytechnic during the 1970s with Paul Hill, Thomas 

Cooper, John Blakemore and Raymond Moore. 

She subsequently worked in New York with Ralph 

Gibson and assisted other artists including Mary 

Ellen Mark and Robert Mapplethorpe. Her work has 

been exhibited at major galleries in this country and 

internationally, and her latest work, Ghosts in the 

Nursery, has recently been exhibited in New York as 

part of the Uneasy Spaces exhibition. 

She’s currently involved in the research and 

development of a collaborative photographic project 

concerning the Lizard Peninsula, involving other 

international artists and graduates of the MA course. 

Joint Course Leader Nancy Roth 

Trained as an art historian with a strong interest 

in photography, Nancy has worked as an art and 

photography critic, curator, and lecturer. She earned 

a PhD at the City University of New York in 1996 with 

a dissertation on the German photomontage artist, 

John Heartfield. The core of this study was recently 

published in the Oxford Art Journal. 

Nancy continues to write criticism for 

Source Magazine, most recently on new work by Susan 

Hiller and Wendy McMurdo, as well as pursuing a 

long-term interest in the diverse relationships students 

of visual media have to writing. The combination of 

writing, photography and history has stimulated a 

strong interest in photographic archives, and more 

broadly in the philosophical work of Vilèm Flusser, 

two of whose books, Into the Universe of Technical 

Pictures and Writing: Does Writing have a Future?, 

Nancy has recently translated from German to English. 

Student Profile Oliver Udy 

“I decided to do the course to develop my practice 

further after a few years of finishing my degree. I had 

just started teaching in further education and doing a 

part-time MA suited the balance. My main aim was to 

develop my practice whilst gaining a solid grounding 

in academic research. The course is good at making 

you focus on your own work; spending time with 

others in the same position helps the flow of ideas 

and the facilities are excellent. I’ve been published 

in two journals and my work has been in several 

shows including New (Ad)ventures at the Vitreous 

Gallery, Truro; Light Rain at Dray Walk, Brick Lane, 

London; Now We Can Talk at Woodstock, New York; 

and Embark on the King Harry Ferry. With two other 

Falmouth graduates I have set up fotonow.org, a 

Community Interest Company focused on developing 

photographic research, publishing and commissioning 

of new photographic work.” 

155

Profes�onal Media 

Pra�ice: Skillset 

Short Courses for 

Media Profes�onals 



www.falmouth.ac.uk/mediashortcourses 

Today’s media industry is a multiplatform, 

multichannel world characterised by 

social media, interactivity, and usergenerated 

content. Hungry for fresh 

ideas and new content, it offers all kinds 

of creative and business opportunities. 

But how can professionals make the 

most of this rapidly evolving landscape? 

Falmouth’s short courses in Professional Media 

Practice are designed to allow professionals 

to understand the challenges of this new 

media environment and develop the creativity, 

confidence and new skills to adapt and succeed. 


Each course has been developed closely with 

first-class media partners who really understand 

the changing industry, and know what skills and 

knowledge are needed. 

Wherever you live or work in the UK, these 

courses are highly accessible, delivered via one 

short, face-to-face workshop with full online 

support. Furthermore, every student receives 

a bursary towards their fees. 

What is Skillset? 

Skillset is the industry body for the UK creative 

media industries, supporting skills and training 

for people and businesses to ensure the UK 

creative media industries maintain their world 

class position. 

Falmouth is now a member of the Skillset Media 

Academy Network – an elite UK-wide group 

of institutions identified as centres of excellence 

in practice-based media education and training. 

The Media Academy at Falmouth builds on 

the College’s strong partnerships with 

broadcasters, training organisations and 

media production companies. 

What are the Skillset 

Short Courses? 

These courses offer a combination of units that 

can either be taken individually or combined 

to work towards a recognised postgraduate 

qualification, such as a Postgraduate 

Certificate, a Postgraduate Diploma or an 

MA in Professional Media Practice. 

Focusing on innovation in content creation, 

exploring new business models and production 

processes, the courses are driven by industry 

needs – the product of close, ongoing dialogue 

with businesses to ensure they’re attractive to 

industry and accessible to media professionals 

wanting to update their skills.

You can find a full list of the units currently 

offered online at www.falmouth.ac.uk/pmp 

The first three units available in September 

2010 are listed below, with more to be added 

the following year: 

Advanced Creative Craft Skills: 

Storyboarding – From Idea To Animatic 

Designed for experienced visual artists and 

storytellers from a wide range of creative 

specialisms (including animators, designers, 

illustrators, artists and filmmakers) who want to 

progress to story artist and animation director 

within film/visual effects, games, television, 

multimedia and corporate industries, this course 

gives you a thorough understanding of the role 

of the storyboarding artist. In practical, handson 

workshops, you’ll work through the whole 

storyboarding process, developing storytelling 

skills and exploring a range of storyboarding 

techniques from pre-production processes to 

using professional storyboarding software. 

You’ll also develop, with expert support and 

guidance, a storyboard that responds to a 

real-life industry brief. 

Developing Creative Content: Developing 

Multiplatform Ideas 

Increasingly, digital content is delivered across 

a number of platforms including broadcast, 

online, gaming and mobile. To succeed in this 

new environment, you need to understand 

what multiplatform is, what makes a good 

multiplatform idea, and how to frame and 

pitch it. Designed for experienced producers 

and creatives from a range of specialisms 

(including television, film, music, commercials 

and publishing) who want to develop their 

understanding of multiplatform and the 

opportunities it brings, this course will help you 

gain up-to-the-minute knowledge of current 

developments in technologies, creative content 

and audience behaviours to help you generate 

your own ideas for multiplatform. 

You’ll investigate what makes an idea 

appropriate for multiplatform and current 

commissioning guidelines, as well as exploring 

the development processes currently emerging. 

Digital Literacy for Business: Business 

Writing for Online 

Intended for content creators within a wide 

range of backgrounds (including journalism, 

research, production, writing, PR and 

marketing) this course develops in-depth 

knowledge of techniques and strategies for 

building traffic to your website and generating 

revenue. Through practical exercises, the course 

will give you a thorough understanding of 

writing well for online – for example, structuring 

content so that it is easy to use, making your 

website easy to find by writing for search 

engines, and incorporating different kinds of 

media such as stills and video into text. Building 

on these skills, it enables you to create wellwritten, 

well-structured websites that result in 

good search engine positions, increased traffic 

volumes and a positive user experience that 

encourages ‘stickiness’ and return visits. 

Who are they for? 

The Professional Media Practice Short Courses 

are designed for professionals who want to 

get up to speed with the contemporary media 

industry to enable career progression and 

development. They’ll appeal to professionals 

from a wide range of backgrounds in the 

creative media industries – such as television, 

radio, interactive, music, sound, animation, 

journalism, post-production, marketing and 

advertising. The units allow you to develop indepth 

understanding of the creative challenges 

and opportunities involved, broad-based 

knowledge of themes and issues in digital 

media, and up-to-date production and 

craft skills. 

157

The courses are designed for students who 

are unable to make a long-term commitment 

to existing postgraduate courses – who 

are for example in full-time, part-time or 

freelance employment. 

How are they �ru�ured? 

The courses consist of a series of 20 credit units 

(each equivalent to 200 hours of study time). 

You can take one unit or several, making your 

choice according to your own individual needs 

and interests. 

Each unit offers you the chance to get 20 credits 

at Master’s level, so if you want, you can put 

a number together and gain a recognised, 

university accredited qualification: 

• Three successful courses (60 credits) gives 

you a Postgraduate Certificate • Six successful 

courses (120 credits) gives you a Postgraduate 

Diploma • After that, you can choose to take an 

additional 60-credit unit that will give you a full 

MA qualification 

All units are credit bearing, but you can choose 

to pay the appropriate fee and attend any of 

the short courses to gain new knowledge and 

skills without submitting an assignment for 

credits. We understand that for many media 

professionals the academic award is less 

important than the opportunity to gain new 

knowledge and prepare for new challenges and 

opportunities, so you can choose to register for 

just one individual unit if desired. 


How are they taught? 

The units all start with a short (usually two or 

three days), face-to-face, intensive workshop. 

The purpose of this initial session is to give 

you the chance to meet your tutors and other 

students and introduce you to the unit’s key 

ideas. You’ll get the chance to experiment 

hands-on with kit and techniques, and complete 

some exercises designed to refresh your 

creativity and show you what you can do! 

Over the following two months or so, you’ll 

develop the project work that you began in the 

initial workshop with support online from tutors, 

industry mentors, and the rest of the study 

group. The beauty of this arrangement is that 

you can complete the unit anywhere, putting in 

the hours at any time to suit you. 

We expect that each unit will take around 

200 hours to complete – this includes the 

preparatory reading, workshops, project 

development, online sessions, any viewing or 

reading that you’re asked to do, assignments 

and so on. 

Industry specialists contribute to the residential 

teaching blocks and are also invited to sit in the 

online ‘hot seat’ to debate certain issues and 

answer your questions. 

You’ll negotiate your unit assignments with 

your tutor and can fashion the outcomes of your 

study to suit your personal needs within your 

own employment setting. If you decide 

to undertake the Masters project, this could 

take the form of a research paper, a piece of 

practice-led research integrating scholarship 

and innovative practice, or an innovative 

production project.


Each unit is assessed by a variety of practical 

projects, exercises, presentations, exhibition, 

self and peer-assessment. You can use a variety 

of media for producing assignments, including 

written reports, video, website, animation, 

and photography. 

You can elect to take a unit without assessment, 

but this means that you can’t claim 20 credits 

towards a postgraduate qualification. 

Assessment is designed to enable you to 

demonstrate that you’re operating at Masters 

level and have the capability of leading change 

and innovation in your area of media practice. 

Facil�ies 

The courses use University College Falmouth’s 

first-class Media, Interactive Arts, Design and 

Photography resources. 


Most applicants will have two or more years’ 

professional experience in media or other 

relevant industries. For some of the units, 

you’ll need specific technical or software 

skills (for full details, please look online at 

www.falmouth.ac.uk/pmp). Applicants whose 

first language is not English are required to 

demonstrate their command of written and 

spoken English with formal IELTS certification 

to Level 6.5 




Interviews 

After you’ve applied you’ll have the chance to 

discuss your application with someone from the 

course team over the phone, or are welcome 

to arrange a time to meet them at Falmouth 

in person if you’d prefer. Please contact 

Admissions to set up these conversations. 

Course Leader Dr Christine Truran 

Previously a producer and director at the BBC, 

Christine came to Falmouth in 2000 to launch the MA 

in Television Production. Using her strong industry 

links to benefit her students through guest lectures, 

work placements and production partnerships, 

Christine is keen to bridge the gap between studying 

and employment, creativity and professionalism. 

Her current research explores ‘virtual narratives’ – 

the impact of interactivity on storytelling within 

digital media. 

159

MA 

Profes�onal Wr��g 



www.falmouth.ac.uk/professionalwriting 

Do you want to write a novel or 

screenplay and earn a living from 

writing at the same time? On this 

practical, commercially-focused 

course you can develop the core skills 

required to write flexibly and effectively, 

whether it’s fiction, non-fiction, 

marketing copy, magazine features, 

screenplays or website proposals. 

You’ll learn how to tailor your work to 

competitive and fast-moving markets, 

working on a wide range of projects and 

assignments. You could find yourself 

developing characters for a novel or exploring 

the fundamentals of rhetoric in the morning, 

then commissioning for an online magazine or 

working with an external client on a publicity 

campaign in the afternoon. Some days (and 

nights!) you’ll work on your own initiative, 

at other times as part of a team. 

We’ve built a strong reputation for giving 

talented writers the focused skills and 

knowledge they need to make successful 

careers in many different areas of the 

media industry. 


Our main aim is to help you develop a highquality 

portfolio, together with the confidence 

and professionalism you’ll need to forge a 

successful career. 

All course tutors are professional writers and/ 

or editors, and you’ll also have opportunities 

to learn from some of the country’s leading 

authors and publishing industry insiders. 

Recent visiting speakers have included: 

bestselling novelist Robert Goddard; Somerset 

Maugham Award winner Philip Marsden; 

Green Wing scriptwriter James Henry; Richard 

and Judy Book Club authors Patrick Gale and 

Richard Benson; leading literary agent Mark 

Lucas; and the BBC’s Controller of Continuing 

Drama Series John Yorke, as well as many 

high-profile journalists and copywriters. 

The Professional Writing MA will help you: 

• Gain an understanding of your strengths and 

weaknesses as a writer • Develop core writing 

and research skills that are transferable between 

media and audiences • Explore and develop 

your ideas • Learn valuable editorial and team 

skills • Explore a range of markets and learn how 

to operate within them • Become proactive 

in marketing your work and identifying career 

opportunities • Learn strategies for developing 

and pitching ideas, negotiating, decisionmaking, 

working under pressure and meeting 

tight deadlines • Produce a portfolio of wideranging, 

high-quality material • Become familiar 

with the technology used within the industry 

• Demonstrate to potential employers that you 

can adapt your style to meet any challenge 

MA Professional Writing at Falmouth recognises 

that only by working on real-world projects – 

or projects that simulate real-world conditions 

as closely as possible – can you understand and 

rise to the tough demands of life in the media 

industry. To complete the course successfully, 

you’ll need an appetite for hard work and 

the flexibility to adapt your skills to a range 

of demands.


Full-time 

The full-time MA course runs over 45 weeks, 

October to September. In the first part of 

the course you take two units that focus on 

developing core writing skills across a range of 

formats. You then take two specialist options 

from a selection that includes fiction, nonfiction, 

scriptwriting, features writing and 

writing creatively for business. These enable 

you to focus on your strengths and career 

aspirations and start building a portfolio that 

showcases your abilities. 

You also take a unit focusing on research skills 

and another that introduces you to key aspects 

of the content industry and how to operate 

professionally within it. As you progress, you’ll 

develop a proposal for a longer piece of writing 

in consultation with course tutors. This will form 

the basis for the independent MA project that 

you undertake over the summer months. 

Part-time 

If you want to develop your writing but don’t 

want to quit the day job, relocate or give up 

other commitments, then the part-time option 

could be for you. The part-time course is 

delivered over 90 weeks via a specially designed 

Virtual Learning Environment that allows you to 

take part in seminars, workshops and tutorials 

with tutors and fellow students, listen to and 

interact with visiting speakers, and participate 

in team-based writing and editorial projects. 

Part-time students follow basically the same 

syllabus as the full-time course, but take two 

units focusing on one specialist form of writing 

rather than two units in different specialisms. 

Students who wish to develop projects related 

to their current employment or in order to 

change career path will be able to do so. 


The MA Professional Writing course is delivered 

by practising industry professionals in an 

intensive, practical and vocational environment. 

It’s structured around a mix of terrestrial and 

online seminars, lectures, real-world projects 

and practical workshops, together with a 

substantial amount of self-managed work. 

You’ll be encouraged to learn through project 

work, which may be self-managed or involve 

collaborative learning. 

You’ll be immersed in the world of writing from 

the start of the course, with opportunities to 

gain experience of various different forms before 

choosing a specialist area in which to develop 

a longer project. You’ll be encouraged to work 

in collaboration with other media professionals 

and develop your own projects and/or business 

ideas during your time on the course. 


From the outset, you’ll be encouraged to 

shape your work for publication. Many students 

succeed in placing work in both local and 

national publications while still on the course. 

During the second half of the course, you’ll be 

expected to identify and undertake writingrelated 

work experience, or to carry out an 

industry-focused research project. This feeds 

into an industry analysis that is submitted for 

assessment. For part-time students who are 

also in employment, this analysis could focus 

on a writing-related aspect of their work, 

if appropriate. 

The course works closely with a number of 

media organisations, many of which have 

provided valuable input on professional practice. 

One of these is the leading business writing 

agency, The Writer, which offers a bursary each 

year to an MA Professional Writing student. 

As well as £2,000 towards course fees, the 

winner also benefits from hands-on experience 

at The Writer’s London office. 

161


You’ll complete work to strict deadlines and 

undergo assessment at the end of each unit, 

when you’ll be awarded credit points. Final 

assessment is based on an extended project 

in the form of a negotiated written piece of 

work, accompanied by a critical and contextual 

analysis of the processes that have gone into 

planning and producing this work. 

Facil�ies 

As a full-time student, you’ll be able to use our 

multi-million pound Media Centre at Tremough. 

High-quality equipment available to borrow 

for project work includes mini-disc recorders 

and digital cameras. You’ll also be able to 

use state-of-the-art audio and video studios 

and editing suites, for instance to produce 

podcasts and videos of work scripted as part 

of group projects. 

There are excellent library and information 

services across both campuses, with the library 

database and collections accessible both within 

the College and remotely via the internet. 

Both campuses also offer advanced IT facilities 

with a range of specialist and general software. 

Both full-time and part-time students have 

access to a Virtual Learning Environment (VLE) 

through which to communicate with each other 

and course tutors, critique each other’s work, 

access a range of online resources including 

a dedicated Writing Research Portal and 

collaborate on group projects. Please note 

that access to a broadband-enabled computer 

will be needed for part-time students to take 

advantage of the VLE. 


Car�rs 

In a world undergoing major upheavals in 

response to rapid commercial and technological 

change, building a viable career as a writer 

demands flexibility, professionalism and upto-the-minute 

industry knowledge. These 

enable our graduates to take advantage of an 

exceptionally wide range of opportunities in 

both traditional and new media, as well as in 

the corporate world, where there is growing 

awareness that strong writing skills make 

for good business outcomes. Recent MA 

Professional Writing graduates are working as 

magazine publishers, authors, book editors, 

freelance features journalists, web content 

writers, corporate bloggers, SEO copywriters, 

public relations specialists, educational writers, 

screenwriters and TV script editors. 











Interview 



work. Your portfolio should include examples of 

the range of your work, development of ideas, 





on CD/DVD.


Graduate Profile Elfrea Lockley 

“When you’re in a demanding job it’s easy to get stuck 

in the day-to-day grind, to the extent that you forget 

what’s really important to you. For me, taking the 

course was a way of gaining the confidence as a writer 

that I’d always lacked. It was an amazingly stimulating 

year for me, and signing a book contract made it seem 

all the more worthwhile. To be honest, the book that I 

published last year wasn’t a project that I had in mind 

when I started the course – but one of the best things 

about the MA is that it gives you insights into many 

different kinds of writing. The idea for the book came 

out of attending sessions on creative non-fiction. 

The tutor – a very experienced author and editor 

herself – was extremely helpful in showing us how to 

package and present book ideas for maximum appeal 

to publishers and agents.” 

Course Leader Christina Bunce 

With over 15 years’ experience of working as a news 

reporter, magazine and website editor, author and 

media consultant, Christina’s inside knowledge of the 

opportunities open to professional writers is second 

to none. Determined to differentiate Professional 

Writing at Falmouth by focusing on teaching students 

how to make a living from writing, Christina maintains 

a constant dialogue with key industry players about 

the kind of skills they are looking for in graduates, 

shaping the course in light of their input. 

163

MA Televi�on 

Produ�ion 



www.falmouth.ac.uk/televisionproduction 

This MA is accredited by Skillset, the 

UK television industry’s official training 

organisation, as one of its elite Skillset 

Media Academy courses. The MA has 

been designed to give your career in TV 

the best possible start. Hands-on and 

intensive, it gives you real confidence in 

producing, researching and directing. 

Today’s dynamic, exciting TV industry is hungry 

for talented new entrants with a wide range 

of skills. To succeed, you must be creative, 

professional, a problem-solver and teamworker. 

It’s important to be multi-skilled and 

competent in handling a range of technical 

equipment. You should be full of ideas, and able 

to recognise and tell a good story. 

Learning from experienced producers and 

using our state-of-the-art, industry-standard 

equipment, you’ll benefit from our national 

reputation and strong industry connections. 

In one focused, practical year, you’ll gain 

experience of everything you need to begin 

a successful career in television. 


Our course tutors are all television professionals 

who have close contacts with the industry. 

Passionate about good programme-making, 

they bring in-depth, wide-ranging and first-hand 

knowledge of the medium. 

The course is full-time and runs for one full year, 

from October to the following September. It’s 

intensively practical throughout, giving you the 

chance to develop a wide range of professional 

skills in TV research, directing, and producing, as 

well as real technical competence. You’ll learn to 

direct on location and in the TV studio, research 

and develop ideas for a variety of genres, plan 

and manage your productions, and use our 

industry standard filming and editing equipment 

confidently and creatively. 


Starting with a series of workshops and 

exercises, the MA quickly allows you to become 

a multi-skilled practitioner with in-depth 

understanding of the whole production cycle. 

As you progress, you’ll focus increasingly on a 

specialist area and will be able to identify your 

career entry path. Some students joining the 

course already have technical know-how and 

are able to use the generous access to media 

resources and our supportive technical staff to 

develop their ideas and skills still further. Others 

are media beginners, and start the year with a 

broad-based technical induction. By the year’s 

end, the whole group is multi-skilled, able to 

work in a variety of production roles and crew 

for one another. 


The work is hands-on, intensive and 

professionally focused. It’s taught through a 

mixture of practical workshops, seminars and 

tutorials. Following a series of workshops and 

short practical exercises in production and 

technical areas, the work quickly moves out 

of the classroom and onto location.

You’ll work with other students in small 

production teams that mirror industry practice, 

and sometimes meet at weekends and evenings 

when your productions require. As your work 

progresses, your tutors will guide it closely and 

give regular feedback in individual and small 

group tutorials. 

Professional pra�ice 

Regular visiting lecturers from top industry 

professionals ensure that you’re constantly in 

touch with cutting-edge programme-making 

and have access to a network of mentors and 

work experience opportunities. The course team 

works closely with the TV industry to make 

sure that we offer you the right combination 

of professionalism, hands-on experience and 

creative challenges, so that you can develop 

the skills that employers require. 

Developing your own productions is the 

keystone of the course. Constantly supported 

by your tutors, you’ll be encouraged to initiate, 

develop and research ideas for programmes. 

With regular practice, you’ll gain confidence in 

pitching your ideas to commissioners. As your 

creativity and professionalism build, you’ll be 

able to produce increasingly demanding projects 

and work effectively in a variety of roles and 

programme formats. 

In the final term, you’ll produce a portfolio 

(including DVDs, production files and online 

contributions) that shows the range and quality 

of your work and is your ‘calling card’ for 

entrance to the industry. 

In addition to producing your own projects, 

you’ll work closely with other students and 

crew on their productions. This teamwork is 

a vital part of your learning, since professional 

production work is mostly team-based. 

As well as helping you to negotiate and 

communicate in a group, teamwork gives 

you confidence in a broad range of production 

and technical roles, and enhances your CV 

and showreel. 


You are assessed through a portfolio of 

production work, with some written 

assignments. Assessment at Falmouth is 

regarded as part of the personal learning 

process. Therefore you’ll be asked to develop 

peer and self-evaluation skills, which will be 

used in critical, conceptual, productive and 

professional capacities. 

Facil�ies 

Falmouth’s facilities are second to none, and 

you’ll work in our recently refurbished, multimillion 

pound Media Centre. You’ll have 

generous access to a full range of equipment for 

studio and location work, including broadcast 

standard cameras, editing suites, a ProTools 

recording studio, a Digital Production Suite 

with a Virtual Studio that uses the latest media 

technology, and a fully digital multi-camera TV 

studio and gallery. 

Car�rs 

As a graduate of MA Television Production at 

Falmouth, you’ll stand out from the crowd: 

the industry recognises our students as bright, 

focused and extremely motivated. We’re 

justifiably proud of our graduates’ successes in 

the industry. Of course, we can never guarantee 

that you’ll secure a job in TV, but the vast 

majority of our students do; and once they’ve 

found their first job, they tend 

to move upwards quickly. 

165

Our graduates have a broad range of skills and 

work across the industry, throughout the UK, 

in Europe and around the world. Examples of 

recent graduates’ jobs include: researchers 

for a variety of programmes including 

documentaries, light entertainment, daytime, 

children’s and features; work in TV drama as 

runners, assistant directors and assistant script 

editors; development researchers who come 

up with new ideas for TV programmes; and 

assistant editors, assistant sound recordists 

and assistant camera operators. 



equivalent combination of academic and 

professional experience. 








Interview 

UK applicants will normally be required 

to attend a selection interview. EU and 


interviewed by telephone rather than 

in person. 


MA Television Production on location at Ben Nevis 

Graduate Profile Ben Knapp 

Currently a Creative Producer for Channel Five within 

the marketing department, Ben works on a range 

of promotional on-air material which is centred on 

making trailers for new shows and movies. “This 

entails everything from brainstorming to script 

writing, as well as directing live action shoots and 

cutting clip-based trailers,” he says. “It’s a tight 

turnaround and a busy environment, which can be 

highly satisfying – seeing your work go out on air so 

regularly. Falmouth really allowed me the freedom 

and inspiration to develop my skills and prepare for 

the industry.” 

Course Leader Dr Christine Truran 

Previously a producer and director at the BBC, 

Christine came to Falmouth in 2000 to launch the 

MA in Television Production. Using her strong 

industry links to benefit her students through 

guest lectures, work placements and production 

partnerships, Christine is keen to bridge the gap 

between studying and employment, creativity and 

professionalism. In her research, she’s interested 

in exploring virtual narratives – the impact of 

interactivity on storytelling within digital media. 

167

Personal Profile / MA Televi�on Produ�ion graduate: 

mart� 

conway 

the 

apprentice 

“The pra�ical nature of Falmouth's 

MA enabled me to enter the �du�ry 

w�h greater confidence.” 


Working on hit BBC television series like The Apprentice may seem like a dream for 

many aspiring producers and directors, but for Martin Conway it’s now a reality; 

one born from hard work, dedication and solid grounding in programme-making 

that began during his time as an MA Television Production student at Falmouth. 

The practical nature of Falmouth’s MA 

enabled me to enter the industry with a 

greater confidence. It’s a very professional 

environment. You have to come up with 

programme ideas that you then pitch to a panel 

of tutors, who then commission them. 

You learn about the process of developing 

an idea, how to write a proposal and the 

language you learn to use mirrors that of the 

industry. It’s a very practical course too. You 

learn about the nuts and bolts of programme 

making at every level; how to be a camera 

operator, how to record sound, how to edit. All 

the equipment is industry standard. 

You can angle what you do towards your 

interests. I always wanted to be a director and 

I wanted to edit and the course allowed me to 

do this. 

All my lecturers were industry professionals; 

my director tutor was a commercial director 

who ran his own production company in Soho, 

my producer tutor also had his own production 

company and the course leader was an ex-BBC 

producer. The whole ethos of the course was 

built around what happens in the real world. 

Just like in the industry, we had to find the 

best people to provide the components we 

needed to make our programmes – so we 

worked closely with the Creative Advertising 

and Multimedia Broadcast Journalism 

courses. It gets you used to collaborating. 

Much of TV is a collaborative process; layers 

and layers, from cameramen and soundmen to 

editing. You have to opportunity to try all of it. 

The skills I acquired at Falmouth meant that 

I could progress quicker. I would have never 

called myself a cameraman but Falmouth meant 

that if someone put a camera in my hands on a 

shoot, I’d get something decent. The same goes 

for editing. The first time I was put in an edit as a 

researcher was less scary because I had been in 

that position before at Falmouth. 

I’ve worked on all five series of The 

Apprentice and I’m about to start work on 

the sixth. I started as a researcher and have 

progressed every year to what I always 

wanted to do – a producer/director role. I’m 

involved in the casting; I set up, film and edit 

the shows. It’s the TV I always wanted to make; 

well-made, well-liked TV that a lot of people 

watch and I’m very proud to be associated with 

the programme. 

In the current environment, a course like 

Falmouth is even more worthwhile. There are 

so many people who want to work in television 

and if you’ve got that foundation and those skills 

it might just make you stand out when someone 

is going through hundreds of CVs. Falmouth 

is recognised in the industry; it has become a 

brand name. 

169

172 Why Falmouth? 

173 Your MPhil/PhD 

174 Arts & Environment 

175 3D Di�tal Produ�ion & Di�tal Economies 

176 Di�tal Media & Ne�orked Commun�ies 

177 Contemporary Performance Pra�ices & their Context 

177 New Development: User-Led De�gn & Su�a�able De�gn 

178 Resear� & Innovation Le�ure Series 

179 Apply�g for Resear� at Falmouth 

180 How Resear� Proje�s are Stru�ured 

181 �e Arts & Arts Resear� � Cornwall 

181 Onl�e Resources 

181 Vi�t�g Fellows 

181 Car�r Opportun�ies 

181 Equal Opportun�ies 


At Univer�� College Falmouth, 

resear� is about the social application 

of creative knowledge through an 

�terdisc�l�ary approa� to art, 

de�gn, new media and performance. 

Our empha�s is on pra�ice-led, 

user-led and cr�ical �quiry that is 

�formed and enabled by hi�ory and 

theory, and a�entive to global �anges 

� te�nology and environment. 

resear� 

171

Are you a �ture leader � the creative 

�du�ries? �eatre makers and arti�s, 

cra��eople, de�gners, �oreographers, 

curators, cr�ics, mu�cians and 

theori�s will all find appropriate 

mentor�� as they pursue a PhD 

w�h our �ternationally recognised 

resear� �aff. 

Why Falmouth? 

Falmouth performed well in the recent 

Research Assessment Exercise (RAE), 

a periodic assessment of the quality 

of research, subject by subject, in UK 

higher education institutions. 

Overall, our research funding has increased by 

18% (compared with a sector average increase 

of 8%). We performed particularly well in two 

areas: Drama, Dance & Performing Arts (where 

55% of the work submitted was judged to be 

‘world-leading’ or ‘internationally excellent’) 

and Art & Design (where 30% of the work was 

judged to be ‘world-leading’ or ‘internationally 

excellent’). Combine this level of excellence 

with the consistent league table standings 

earned through years of teaching excellence 

and attention to learning and Falmouth is an 

excellent choice for research degree study in the 

arts and design. 


Falmouth embodies a unique mix of research 

and depth of expertise in the areas of arts and 

environment, craft and 3D digital production, 

and networked digital communities as well 

as drama, dance, music and new media. 

We also have a depth of expertise in art and 

design history/theory and writing in and for 

performance. In addition, we’re working on 

the development of an exciting new Academy 

for Innovation & Research; ‘AIR’ will begin 

programming and delivery in 2010 with live 

briefs and design innovation for public and 

private business and industry. 

Falmouth is an emerging hotbed of social, cultural 

and intellectual innovation. The landscape, the 

laidback lifestyle and the passion for the best of 

the old and the spark of the new all resonate well 

in the crisp sea air of the South West.

Autonamatic 

Your MPhil/PhD 

If you have a special area of interest in 

art, design, media or performance that 

you’d like to develop, University College 

Falmouth is dedicated to facilitating 

your research. 

We offer a dynamic research culture, which 

includes collaborative partnerships with the 

University of the Arts London and the University 

of Plymouth as well as colleagues at the 

University of Exeter. 

As a research degree student you’ll work within 

your chosen field to develop focused research 

questions, an understanding of the historical 

and contemporary context that defines that 

field and a proper research methodology. You’ll 

be mentored by recognised experts in your field, 

known for the work they make, their thinking 

and writing and their connections with 

international artists, designers, professional 

experts and industry leaders. You’ll be embraced 

within a dynamic resident community of over 25 

PhD students who also support your progress. 

Each winter we announce a Studentship 

Competition which is nationally and 

internationally competitive. We attract 

studentships from, and work closely with, 

prestigious external agencies; for example, 

doctoral students have worked with Tate St Ives 

and the Eden Project. We have also secured the 

Alessi Design Research Studentship in Creative 

Enterprise – a collaboration between the College 

and the prestigious Italian design factory. 

At Falmouth you can develop your own voice 

amongst a community of internationally 

recognised researchers working at the edge of 

Cornwall’s fabulous landscape and seashore. 

Contact our research administrator at 

airmail@falmouth.ac.uk to find out more or to 

be added to the Falmouth research mailing list. 

173

RANE 

Our resear� focuses on issues that 

are nationally and �ternationally 

�gnificant but particularly pert�ent 

to Cornwall. Specific themes for whi� 

Falmouth has e�abli�ed �rengths 

and demon�rable a�ievement 

– and will cont�ue to comm� 

�rther �ve�ment through new 

PhD �udent��s and professorial 

appo�tments – �clude: 

Arts & Environment 

Through a pioneering research seminar 

and conference series, Falmouth 

has played an international role in 

examining the relationship between the 

visual arts and ecological thinking. 

Through research collaborations between artists 

and scientists, we continue to explore how the arts 

and design can make a contribution to human 

perception and understanding; exploring what 

we value and how we can creatively respond to 

our rapidly changing 21st century environment. 


The RANE research group (Research into Arts, 

Nature and the Environment) is committed 

to making a lasting contribution to Cornwall’s 

unique environment through an exploration of 

sustainable futures and by recognising the 

region as an ideal context for its creative research 

projects, public lectures and conferences. 

These include the Comprehending Nature 

lecture series; the Artful Ecologies biannual 

international conferences; a Responding to 

Climate Change day and numerous publications. 

Researchers in RANE have specialist skills in art 

and photography, sculpture, installation and 

public art, as well as garden design, user-led 

landscape planning and environmental aesthetics. 

Recent projects and publications have included: 

• Examining algae growth and its photosynthetic 

response to light • Exploring the ways in which 

evolution and the human brain have shaped the 

nature of our internal experience and the role of 

vision in this process • Social Cycles; a free

Drummond Masterton 

bicycle project examining the relational aesthetics, 

physical dangers and political networks that 

developed around pushbike transport Cornwall 

• ‘Art Nature and Aesthetics in the Post Industrial 

Public Realm’. in France, R. (Ed.) Healing Nature, 

Repairing Relationships: Restoring Ecological 

Spaces and Consciousness. Chicago, ILL: Green 

Frigate Books (2008). 

Our researchers have links with Cape Farewell, 

the Environmental Change Institute at Oxford 

University, the Eden Project, the Centre for 

Contemporary Art and the Natural World, the 

Landscape Research Group, the Royal Society 

for the encouragement of Arts, Manufactures 

and Commerce (RSA) and the Chartered 

Institution of Water and Environmental 

Management (CIWEM). 

http://rane.falmouth.ac.uk 

3D Di�tal Produ�ion 

& Digital Economies 

Falmouth has enjoyed significant 

achievements in its practice-based 

research exploring digital technologies 

in relation to autonomous craft 

practices, with particular emphasis on 

collaboration, accessibility, scales of 

production and how manufacturing is 

changing through digital technologies. 

The Autonomatic research team have been 

successfully exploring ways of integrating 

computer-aided design and manufacture with 

traditional making skills, challenging perceptions 

of the boundaries between craft and industrial 

production with the aim of developing 

contemporary craft processes for 21st century 

design practice. 

Cornwall provides the perfect backdrop for their 

research; as a region of beauty, relative isolation 

and a history of artistic endeavour, it presents 

great challenges and opportunities for developing 

new ways of designing and making that exploit 

the creative potential and connectivity of digital 

technologies as well as new business approaches 

to flexible small-scale production that connect 

with a global economy through the web. 

Researchers combine specialist skills in 

ceramics, metalwork, plaster, plastics and mixed 

media with digital tools to work on individual 

and inter-disciplinary collaborative projects with 

academics and professionals. 


• Online digital interfaces for creating bespoke 

objects • Deconstructing digital tools in software 

• Exploring post-industrial manufacturing 

through digital decal processes • ‘Coded 

Ornament: Contemporary Plasterwork and the 

Use of Digital Technologies’ in The Design Journal, 

Volume 10, Issue 2 (Ashgate Publishing Ltd). 

www.autonomatic.org.uk 

175

Di�tal Media & 

Ne�orked Commun�ies 

Falmouth’s focused research into the 

creative, critical and transdisciplinary 

use of new media has led to a number 

of international exhibitions, conference 

papers, publications, online galleries 

and interactive events. Our intent is 

to provide a research focal point for 

networked creative communities 

in Cornwall. 

The iRes research group has been researching the 

relationship between networks and art, art and 

technology, distributed networks and protocols, 

new media curating, media art and theory, the 

impact of digital media on contemporary culture, 

and the changing relationship between audience, 

curator and artist. 


Our researchers are specialists in net art, 

transmedia art, performance and sound-based 

art practices, and have worked closely with 

Tate Modern, the London Consortium, Birkbeck 

College, the Goethe Institute and the University 

of Exeter. 


• Disrupting Narratives: an event at Tate Modern 

• Examining the role of the curator within realtime 

online participative events, in collaboration 

with a consortium of four research groups from 

European universities • Making a feature-length 

foreign film shot entirely on a mobile phone in 

Cornwall, screened in Streaming Museum – 

a hybrid museum for cyberspace – and public 

space on seven continents • ‘Producing for Web 

2.0’ (Routledge, 2009), and ‘The Cyberspace 

Handbook’ (Routledge, 2004). 

www.ires.org.uk

Contemporary Performance 

Pra�ices & their Contexts 

(Choreography, Mu�c, 

Devised �eatre & 

Performance Wr��g) 

Research in Contemporary Performance 

Practices at University College Falmouth 

has always been akin to a shared 

conversation and, at the same time, 

acknowledges the more usual pursuit 

of the individual specialisms in fields 

of expertise. 

Within the institution there’s a history of 

collaboration across disciplines, and within 

the School of Art & Performance a number 

of key themes have emerged that have 

provided further motivation for the cross- and 

transdisciplinary conversations. 

These include – though by no means exclusively: 

site-specific and site-generic work; embodied 

practices or work involving the body; curatorial/ 

editorial practices; mixed media practices and 

performance or performativity. 

Research activity within the School is open 

to everyone and a range of work in progress 

including performances, recitals, exhibitions, 

screenings and workshops is presented during 

term-time. The work of visiting artists and 

other academics also forms part of our ongoing 

activity. In addition, there’s a lively series of 

cross- and inter-school research seminars 

involving colleagues’ current areas of research 

and allowing stimulating discussion in an 

informal atmosphere. 

New Development: User-Led 

De�gn & Su�a�able De�gn 

Following a symposium on sustainable 

architecture and design in Cornwall 

hosted by the Design Centre in 

collaboration with RANE, Transition 

Falmouth and Transition Truro 

– Falmouth is extending its research into 

these areas. 

The initiatives coincide with the onset of Dott 

Cornwall and the Academy of Innovation and 

Research (AIR). A number of new research 

studentships in these areas have recently been 

awarded and the College is actively encouraging 

proposals and seeking new levels of expertise in 

user-led design of sustainable products, services 

and places. 

Contact Us 

For more information about research and 

doctoral study at Falmouth, please contact 

Professor Tim Collins, Director of Research and 

Graduate Studies at airlift@falmouth.ac.uk 

For information about how research at Falmouth 

can support your business through a dedicated 

studentship, live briefs, student/staff placement, 

strategic innovation in either manufacture, 

design or new product development please 

contact John Miller, Programmes Manager 

for the Academy for Innovation & Research at 

airsupport@falmouth.ac.uk 

177

Our resear� �tere�s are �ared 

and dissem�ated through �� public 

le�ures and presentation of worldclass 

arti�s, de�gners, new media 

experts and performers. �e Resear� 

and Innovation Le�ures are �tended 

to delight and �form, �allen�ng us 

all to new levels of sophi�ication about 

process and produ�, the form and 

�n�ion of both contemporary and 

hi�oric cultural �du�ries. 

Resear� & Innovation 

Le�ure Series 

This programme was inaugurated with 

important public lectures from Falmouth’s 

visiting professors. The programme 

aims to stimulate intellectual curiosity 

and a dialogue amongst our creative 

community and alumni, research 

collaborators, industry partners and 

regional leadership, as well as the 

local communities. 

The lectures are advertised throughout Cornwall, 

are free and open to the public, presenting a 

mixture of artists, designers and performers; 

international experts at the leading edge of their 

professional disciplines. The programme reflects 

the College’s unique research environment and 

our belief in the necessity of rigorous worldclass 

contributions to Cornwall. 


Recent speakers have included: 

Michael Grandage: Artistic Director of the 

Donmar Warehouse. Edward Barber: a founding 

partner of Barber Osgerby, recently named Royal 

Designers for Industry by the RSA. Emily Bell: 

Director of Digital Content for Guardian News 

and Media. Andrew Chitty: the managing 

director of Illumina and editor of the BBC series, 

The Net. Robin Rimbaud (aka Scanner): British 

sound artist. Luella Bartley: Designer of the 

Year at the British Fashion Awards in 2008.

Apply�g for Resear� at Falmouth 

Our Resear� Profile & You 

As a research student you’ll be among students 

and staff with interests which may stimulate 

your thinking in new ways, while you advance 

along your chosen path. We aim to encompass 

the best in traditional research values and 

methods, a thorough grounding in your chosen 

field, training in the use of primary resources 

and a philosophically rigorous approach. We 

look to the future, seeking the new directions 

which will be relevant to the next generation of 

practitioners, teachers and scholars. 

Researchers at University College Falmouth 

span the disciplines of visual art, design, media, 

choreography, live art, music, theatre and 

writing. The College has an established tradition 

in Fine Art and Design practice, the History of 

Modern Art & Design, and in engagement in the 

problematics of contemporary performance. 

Su�abil�y & Types of Proje� 

We support a range of modes of research, from 

research that culminates wholly in a written 

thesis to that which engages practice and 

theory in conversation with each other and 

might result in a submission that includes a 

significant element of practice. The acceptability 

of your proposal will depend on its quality and 

manageability and our ability to meet your 

resource and supervision needs. Tutorial support 

and guidance is built around each individual 

project and supplemented with regular seminars 

on research methods and relevant issues in 

theory or practice. 

Although there must be some written 

component to any doctoral submission, we do 

not constrain theory-practice investigations 

with prerequisites as to the form of work or 

make precise demands about the proportion of 

written text to art production. Rather, we aim to 

treat each submission according to the demands 

of the investigation it entails. 


A Masters award is desirable. You should have 

a first degree (2:1 or above) and/or significant 

demonstrable experience in a relevant discipline 

or industry. Applications should normally be 

submitted by January in order to meet funding 

deadlines, although later applications may also 

be considered. You are encouraged to contact 

Admissions in the first instance to discuss 

your plans. 

You’ll then be advised as to whether we have a 

potential supervisor for your project, and 

perhaps put you in touch with one of our Research 

Co-ordinators or other suitable members of 

staff. They can offer guidance, if required, 

in completing the application form and will 

discuss how we might meet your needs with 

the provision of specific resources. After this, a 

formal application is necessary and a decision 

will be made whether to proceed to interview. 

Where relevant, evidence of practical work 

should be presented with your application form, 

if this has not already been requested. 

Resear� Sem�ars & Le�ures 

Falmouth offers a full range of lectures and 

seminars with internal and external speakers. 

These range from formal presentations to 

informal groups, which are open to staff and 

students who wish to pursue work collectively, 

or who simply wish to join an open discussion 

or a reading group. Although the nature of 

studying for a PhD necessitates solo research, 

the infrastructure at Falmouth ensures that this 

does not mean working in isolation. We have the 

flexibility to foster the free and open generation 

of ideas with an appropriate level of support 

where desired. 

179

How Resear� Proje�s 

are Stru�ured 

The precise structure you follow will depend 

on whether we register you with the University 

of Plymouth or the University of the Arts 

London. All students begin with a Research 

Foundation Programme which runs alongside 

early supervision and provides methodological 

support and a context for sharing approaches. 

You’ll concentrate in the first months on firming 

up your proposal, testing out your decisions about 

method and surveying the field to ensure your 

are fully up-to-date with other relevant research. 

When your proposal has been confirmed you’ll 

work towards ‘transfer’ or ‘confirmation of route’. 

Transfer means that your intention to proceed to 

a PhD can be confirmed on the basis of your 

progress so far. Alternatively, you may decide that 

the shorter research degree of MPhil is more 

suitable and may wish to confirm this. Transfer is 

effected by presenting a summary of your plans 

for the rest of your project, together with a 

substantial piece of work, either in written or other 

appropriate form as agreed with you supervisor. 

Professor Jason Whittaker (School of Media) 

Jason is an acknowledged expert on William Blake. 

He has authored William Blake and the Myths of 

Britain (Palgrave, 1999); Radical Blake: Influence and 

Afterlife from 1827 (with Shirley Dent, 2002); Blake, 

Modernity and Popular Culture (with Steve Clark, 

Palgrave, 2007) and many articles about Blake’s 

influence on contemporary writers, artists, filmmakers 

and musicians. He has also published extensively on 

new media and print cultures, including Producing for 

Web 2.0 (Routledge, 2009), Magazine Production 

(Routledge 2008) and The Cyberspace Handbook 

(Routledge, 2004). It’s for his work on Blake, however, 


At this stage, the form of your final submission 

will be agreed, and this is only changeable in 

exceptional circumstances. Full-timers are 

expected to complete within 3-4 years; parttimers 

within 4-6 years. 

Normal registration periods* 

MPhil Minimum / Maximum 

Full-time 1 years / 3 years 

Part-time 2 years / 4 years 

PhD Minimum / Maximum 

Full-time 3 years / 5 years 

Part-time 4 years / 6 years 

*Minima and maxima for PhD include the initial 

period of MPhil registration. The regulations of 

our awarding partners may vary. 

that Jason has had the most significant influence, 

particularly in extending understanding around the 

reception of Blake’s work in the late 20th and early 

21st centuries. His current research projects include 

exploring the relations between Blake, the Cornish 

potter, Bernard Leach, and Japanese philosopher and 

founder of the mingei (folk art) movement, Soetsu 

Yanagi, as well as a projected book and forthcoming 

papers on the hymn, Jerusalem in the 20th century. 

“The more I research William Blake, the more I discover 

his influence on a wide range of contemporary figures,” 

he explains. “I am very honoured to receive this 

professorship for a subject that I feel so inspired by.”

�e Arts & Arts Resear� 

� Cornwall 

Cornwall has for a long time attracted artists 

and writers. Some of the most well-known 

include D.H. Lawrence, W.S Graham, John 

Betjeman, the American poet HD (Hilda Dolittle) 

and the renowned Newlyn and St Ives Schools 

of artists, incorporating major figures such as 

Barbara Hepworth, Ben Nicholson and 

Naum Gabo. 

University College Falmouth, together with 

institutions such as the Newlyn Art Gallery/ 

The Exchange and Tate St Ives, is working to 

build understanding of this rich history and to 

reappraise it for the 21st century. 

The cultural significance of ‘remote’ places is no 

less than that of metropolitan ‘centres’ and the 

far west maintains links with urban sites, while 

sustaining its own rich cultural scene. 

Onl�e Resources 

The College is fully networked, with strong and 

developing online resources and a specialist arts 

library. It is now possible to enjoy the benefits 

of an exceptionally congenial environment 

and climate away from city pollution, costs 

and strains without losing contact with major 

research resources. 

Roger Bourke, Principal Lecturer in Art, is an artist 

who works with installation video and sonic media. 

He has exhibited all over the world, most recently in 

Japan. Part of his continuing enquiry has been into 

“scenographies of the felt”, and a 2006 show, Still Life: 

Nature Morte, is one of a series of video installations 

that draws on the Still Life tradition where Roger 

has attempted to re-work relationships between 

object, materiality and video image, questioning the 

conventional delineations of sense and perception, and 

to explore what differentiates the lived-out moment 

Vi�t�g Fellows 

We welcome applications from suitably 

experienced and established practitioners who 

may wish to take up the opportunity of a Visiting 

Fellowship at University College Falmouth for 

a period of three months to one year. Please 

contact the Deputy Rector, in the first instance, 

to discuss possibilities. 

Car�r Opportun�ies 

Our research graduates have gone into 

professional practice, worked in media, 

undertaken university post-doctoral research 

fellowships, and taught within higher education. 

Equal Opportun�ies 

Applicants are considered solely on the basis 

of their academic and artistic or professional 

record, their suitability for the work proposed 

and the quality of their proposal. 

There are many advantages to working in a 

research environment that is intimate and yet 

heterogeneous in composition and outlook. 

We welcome applications from international 

and EU students and from all members of the 

British community. 

from other cognitive experiences invoked by 

iconography, representation, memory and narrative. 

He also produced a commissioned installation in 

Holy Trinity Church,York as part of LUX 2008, York 

St John University’s third annual contribution to 

the city’s Illuminating York, a festival of light-based, 

site-responsive contemporary art. The installation 

responded to the unique character of the box pews, 

which undulate like a sea swell across the interior floor 

plan. It also draws on the human, intimate scale of the 

church and its sight-line relationship with the much 

larger and grander Minster. 

181

Professor Emilyn Claid (School of Art 

& Performance) Emilyn Claid is Professor of 

Choreography at UCF. After an early career as a 

ballet dancer Emilyn was a pioneer of the New Dance 

movement in the 1970s as a member of the X6 Dance 

Collective. Following 8 years as Artistic Director 

of Extemporary Dance theatre in the 1980s she 

worked as an independent dance artist, performing, 

choreographing and undertaking commissions for 

companies such as Phoenix, CandoCo and Ludus. 

In the mid 1990s she completed her PhD research 

with a focus on androgyny and ambiguity in dance 

theatre performance. In the late 1990s, Emilyn 

was one of the first to receive a 3-year Fellowship 

from the Arts & Humanities Research Council 

(AHRC), which was followed by a large grant to 

pursue the choreographed performance and writing 

collaboration, Embodying Ambiguities. 

Her book ‘Yes? No! Maybe… Seductive 

Ambiguity in Dance Theatre Performance’ was 

published by Routledge in 2006. Her article ‘Still 

Curious’ will be published in the new Routledge Dance 

Reader in 2010. Current research projects include the 

role of researcher for the DansCross project between 

Chinese and Western choreographers, set up by 

RESCEN and held at the Beijing Dance Academy. 

Emilyn is training as a Gestalt 

psychotherapist and investigates relational practices, 

drawing together Gestalt tools with studio based 

devising processes to facilitate creative processes. 

Emilyn’s research interests include performer/ 

spectator relations, phenomenological enquiry of 

bodies in performance, identity politics, linearity/ 

fragmentation of movement languages, devising/ 

collaborative methodologies and performance/ 

writing exchanges. ‘At Falmouth I can offer support 

to another generation of researchers to pioneer – 

to question, challenge, critique and refigure existing 

forms. We can build a new environment where 

choreography retains specificity to dance while 

confidently stepping out into collaborative and ecological 

dialogue with other arts and performance practices’. 


Dr David Prior, Senior Lecturer in Music: 

Composition and Digital Media, is currently working 

in a collaboration with the architect Frances Crow 

entitled Liminal. Liminal has just been awarded a grant 

from the Wellcome Trust for Tranquillity As A State 

Of Mind, a project to research the contexts in which 

the act of listening itself might be contemplated. One 

likely outcome of the research is an exhibition outlining 

a proposal for a structure – a listening aid for the 

listening-impaired society – which would be placed in 

a particular community in the UK. 

In 2007 Liminal were appointed the lead 

artists on the Cotswold Water Park 20-year strategic 

plan and they were subsequently commissioned to 

complete a Song Pole for the Water Park. This is a 

listening device which encourages visitors to reflect 

on the act of listening. It’s a tall bird box made out of 

green oak and designed to provide a nesting site in the 

spring. A microphone provides the aural equivalent 

of a microscope and, by listening closely; it becomes 

possible to hear the intimate habits of the nesting 

birds. At other times of the year the Song Pole acts 

as an “ode to absence”, a monument to the sound 

it celebrates and is designed to act as a catalyst for 

listening. A specially commissioned text by Larry 

Lynch has been carved in the oak on the themes of 

sound and absence). 

Larry Lynch, Director of Writing: Larry’s recent work 

with David Prior has included a series of videos, with 

the addition of text that is read in a live performance. On 

What It Might Mean to be Spinning was commissioned 

for the opening of the Jill Craigie cinema at Plymouth 

University. The film shows Larry on the top of a 

Cornish church tower, spinning wool and also spinning 

around, looking at the surrounding landscape. The 

film was shown and at the same time Dr John Hall 

read the text, Spun, written by Larry, to the audience. 

In broad terms Larry is concerned with the idea of 

performance and the idea of writing, terms which he 

sees as a contested and difficult relationship. He is also 

working on an enhanced understanding of language 

and subjectivity. Larry studied writing at Dartington 

together with Gregg Whelan of Lone Twin.

�e follow�g pages are de�gned to 

answer some of your mo� �portant 

que�ions � a clear and acces�ble way. 

How do I find out more? How do I 

apply? How do I find somewhere to 

live? How do I pay for �? We’ve got � 

covered here. We’ve also provided 

conta�s, web�tes and phone 

numbers you can use to find out more 

�formation if you n�d to. Please f�l 

�� to conta� us at any t�e if you 

n�d anyth�g else – we’re here to 

make � ea�er for you. 

what 

next? 

183

Open Days & 

Po�graduate Fairs 

Web: www.falmouth.ac.uk/opendays 

Email: opendays@falmouth.ac.uk 

Telephone: 01326 213706 

Hopefully this prospectus has given you a 

good flavour of what makes University College 

Falmouth so special, but the best way is to come 

and see it for yourself. Undergraduate Open 

Days and Postgraduate Fairs are held each term 

to enable you to find out about our courses, 

meet students and staff, tour the campuses and 

view our excellent facilities. 

Undergraduate Open Days 

These Open Days include detailed presentations 

on our undergraduate courses, and information 

on fees and finances, admissions and 

accommodation, Student Services and the 

Students’ Union. They are generally aimed at 

potential undergraduate and Foundation Studies 

students, but potential postgraduate students 

are more than welcome to attend. 

• Saturday 10th October 2009 

• Friday 30th October 2009 

• Saturday 16th January 2010 

• Friday 19th February 2010 

• Tuesday 22nd June 2010 (coincides with 

undergraduate end of year shows) 


Po�graduate Fairs 

These fairs are aimed specifically at meeting the 

needs of potential postgraduate students. 

You’ll meet staff and current students and 

discover first-hand how postgraduate study at 

Falmouth can fast-track your career. 

• Friday 13th November 2009 

• Friday 12th February 2010 

• Wednesday 23rd June 2010 (coincides with 

undergraduate end of year shows) 

Book�g a place 

As these events are very popular, attendance is 

by advance booking only. Bookings can be made 

in the following ways: 

Online booking form: follow the instructions 

on www.falmouth.ac.uk/opendays 

Telephone: 01326 213706 

Email: opendays@falmouth.ac.uk 

Please leave a message including your name, 

telephone number and email address, and we’ll 

contact you to confirm your booking. When 

we receive your booking, you’ll automatically 

be sent further information a couple of weeks 

before the date of the Open Day. 

Term dates 

Please visit The College section of 

www.falmouth.ac.uk for a full list of term dates.

How to Apply 

How to apply to our postgraduate courses if 

you’re a UK or EU student: 

Web: www.falmouth.ac.uk/admissions 

Enquiries about all our postgraduate courses 

other than MA Choreography, MA Devised 

Theatre and MA Contemporary Music should 

be addressed to: 

Email: admissions@falmouth.ac.uk 

Telephone: 01326 213730 

Post: Admissions, University College Falmouth, 

Woodlane, Falmouth, Cornwall TR11 4RH, UK 

Enquiries about MA Choreography, MA Devised 

Theatre and MA Contemporary Music should be 

addressed to: 

Email: admissions@dartington.ac.uk 

Telephone: 01803 861620 

Post: Admissions, University College Falmouth, 

Dartington Campus, Totnes, Devon TQ9 6EJ, UK 

We welcome applications from students 

with appropriate qualifications, equivalent 

qualifications, prior learning/experience and 

a demonstrable interest in their subject. We 

welcome students of all ages, from all countries, 

from all backgrounds and cultures, and from all 

walks of life. 



UKPASS: www.ukpass.ac.uk. Applications for 

Research places should be made direct to the 

Admissions Department using the contact 

details above. 

If you’re an EU student from outside the UK 

wishing to study a course through distance 

learning, please contact Admissions as there 

may be funding implications that you need to 

be aware of. 

If you wish to study for a qualification that is 

equal to or lower than a qualification you already 

hold (the ELQ rule), please contact Admissions 

as there may be funding implications that you 

need to be aware of. 

We’re also committed to widening access to our 

courses, as well as higher education in general, 

and are engaged in a number of outreach 

programmes to help achieve this. Applications 

for all postgraduate courses, including MPhil/ 

PhD Research, can be submitted at any time 

– but you’re advised to apply as early as possible 

as we allocate places as applications are received. 

How to apply if you’re an 

�ternational �udent 

Web: www.falmouth.ac.uk/international 

Email: international@falmouth.ac.uk 

Telephone: +44 (0)1326 213794 

Fax: +44 (0)1326 370725 

Post: The International Office, University 

College Falmouth, Woodlane, Falmouth, 

Cornwall TR11 4RH, UK 

Please contact the International Office in the 

first instance for further information and a preapplication 

form using the contact details above. 


courses should then be made using the 

UCAS facility UKPASS: www.ukpass.ac.uk. 

Applications for Research places should be 

made direct to the International Office using 

the contact details above. 

185 185

APL/APEL 

The accreditation of prior learning (APL) or 

accreditation of prior experiential learning 

(APEL) is a process which enables people of all 

ages and backgrounds to receive recognition 

and formal credit for learning acquired in 

the past. This might have been through the 

successful study of a qualification (or part of 

a qualification) or through learning gained 

via work and business experience. There is no 

national common policy on APL/APEL although 

many institutions have developed very exacting 

and sometimes highly individual procedures to 

deal with this process. 

APL is the account taken of traditional study or 

course-based learning that has been formally 

assessed by an educational institution and 

resulted in the award of a qualification or partcredit 

for an uncompleted course of study. 

APEL is the account taken of learning experiences 

gained through life, work or business that by 

their nature cannot be evidenced through 

formally assessed certification. For example, 

you may have been running your own business 

as a designer for several years and wish to gain 

entry to a related MA subject. The APEL can be 

used to enable the College to assess the skills 

and knowledge base you have gained through 

your relevant work experiences. 

For further information on APL/APEL and to 

find out if your prior learning and/or experience 

might qualify you for entry on to one of our 

courses, please contact the Admissions Office. 

Web: www.falmouth.ac.uk 

Email: admissions@falmouth.ac.uk 

Telephone: 01326 213730 


Accommodation 

Tremough & 

Woodlane Campuses 

Web: 

www.tremoughservices.com/accommodation/ 

Email: 

accommodation.office@tremoughservices.com 

Telephone: 01326 370436 

Most Falmouth students live in private sector 

accommodation, which is plentiful in Falmouth 

and Penryn, and usually within walking or cycling 

distance of the town centres. When you accept 

a place at Falmouth, Admissions will send you 

an information pack containing everything you 

need to know about our student residences and 

private-sector rentals. Our Accommodation 

Office team (operated by Tremough Campus 

Services) is happy to answer any questions you 

may have. 

Re�dences 

Tuke House is a 156-room student residence 

in Falmouth, one minute from the shops, ten 

minutes from Woodlane, five minutes from 

Wellington Terrace, a short walk from the beach 

and next to the main bus routes. All rooms are 

en-suite and you’ll share a kitchen/sitting room 

with four other people. 

Glasney Parc at Tremough has 615 rooms for 

Falmouth students. All rooms are en-suite and the 

majority contain double beds. You’ll have access 

to a kitchen/living area which will be shared with 

six other students. A number of single bedded 

rooms have been adapted to accommodate 

students with a range of disabilities. You’ll also 

have access to coin-operated launderettes, 

bicycle and surfboard stores. 

Both residences offer broadband (subject to a 

separate contract) and all rooms contain a phone.

Contra�s 

Contracts for our residences cover Christmas 

and Easter breaks so you can feel free to stay 

during those holidays. We send a brochure and 

application form to students who hold a firm 

offer (usually after Easter). It’s important to 

return the application form as soon as possible 

and to note that students are not guaranteed a 

place in student residences. 

Welfare Services 

Web: www.falmouth.ac.uk/studentservices 

Email: 

Accommodation&Welfare@falmouth.ac.uk 

Telephone: 

Tremough – 01326 370460 

Woodlane – 01326 213735 

Accommodation and Welfare Services provide 

free, confidential help and advice with any 

problem, large or small, throughout term-time 

on all campuses. 

Need to find somewhere to live, or need someone 

to talk to about emotional and personal problems? 

Even if our staff can’t help they’ll refer you to 

someone who can. Call the above number for 

more information or to make an appointment. 

Counselling Service: This free and confidential 

service helps you manage personal and 

emotional difficulties. A range of appointments 

are available including one hour sessions and 

daily drop-in times. 

Chaplaincy: A multi-faith chaplaincy team 

offering spiritual support for students of all 

faiths or none. 

Day Nursery: High quality childcare and 

education in a safe and stimulating environment 

at Woodlane. 

Health Matters: A friendly nurse-clinic runs 

twice weekly on Tremough campus for general 

medical problems, including sexual health. 

Living Support Coordinator: For students 

experiencing welfare or behavioural issues. 

Mature Students’ Network: Run in conjunction 

with FXU, it aims to address the issues that 

mature undergraduate and postgraduate 

students may face. 

187

Acces�bil�y 

Web: www.falmouth.ac.uk/studentservices 

Email: accessibility@falmouth.ac.uk 

Telephone: 

Accessibility Advisor Tremough: 

(Sophie Atherton) 01326 253629 

(Susanna Pope) 01326 254149 

Accessibility Advisor Woodlane: 

(Mel Dove) 01326 213737 

Accessibility Manager Falmouth: 

(Gaynor Astbury) 01326 370443 

We’re committed to providing an environment 

that promotes equality of opportunity and 

access, celebrates diversity and creates an 

atmosphere of dignity and respect for all 

students and staff. 

Our new Disability Equality Scheme is dedicated 

to removing problems that disabled people 

might face, and to enhancing and improving 

equality of opportunity. 

If you’re encountering barriers to studying due 

to a specific learning need, or related to your 

physical or mental health, the Accessibility 

Service can help. Our friendly advisors will 

discuss the practical support you need and can 

offer help in claiming the Disabled Students’ 

Allowance. Diagnostic and technical needs 

assessments can also be arranged. 

Visit our website for a copy of our Disability 

Statement and for advice on your situation and 

intended course of study before submitting an 

application. It’s important that we are informed 

of any needs you might have, so that we can 

make necessary adjustments both to Open Day 

or interview/audition arrangements and later to 

learning and teaching conditions. We can also 

prioritise accommodation needs. Our service 

is confidential and we will not usually discuss 

anything without your permission. 


Most areas of the campuses are accessible to all 

students. Corridors are wide and there are lifts, 

designated parking spaces, ramps and accessible 

toilet facilities. The refectories have flexible 

seating to accommodate wheelchair users. 

The Accessibility Service can also provide support 

workers for students who require assistance 

with their course such as note-taking support, 

hearing or visual impairment support and 

enabling, which are funded from the individual’s 

Disabled Students’ Allowance. 

Disabled Students’ Allowances are available for 

UK students. Please contact the Accessibility 

Office for more information and who to speak 

to, to discuss your entitlement. University College 

Falmouth is a member of SKILL, the National 

Bureau for Students with Disabilities, and is 

committed to improving and extending physical 

access to its facilities. 

If you’d like copies of our promotional material 

in formats that are accessible to the visually 

impaired, please contact Admissions on 

01326 213730. 

ASK: Academic Skills 

Email: ben.carver@falmouth.ac.uk 

Telephone Woodlane: 01326 213862 (x3862) 

Telephone Tremough: 01326 370438 (x1438) 

Whether you need assistance with your essay 

writing or require advice about specific skills 

needed to get the most from your study, ASK is 

here to help. 

ASK offers a one-to-one appointment service 

for undergraduate and postgraduate students 

to advise on skills required for academic study. 

The ASK advisors provide advice tailored to your 

individual needs and the service is discreet 

and private.

We have offices at both Tremough and 

Woodlane campuses, so we’re accessible to all 

students, Monday to Friday, 9am – 5pm. 

ASK provides support in five main areas of 

academic study: • Study Skills • Dyslexia 

Support • Essays & Dissertations • Language 

Support for EU & International Students • 

Numeracy & Scientific Report Writing 

Study Skills 

Studying at postgraduate level is demanding 

and ASK is here to help you. The skills needed for 

academic study are developed through practice, 

reflection, feedback and trial and error over the 

course of time. ASK can help you to develop 

good practice and make the most of your 

study time. We’ll work with you in a number of 

areas, including note-taking, organisational and 

presentation skills, planning your workload and 

revision techniques. 

Dy�exia 

Dyslexia is common in creative people. Many 

Falmouth students share dyslexic tendencies, 

and are drawn to us because of the high level of 

support we give. We offer screening for every 

student so that you can receive the right support, 

funding and equipment to get the most out 

of your studies. Leading international dyslexia 

expert, Oliver West, is on hand to provide 

specialist tuition and help with organising 

written work and research, and our Academic 

Support Unit also offers specialist IT tuition, 

library assistance and help with literacy skills. 

Dy�exia Support 

ASK is here to offer advice and support to 

all students and we work closely with the 

Accessibility Service to ensure that all dyslexic 

students have the advice and support they need. 

Dyslexia means ‘difficulty with words’ and 

affects about one in ten of the UK population. It 

can be seen as a ‘learning difference’ rather than 

a difficulty or disability and is tricky to define 

as each dyslexic person is unique. Typically a 

dyslexic person will have difficulties with some 

or all of these: • Reading • Writing • Spelling 

• Organisation • Working memory 

However many dyslexic students study 

successfully and often have significant strengths 

including being excellent trouble-shooters, 

highly intuitive, perceptive and very creative. 

If you think you might be dyslexic or would 

like to find out more, please contact ASK or 

the Accessibility Service. We can offer you 

one-to-one advice about dyslexia, screening, 

assessment and support. The Accessibility 

Service manages the assessment process and 

will arrange an interview for you and help you 

to apply for funding if you are eligible 

Academic Wr��g 

This service is for students of all levels. Mature 

students can make use of the service to 

reacquaint themselves with academic writing 

and students from all years come to get advice 

on how to improve their essay grades. Please 

feel free to make an appointment if you think 

we’re able to help you with your writing, 

including advice on grammar, vocabulary, 

structure, essay planning and articulating ideas 

and arguments. 

Appointments can be arranged over the phone, 

by email, or by dropping in to the office. They 

usually last 30 minutes and are conducted oneto-one. 

189

Engli� Language Support 

Studying in a second (or third) language is a 

challenge; it’s also something that very few 

people are capable of. You’re bound to feel 

frustrated at times, but you should remind 

yourself of what an amazing achievement 

studying in another language represents. 

English Language Classes are available 

and include: 

• English for Academic Purposes (EAP) 

• Speaking and Pronunciation Skills (Speak / Pron) 

• General and Social English (General) 

Numeracy Support 

Support is available for students who require 

help with aspects of numeracy within their 

programmes, including topics such as fractions, 

ratios, algebra, statistics, indices, matrices, 

differentiation and integration. 

Scientific Wr��g 

Scientific writing advice is available to students 

who’d like to improve their skills in writing 

scientific reports or essays. Topics include 

preparing and planning for the essay/ report, 

effective use of research, structure of essay, use 

of data/ statistics, grammar and terminology 

including writing in an appropriate academic 

register, communicating ideas and arguments 

clearly and concisely, plus conventions 

– especially quotation and referencing. 


Car�rs Advisory 

Service 

Web: www.careers.falmouth.ac.uk 

Email: careers@falmouth.ac.uk 

Telephone: 01326 370460 

The Careers Advisory Service ensures that 

expert support is close at hand, working closely 

with our academic departments to help ensure 

that the advice we give you is of the highest 

quality and relevance. 

The Service comprises three careers advisers, 

an information officer and a professional 

placements coordinator, and is available to 

students up to three years after graduating. 

The team has up-to-the-minute facts, advice 

and tools to help your career progression. 

Whether you’re looking for further study, 

careers information, a professional placement, 

information about self-employment or even 

advice on voluntary work abroad, we can help 

you make the right decisions about the options 

open to you. 

The Service offers one-to-one interviews on 

campus, workshops on CV content and 

interview technique, an extensive careers library 

and presentations from local and national 

organisations. There’s also a dedicated careers 

website which contains information relevant to 

each of Falmouth’s courses – 

www.careers.falmouth.ac.uk 

The site also hosts a live vacancy service where 

you can search full-time, part-time and freelance 

jobs posted by local and national businesses and 

organisations, as well as finding work experience 

and voluntary opportunities.

A range of helpful software is also available, 

including the very popular programme 

‘Funderfinder’, which helps you locate funding 

bodies that may provide help with postgraduate 

fees and study expenses. 

The Careers Advisory Service also helps 

organise the Meet Your Future event, an 

annual graduate recruitment fair that attracts 

leading local and national art, design, media 

and performance businesses and organisations. 

This year’s Meet Your Future will be held at 

Tremough on the 18th November. 

Our investment in you doesn’t stop when 

you graduate, however. The College has a 

lively alumni community offering fantastic 

networking opportunities. 

Alumni 

Web: www.falmouth.ac.uk/alumni 

Email: alumni@falmouth.ac.uk 

Telephone: 01326 214399 

Our graduates are welcomed back to Falmouth 

as an integral part of who we are and the 

courses we offer. They help create networking 

opportunities, work placements, special projects 

and great professional connections with 

industry for our students. 

We also arrange for some of our most 

successful graduates to return to the College to 

pass on advice to students considering setting 

up their own businesses, as well as sessions with 

Business Link Devon & Cornwall. Our alumni 

have excellent reputations in numerous fields 

and enjoy returning to assist and guide those 

currently studying here. 

When you graduate you’ll automatically become 

a member of our alumni network and continue 

to experience a special relationship with the 

College. You’ll have access to a whole range 

of help and facilities, including library use, 

extensive careers support, event admission 

and one-to-one business advice from our 

business fellows. 

We also organise special alumni events, such 

as an event at the Design Museum in London 

which reconnected design graduates from the 

past 15 years and showcased graduate work 

to industry contacts. 

By choosing Falmouth you’ll benefit from 

interaction with a first-class, global network 

of former students and staff whose success 

is renowned. As part of our excellent learning 

experience these relationships will help you 

throughout your study and career to realise 

your vision. 

The bottom line is that at Falmouth, you get 

so much more than just your course to prepare 

you for the world of work – a real return for your 

investment. Whether it’s presenting the news, 

creating international advertising campaigns, 

curating exhibitions, directing performances, 

composing music for films or designing 

innovative products, we’ll help you get there 

because we’re passionate about your future. 

191

Students’ Union 

FXU 

Web: www.fxu.org.uk 

FXU is the representative body of students 

at University College Falmouth and Exeter 

University, Cornwall Campus. 

It organises events for students throughout 

the year, as well as offering community action, 

sports opportunities and independent student 

welfare advice. 

Check out the website for more information on 

what the FXU can do for you! 


How Mu� Will 

� Co�? 

All �udents 

Web: www.falmouth.ac.uk/studentfinance 

Email: student.fees@falmouth.ac.uk 

Telephone: 01326 213778 

Fees and charges are reviewed annually and 

are detailed on our website. For advice and 

information about tuition fees and other 

charges, please contact the College’s Finance 

Office as above. 

Tuition fees are payable in October and January 

in equal instalments, although alternative 

instalment arrangements may be available. Fee 

sheets for individual courses are available and 

you’re advised to refer to these before making 

an application. 

If you have graduated from University College 

Falmouth or Dartington College of Arts in 

the last five years, you’ll be eligible for a oneoff 

progression discount of £300 for any 

postgraduate study. 

International �udents 

Web: www.falmouth.ac.uk/international 

Email: international@falmouth.ac.uk 

Telephone: +44 (0)1326 213794 

Fax: +44 (0)1326 370725 

For up-to-date information on tuition fees, 

discounts and living costs, please contact the 

International Office as above.

Fund�g a po�graduate 

course at Falmouth 

A Master’s degree or PhD represents a 

significant investment in your future, and you’ll 

rightly be concerned about funding. This section 

is intended to introduce you to ways of funding 

your postgraduate course at Falmouth. 

A year of full-time postgraduate study is likely 

to cost around £8,000 plus tuition fees, so 

you’ll need to do some planning in order to get 

through the course without the distraction of 

financial problems. 

Apply early to the College if you can, and if 

successful at interview, accept your place as 

soon as possible in the year before you wish to 

begin studying a postgraduate course. This will 

give you more time to arrange your finances 

and apply for major sources of funding whose 

competitions have an early deadline, such as the 

Arts and Humanities Research Council. 

For advice and information on all aspects of 

postgraduate funding, please contact the 

Bursary Advisor: 

Web: www.falmouth.ac.uk/bursaries 

Email: bursaries@falmouth.ac.uk 

Telephone: 01326 213744 

The two major sources of funding for your 

postgraduate course are Career Development 

Loans and the Arts and Humanities 

Research Council: 

Car�r Development Loans 

Around 80% of all UK postgraduate 

students fund their studies through a Career 

Development Loan (CDL). Generally aimed 

at postgraduate students, CDLs are a scheme 

designed to help people who want to improve 

their career prospects, but lack the funds to 

invest in a suitable vocational programme. 

For further details, please call the free phone 

information number: 0800 585 505 or visit: 

www.direct.gov.uk/cdl 

• A CDL is a bank loan designed to help you pay 

for work related learning. You don’t have to start 

paying your loan back until at least one month 

after you stop training. 

• You can take out a CDL whether you are 

employed, self-employed or unemployed. 

• CDLs are available through an arrangement 

between the Learning and Skills Council (LSC) 

and three high street banks. 

• Remember that a CDL is a personal loan 

between you and the bank, and you’re 

responsible for repaying it to the bank. Before 

taking out a loan, check how much your 

monthly repayments will be, and that you feel 

confident that you will be able to make them. 

There are three areas that a CDL can cover: 

1. Course fees (up to 80% of course fees) 

2. Other course costs 

3. Living expenses. 

For full details of student fees, visit 

www.falmouth.ac.uk/studentfinance 

193

Key Sources 

of Fund�g 

Your loan can cover one or more of these 

elements, but cannot exceed £8,000 in total. 

CDLs will only support the vocational or 

learning elements of a course. 

�e Arts & Human�ies 

Resear� Council (AHRC) 

AHRC award winners studying on full-time 

courses currently receive a grant towards their 

tuition fees and at least £8,420 in total (or 

£4,210 per year for part-time students) for living 

costs. You’ll need to pay the difference if your 

AHRC award does not cover the full amount of 

your tuition fees. 

These awards are based on a competition, 

decided by a lengthy application process, 

including references from past tutors or 

professionals with whom you have worked, 

and the course leader for your chosen course 

at Falmouth. 

Advice on applying to the AHRC: 

• You must have accepted the offer of a place 

on a course and paid the acceptance fee before 

applying to the AHRC. 

• Falmouth’s deadline for receiving applications 

for AHRC awards is 31 March each year. Each 

higher education institution is only permitted to 

submit a certain number of applications to the 

AHRC each year. Falmouth’s quota is currently 

16 AHRC student awards per year. Please 

contact the Bursary Advisor for further details of 

Falmouth’s selection process. 

• If you’re considering making an application 

to the AHRC, ideally you should make your 

application to study at Falmouth in November, 

December or January in the academic year prior 

to the start of your course. 


This will ensure that you have plenty of time 

to attend an interview, accept the place on the 

course, familiarise yourself with the lengthy 

AHRC application process, complete the form, 

organise your referees, and submit your AHRC 

application to Falmouth by 31 March. 

• Remember to read and use the lengthy 

guidance notes and stick firmly to them. It’s not 

just about your degree results; a high quality 

application counts for a lot as well. 

For further details and to check eligibility, 

please contact: 

The Arts and Humanities Research Council 

Web: www.ahrc.ac.uk 

Telephone: 0117 987 6500 

S�olar��s 

& Bursaries 

A number of small bursaries and scholarships 

are available to postgraduate students at 

Falmouth. For example, students on our art and 

design courses can apply for a travel bursary 

from The Fenton Arts Trust to assist with the 

cost of study trips and visits to exhibitions and 

galleries. Several local companies and trusts 

also offer scholarships, which usually involve 

completing an application form or undertaking a 

short project. Partial or full fee scholarships may 

be available on some courses. 

For the latest list of bursaries and scholarships, 

please check the website or contact the 

Bursary Office: 

Web: www.falmouth.ac.uk/bursaries 

Email: bursaries@falmouth.ac.uk 

Telephone: 01326 213744

Fund�g Resources 

Useful websites 

For all postgraduate students: 

www.prospects.ac.uk 

Contains a wealth of useful information on 

postgraduate funding. 

www.studentmoney.org 

Funding search tool and budget planner. 

For Broadcast Journalism students: 

www.bjtc.org.uk/sponsorship.aspx 

The Broadcast Journalism Training Council’s 

advice on and list of sponsorship schemes. 

Educational Grants Advisory Services (EGAS) 

EGAS is primarily concerned with helping 

those students who are ineligible for statutory 

funding. They hold a database containing 

details of funds available from various charities, 

trusts and bursary schemes. Foundation, 

undergraduate and postgraduate students can 

all use the service they provide. 

Applicants must send a letter requesting a free 

funding search application form and include 

a stamped addressed envelope (SAE). When 

EGAS receive the completed application form 

and SAE, they’ll search the database for details 

of any funding you may be eligible to receive and 

forward the results to you. 

An application form for this free search can be 

obtained from: 

The EGAS website: www.egas-online.org.uk 

Or by writing to: Educational Grants Advisory 

Services (EGAS), 501-505 Kingsland Road, 

Dalston, London E8 4AU 

FunderF�der 

FunderFinder is a database application available 

in the Careers Service at University College 

Falmouth. You’ll be asked a variety of questions 

relating to your study course, personal and 

financial circumstances and family history. 

The database then searches for likely sources 

of funding suitable for your circumstances. 

FunderFinder can be accessed from a dedicated 

computer at the Careers Service at Tremough 

and in the Woodlane Library. 

Other Publications 

Postgraduate applicants are advised to contact 

their local library for copies of: 

The Directory Of Grant Making Trusts 

Published by the Charities Aid Foundation, this 

directory enables grant seekers to search for 

trusts that might aid them in funding study. 

The Grants Register 

Provides information on the availability of, and 

eligibility for, postgraduate and professional 

funding. Each entry gives details of subject area, 

eligibility, purpose, numbers offered, frequency, 

value, length of study, establishments and 

application procedures. Full contact details 

appear with each awarding organisation or 

individual award. 

The Education Grants Directory 

This title provides information on almost 1,400 

sources of financial help for students in need. 

Its listing section includes national and general 

sources of funds, local sources, statutory funds 

and student grants, company sponsorship, 

CDLs and Local Education Authority (LEA) 

funding. There’s also guidance on selecting the 

right source of funds for your needs, and advice 

on how to make an application. 

Prospects Postgraduate Funding Guide: 

The Essential Guide to Funding Further Study 

(Paperback) ISBN: 1840161299 

195

Terms & Cond�ions 

University College Falmouth will take all 

reasonable steps to deliver courses and services 

in accordance with the descriptions set out in 

this prospectus and in course information. 

However, the College cannot guarantee 

this provision. 

Although all information given in this guide is 

believed to be correct at the time of publication, 

the College reserves the right to make variations 

to the contents or methods of delivery of 

courses, to discontinue courses or merge or 

combine courses if such action is reasonably 

considered to be necessary by the College. In 

this event, the College will use its reasonable 

endeavours to provide a suitable alternative. 

If you’re affected by any such change, you’ll be 

notified by the College as soon as possible in 

advance. Should industrial action or circumstances 

beyond the control of the College interfere with 

the ability to provide educational services, the 

College will take all reasonable steps to minimise 

the resultant disruption to those services. You’re 

advised to contact the College if you need 

clarification of particular issues. 

Should you become a student at University 

College Falmouth, this notice shall constitute a 

term of contract between you and the College. 

Any offer of a place made to you by University 

College Falmouth is made on the basis that in 

accepting such an offer you thereby give your 

consent to the incorporation of this notice as 

a term of any such contract. All students will 

be required, as a condition of enrolment, to 

abide by, and submit to, the College’s General 

Regulations for Students as amended from time 

to time. Copies are available on request. 


Facilities and services may not be available to 

the same extent, or in the same way, on every 

day of the year. For example, library opening 

hours differ at weekends and during term-time. 

The College cannot accept responsibility, and 

expressly excludes liability, for damage to 

students’ personal property, for transfer of 

computer viruses to students’ equipment and 

for the consequences of any breach of contract 

by individual students. 

The descriptions on the course pages are 

provided as an indication of topics covered and 

are not definitive. Detailed specifications for 

each of our courses can be found on our website. 

Not all courses can access all equipment and 

facilities. Access to some equipment and 

facilities is not necessarily covered by tuition 

fees. For more information, please email 

student.fees@falmouth.ac.uk 

University College Falmouth was formerly 

named Falmouth College of Arts, Falmouth 

School of Art and Design and Falmouth School 

of Art. University College Falmouth, Dartington 

Campus was formerly named Dartington 

College of Arts.

How to F�d Us 

By rail 

Both campuses are easily accessible by rail. 

Truro is on the main line from London Paddington 

to Penzance. Change at Truro for Penryn (for 

Tremough) and Falmouth Town (for Woodlane). 

By road 

For Woodlane and Tremough, take the A30 to 

Truro and then the A39 for Penryn and Falmouth. 

National Express coaches run to Falmouth. 

By air 

Our nearest airports are Newquay, Plymouth 

and Exeter. All have international connections. 

Redruth 

Camborne 

St Ives 

Land's End 

Penzance 

Newquay 

Truro 

Padstow 

Bodmin 

St Austell 

A30 

PENRYN (Tremough) 

FALMOUTH (Woodlane) 

Choose Green Transport 

The College is committed to promoting 

awareness of its environmental impact. 

Its environmental policy is supported by a 

Green Travel Plan, which includes promoting 

bus travel, strict car-parking management and 

improving facilities for cyclists and pedestrians 

– the interest and cooperation of students and 

staff in this respect are both encouraged 

and appreciated. 

Copies of our Green Travel Guide explaining 

this policy and the many sustainable travel 

options on offer are available on request from 

estates@falmouth.ac.uk 

English Channel 

Launceston 

Plymouth 

Okehampton 

Salcombe 

Exeter 

Newton Abbot 

Torquay 

Dartington 

Dartmouth 

Exmouth 

197

University College Falmouth 

Woodlane Campus 

Woodlane, Falmouth 

Cornwall TR11 4RH, UK 

Tremough Campus 

Treliever Road, Penryn, Falmouth 

Cornwall TR10 9EZ, UK 

Tel. +44 (0)1326 211077 

Fax. +44 (0)1326 213880 

Minicom. +44 (0)1326 214926 

Email. admissions@falmouth.ac.uk 

www.falmouth.ac.uk 

Part funded 

by the ERDF 

Design: Sames + Littlejohns / www.sameslittlejohns.co.uk 

Cover Concept: TWO Design / www.twodesign.co.uk 

Copywriting: Stranger Collective / www.stranger-mag.com 


F446

2010 Postgraduate Prospectus - University College Falmouth

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