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A Handbook for Teaching and Learning in Higher Education Enhancing academic and Practice

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The visual arts<br />

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submitted <strong>in</strong> the portfolio or f<strong>in</strong>al presentation of the work. Dates, deadl<strong>in</strong>es, tutorials,<br />

<strong>and</strong> <strong>in</strong><strong>for</strong>mation about any <strong>for</strong>mative or progress crits should also be <strong>in</strong>cluded.<br />

Student approaches to learn<strong>in</strong>g<br />

While the project is a most common <strong>for</strong>m of engagement with learn<strong>in</strong>g <strong>for</strong> students <strong>in</strong><br />

visual arts, students do not all approach project work identically. In a study of fashion<br />

textiles students it was found that Marton <strong>and</strong> Saljö’s description of two approaches to<br />

learn<strong>in</strong>g, a deep or surface approach (1984) (see Chapter 2 <strong>for</strong> more on approaches to<br />

learn<strong>in</strong>g), needed modification <strong>in</strong> order to map on to student approaches to design-based<br />

project work (Drew et al., 2002). The study identified four categories of variation <strong>in</strong><br />

approach:<br />

• a product-focused strategy with the <strong>in</strong>tention of demonstrat<strong>in</strong>g technical competence,<br />

where the emphasis is a concern with remember<strong>in</strong>g processes <strong>and</strong> techniques<br />

• a product-focused strategy with the <strong>in</strong>tention of develop<strong>in</strong>g the product through<br />

experiment<strong>in</strong>g <strong>and</strong> practis<strong>in</strong>g to ensure competence<br />

• a process-focused strategy with the <strong>in</strong>tention of develop<strong>in</strong>g the design process<br />

through experiment<strong>in</strong>g <strong>and</strong> engag<strong>in</strong>g with others <strong>in</strong> order to explore the design<br />

process rather than just perfect<strong>in</strong>g the product<br />

• a concept-focused strategy with the <strong>in</strong>tention of develop<strong>in</strong>g the student’s own<br />

response <strong>and</strong> ideas <strong>in</strong> relation to the project, ultimately a search <strong>for</strong> <strong>in</strong>tr<strong>in</strong>sic personal<br />

mean<strong>in</strong>g.<br />

Mapped on to Marton <strong>and</strong> Saljö’s categories, these categories could be said to show<br />

a surface approach at one end of the scale <strong>and</strong> a deep approach at the other. However,<br />

there are also the categories of approach between the extremes, that seem to relate<br />

specifically to the k<strong>in</strong>d of learn<strong>in</strong>g undertaken <strong>in</strong> practical <strong>and</strong> creative subjects, <strong>and</strong> that<br />

<strong>in</strong>dicate a concern with learn<strong>in</strong>g be<strong>in</strong>g about practice <strong>and</strong> process. A similar structural<br />

approach to learn<strong>in</strong>g has been found <strong>in</strong> eng<strong>in</strong>eer<strong>in</strong>g students (Case <strong>and</strong> Marshall,<br />

2004).<br />

Approaches <strong>and</strong> concepts are not fixed traits of students <strong>and</strong> it is the role of tutors<br />

to try <strong>and</strong> exp<strong>and</strong> students’ awareness of ways to undertake their project work. Factors<br />

that can affect all students negatively <strong>in</strong>clude time pressures, not underst<strong>and</strong><strong>in</strong>g<br />

assessment requirements, lack<strong>in</strong>g confidence, <strong>and</strong> not underst<strong>and</strong><strong>in</strong>g the reasons why<br />

they are fail<strong>in</strong>g. Any of these can damage a student’s ability to take a deep approach to<br />

a project.<br />

Practical changes to the curriculum to support students undertak<strong>in</strong>g a deeper approach<br />

<strong>in</strong>clude opportunities <strong>for</strong> students to explore, visually <strong>and</strong> verbally, what it means to<br />

undertake research, what is important, how to do it <strong>and</strong> what ‘good’ research looks like.<br />

Mak<strong>in</strong>g the brief as explicit as possible, <strong>in</strong>clud<strong>in</strong>g the mark<strong>in</strong>g criteria, sett<strong>in</strong>g <strong>in</strong>terim<br />

deadl<strong>in</strong>es, <strong>and</strong> follow<strong>in</strong>g the guidel<strong>in</strong>es suggested below <strong>for</strong> crits may all help.

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