Exploring the interface between curriculum practicalities and policy agendas, this paper rationalises the need to embed cultural diversity in the further education (FE) curriculum and explores processes whereby this may take place. It offers a personal view of the national context of recent policy change and debate around education for cultural…

Contains sufficient background and technical information for an in-depth project in applique. Included are numerous techniques, specific procedures and a variety of applications. Applique at this level is suggested for high school art students. (Editor/RK)

DESIGN AND CRAFTMANSHIP ARE INSEPARABLE, AND IN AN ART PROGRAM, AREAS OF CRAFT SHOULD BE TAUGHT WITH SERIOUS ATTENTION TO HIGH STANDARDS OF DESIGN. DESIGN CRAFT IS A COURSE DEMANDING TEACHER VERSATILITY. PLANNING SHOULD BE GEARED TO HELP TEACHERS SUPPLEMENT THEIR SPECIALIZED KNOWLEDGE AND TO ASSURE THE WIDEST POSSIBLE APPLICATION OF DESIGN CRAFT…

What can be done to transform a lump of wet clay into something more than a lump of glaze-fired clay? It is at this point when forming techniques have been mastered that good design becomes most important. Discusses six criteria involved in the search for good design so that students can discover what good design is and how important it is.…

Two strategies for teaching studio art are compared. In an atomistic strategy, basic drawing and design are taught by dividing learning contents into various component parts--e.g., perspective exercises, value scales, color wheels--and addressing them one at a time. In an holistic strategy content parts are treated simultaneously. (RM)

A thorough description of the ancient technique of batik, the activity as presented is recommended for senior high school art students. Briefly describes the origins of the craft, lists necessary materials and tools and outlines three basic methods for doing batik. (Editor/RK)

Discusses use of posters, bas-reliefs, and modern street blocks'' in teaching design to students at Julia Richman High School, New York. (DS)

Presents learning activities in which student designed and drew motifs related to naturalistic objects such as flowers, animals, or birds. Describes steps by which a flower can be turned into a motif and then into a repeat pattern or overall design. (DB)

Presents a study in which children in four grade 2 classrooms learned about transformational geometry and symmetry by designing quilts, while their four teachers participated in professional development focused on understanding children's thinking in arithmetic, and two of the teachers participated in additional workshops on students' thinking…

For many years flowers and leaves formed the bulk of Alaskan Athabascan beadwork designs. Early Athabascan beadwork consisted primarily of simple geometric patterns, but after the advent of the French in Canada, elaborate floral designs popular in 18th and 19th century France were translated into Woodland Indian beadwork. In traditional procedure…

Identifies the distinct paradigms concerned with the teaching of craft and the teaching of design, two elements which are interdependent in an art course. Reports teaching experiments that encourage pupils to seek out visual analogies of shapes and shape-relationships. Advocates the incorporation of guided concepts into pupils' techniques. (KO)

The purpose of this guide is to assist clothing construction and design instructors in the State of Truk, Federated States of Micronesia, in planning instructional programs for secondary school students. Specifically, it is designed to: (1) provide uniformity and direction for all vocational clothing programs in the State of Truk; (2) provide…

Influenced by film and television exposure, the student designer tends to be camera oriented and two-dimensional in creating theatrical sets. This paper outlines six visual projects designed to help students develop a selective visual sense for dealing with the three-dimensional aspects of the stage. The projects include the following activities:…

Presents suggestions for teachers who want to integrate the arts into their classrooms. Three sections explain how to use the newspaper's comics to stimulate students' interest, create community partnerships that would help students communicate in the arts, and use design technology to create original concepts from readily available materials. (SM)