In this blog, I highlight a selection of ebooks bought for you over the last year (chosen from reading lists or through Programme Leader requests) which are related to the study of your course. Remember you will need to login to the online library to view your ebooks.
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This is the first weekly workshop as part of OCA Creative Challenges campaign. Work your way through the slideshow below or download the PDF for later. This is a basic introduction suitable those looking for a new challenge or something to keep the kids entertained.
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Choosing and continuing to be creative is a really important act of self-care. Whether you write, draw, sew, sculpt, paint, photograph or play an instrument, you can improve your mental wellbeing. Over the coming weeks OCA will post open, creative content that everyone can get involved in.
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One of the functions of keeping a learning log is to demonstrate and reflect on your process of making a final selection of images for each assignment. This process can involve reflecting on and documenting any physical work which reveals your critical thinking
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A continued conversation between Programme Leader Catherine Byrne, and Interior Design student, Lee Anderson, who has just completed the first HE4 degree unit on the OCA Interior Design BA Hons course.
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Join OCA tutor Arpita Shah on 17 April for an insight into the ethics and politics of portraiture and community collaboration.
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It is an exciting moment for Interior Design studies at the OCA as we have recently had our first student complete the initial HE4 degree unit and submit for assessment!
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The concept of an artist’s residency may be familiar, but a tour around the PADA studios by co-founder Tim Rolston gave OCA students a fascinating insight into the practicalities and workings of an artist’s residency. The tour was an itinerary item on the cross-discipline OCA study visit to Lisbon, 25-27 February 2020, arranged and facilitated by tutors Diana Ali and Dr Michele Whiting (Michele having been a resident artist at PADA during 2019).
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I had to resit this module. Of course I was disappointed to have to do so, but it forced me to reflect on how and what I was learning. With the help of the course leader, Rebecca Fairley, I learnt how to use critical thinking skills to notice things I hadn’t considered before: especially composition and marks.
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Your choice of words, ‘active slow-creative journey’, really resonates. I feel that there is a direct link between the length of time I have been allowed to engage with this learning experience to its fullest extent at my own pace and how much of that acquired knowledge I’ve durably assimilated and integrated into my own creative practice.
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