Session/artefact to be observed/reviewed: Advanced Juki Workshop

Size of student group: 6

Observer: Nicholas Dunn

Observee: Bethany Collins

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This workshop is an Advanced Juki workshop- aims to further student’s skills in free motion embroidery following on from their initial Juki/Irish induction in October 2023. They will learn a range of techniques that they can employ within their practice and gain knowledge of how these techniques are used within an industry setting.

How long have you been working with this group and in what capacity?

1.5 years, since their first domestic stitch induction in BA1. I have taught them how to operate stitch specific machinery in the workshop as well as a variety of stitch related processes.

What are the intended or expected learning outcomes?

To enhance understandings of Juki/Irish embroidery techniques and how they are used in industry as well as an awareness of specialist materials (Knowledge)

Develop analytical and critical skills- apply reflection to development and application of techniques. (Process)

To contribute to collaborative discussion regarding material qualities and application of techniques with peers. (Communication)

What are the anticipated outputs (anything students will make/do)?

Demonstrate ability to replicate demonstrated techniques and start to translate the techniques into samples relevant to their projects.

Are there potential difficulties or specific areas of concern?

Layout- The layout of the Juki area doesn’t feel as interactive and inclusive as the domestic machine set up.

How will students be informed of the observation/review?

Via email

What would you particularly like feedback on?

Communication of techniques- is the wording/ way I describe the process clear?

Relevance to current Unit

Structure of workshop

How will feedback be exchanged?

Written feedback and discussion

Part Two

Observer to note down observations, suggestions and questions:

• Started with a thorough H&S recap, tie hair back, no open toe footwear ext, asked if they had any questions at this point.
• Beth asked how confident students were on the machine at the beginning to work out the group confidence levels which I thought was very prudent before she approached them once they began practicing.
• She then recapped on the Juki machine getting the students familiar with it again.
• She pointed out the instruction cards next to the machines.
• With the aid of video av equipment Beth gave a demonstration of how to thread the Juki machine. Very clear delivery of verbal step-by-step instructions.
• After this Beth instructed students to thread their own machines going around the workshop supporting the students in the process.
• Advised students to take a picture of the completed threaded machines for reference
• Beth then demonstrated how to begin stitching
• Beth reassured students that they can always revisit the techniques demonstrated explaining there’s no pressure, it’s just practice.
• Assisted students while they practiced stitching on the Juki.
• Beth also showed examples of different techniques they could achieve on the Juki.

Summarry:

I thought it was a very clearly communicated, thorough session where all students seemed focused and engaged with Beth and what was being presented and demonstrated.

Suggestions

The only suggestion I would be the following:

• During the time you were individually going around assisting students while practicing stitching on the Juki, you could’ve asked students individually what their initial thoughts were about the U7 brief.
• During the time when showed examples of embroidery techniques there could be a link to maybe an open group conversation to students on there intitial thoughts on linking their stitch specialism to the suggested outcome for their U7 project.

Part Three

During the time when showed examples of embroidery techniques there could be a link to maybe an open group conversation to students on their initial thoughts on linking their stitch specialism to the suggested outcome for their U7 project.

When showing students the samples I highlighted the different techniques used to create them. One sample was in a reference to a technique I was teaching them during that workshop using Padloft foam to create 3d ‘puffy’ raised embroidery. I told the students that it was the same technique that they may have seen used in embroidered baseball caps (New York Yankees etc).

_{3d ‘puffy’ raised embroidery samples}

This would be a great time to open up the discussion to how these techniques may remind the students of something or someone (perhaps to a potential muse specific to their Unit 7 project) or how the different stitch directions used to fill two of the sample motifs visually give two different effects but also may suggest different moods or feelings. For example, the stitches in one motif fill the space in a continuous and fluid manner which is reminiscent of silk shading also known as needle painting and may evoke a more delicate, organic feel as opposed to the satin stitch sample stitched in two contrasting directions.

 I think giving the students space to investigate the samples and perhaps discuss with each other what each sample or technique evokes for them, maybe asking them to say or make note of singular words that come to mind would help them begin to think more about what their approach will be when using the machines and exploring stitch effects to be relevant to their project focus.

I also think showing examples from other industry embroiderers and studios who specialize in Irish and Juki free motion embroidery, specifically examples for costumes for theatre, music artists, and other performing arts would allow students to investigate how the design decisions made relate to the respective muses (clients).