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((executive summary, acknowledgements), (fellowship background, fellowship…

- - - - covid: disruption to timeline, impact on engagement with Melbourne studio, impact on creative industries in general (Fitzmaurice)
      - lack of formal education and training opportunities (Fitzmarice)
      - instigation: connection to fellowship through Grace Barrand/ Specialty Pleaters, offer of Global Pleating to host an intern to support Melbourne industry (Fitzmaurice)
      - importance of knowledge transmission via hands-on learning (Fitzmaurice)
      - describe SP product/ service specialisation and existing interest and demand (McRae)
      - past attempts to promote business through collaboration/education, analysis of failures/ benefits
      - strengthening industry networks with a global supplier, providing insights into the specialisation/ scale of pleaters across different continents/ markets (McRae)
      - observation of central supplier which has evolved their 'artisan' skill set to meet the quantities and pace of commercial textile companies
      - personal impact on professional practice: moral/ philosophical approach towards production methods, professional collaboration, education, transparency etc. Accuracy, precision, speed, scale, adaptability, adoption of new methods (digitised/mechanised/ manual) (McRae)
      - recommendations: establishing central network for practising groups, companies, individuals// collaboration across industries (fashion, footwear, homewares, origami, sculpture/ visual arts)// apprenticeship and traineeship programs // short courses and workshops (McRae)
      - methodology: describe context and skill appropriate methodologies (arts-based research). Unstructured internship, fragmented external learning resources (Barrand)
      - brief description of craft, processes, styles and definitions (Keegan)
- - - - ISSI fellow references
        
        describe context in terms of definition and categorisation of fellowship aims (McRae)
        
        focus on establishing new personal relationships within existing networks to facilitate more fluid and diverse methods of knowledge transfer (McRae)
        
        mention the emergence of slow fashion philosophies in collective consciousness as well as education over the past two decades - and more recently an expansion into craft, the handmade, and modernity, which is being legitimised by overlapping research fields across fashion, textiles, visuals arts and stem (McRae)
        
        identifying educational gaps between informal and formal modes of learning for hand crafts/skills. Lack of centralised hub for knowledge transfer, of definition of what this process should look like (Fitzmaurice)
        
        precursors, instigators, guiding principles (Fitzmaurice)
        
        academic training vs on the job and apprentice-style training (Fitzmaurice)
        
        Identify specific skill and supply gaps (Fizmaurice)
        
        accessing training and skills does not necessarily guarantee the continuation of the craft. To promote the development of the sector as a whole, establishing new training curriculums, pathways and opportunities for a host of designers and students will be necessary. There should be a continuing focus on recontextualising the practice so it is engaging for new audiences and a wider artistic community (Maling) collaboration public art *inclusivity
    - - ISSI fellow references
        
        Tours, courses and visits to artisan workshops and design institutions // international convention for materials, tools, suppliers, manufactures (McRae)
        
        Focus on digital teaching methods (which required some prior knowledge and practice), using workspaces and equipment set up specifically for each component of the course (Fitzmaurice)
        
        Detail description and images of materials, tools and equipment (Fitzmaurice) // Royal Collage of Art dissertation and description of workshops
        
        list research questions (Barrand)
        
        describe limitations of research methods (Barrand)
        
        'field trips', collecting primary historical references to pleated garments style, construction, materials (Maling)
        
        workplace immersion (Maling)
  - - - categorise and define learning 'outcomes' via individual methods or components of processes, or entire processes themselves e.g. scoring methods, or template marking, or techniques for folding 5mm accordion moulds. these categories can include material descriptions and tools (Fitzmaurice)
        
        assessment of teaching methods and 'immersive learning' environment/ practices (Fitzmaurice)
    - - Sub analysis of internship/apprenticeship/ fellowship case studies and interviews, in relation to separate stakeholders involved e.g. university, funder, student etc (client, student, company). (Barrand)
    - - recontextualising an art practice of craft via collaborations with new designers, public artworks, and a translation to digital methods of conception and making. Using findings from case studies to emphasise predefined strategies (Maling)
        
        analysis of course structure, content, curriculum, and timeline, teaching methods and resources, student support, exposure to industry // company histories and evolution, adaptation to modern markets and manufacturing // local designer groups or organisations // international and local industry conferences //// draws parallels between Australian industry where possible, or relevant gaps and compares with examples above. Recounts each experience, and in doing so draws out the 'technical findings' (skills-based approach) from the wider research questions about how the industry and education system is structured and connected. (McRae)
        
        frame findings in relation to predefined research questions, addressing specific challenges, or otherwise new opportunities or perspectives about the the direction of the art practice. ** Observations of a business founded in a specific craft that balances conservation projects, private commissions and artistic work. (Keegan)
- - - - newly established relationships with schools, manufacturers, suppliers and makers, which provide guidance, support and blueprints for creating and adapting her own business/ practice (McRae)
        
        extending skill base creates potential to solve a greater diversity of client needs (Keegan)
        
        highlighted importance of contributing to conservation efforts, education and projects as well as adapting the craft to modern contexts (Keegan)
        
        establishment of reference library to be developed and shared // increased visibility and advocacy within industry // extended breadth of professional network and development (Fitzmaurice)
        
        *competency and involvement in collaborative works (Maling)
    - - opportunity to establish formal community of leatherworkers // use this network to collect and transfer data reflecting sustainability/issue within the industry // evolving workshop practice (educational) for skilled but developing designers, moving towards apprenticeship for appropriate candidates (McRae)
        
        separate into existing and aspirational, but connecting both through a unifying aim/aims of the fellowship (Fitzmaurice)
        
        recount of workshops, mentorships/ supervision, academic publishing, collaborations and new memberships with reflections on impacts and potential adaptations (Fitzmaurice)
        
        collaborating with high profile companies to raise awareness of craft's existence and relevance (Keegan)
        
        maintain relationships with colleges as their courses evolve, adding and adapting the curriculum in line with findings from fellowships // strengthen network between industry and education, creating opportunities for students to showcase and develop skills (Keegan)
        
        private workshops for skilled and developing glass artists (Keegan)
        
        information sessions at local art galleries and museums with cultural connection to the practice and its founding philosophies regarding creative practice (Keegan)
        
        define short, mid, and long term impact timelines in reference to the recommendations (Barrand)
        
        workshops/ tutorials with Glass Inc (Maling)
    - - pandemic rebound, improvement of and confidence in skills, connection to other makers, connection to heritage, exposure to unique styles influencing own creative process (McRae)
        
        challenging theoretical and technical approaches to the craft (Keegan)
        
        observation of personal skillset require to manage small business - management challenges dealing with personal, custom and commercial works, spanning branding, marketing, designing, manufacturing, accounting, communications etc. (Keegan)
        
        the strengthening qualities and benefits of developing personal relationships within professional networks (Barrand)
        
        *confidence (Maling)
- - - - specific recommendations for an updated curriculum in existing university courses, with suggestions as to how these can be achieved/ by whom.
        
        creation of a virtual hub, with descriptions of how relevant organisations would be connected at a national and international scale. Framed within the question of 'how can the practice of conservation adapt to and benefit from digital modes of knowledge transmission?'
        
        cont. above. Serves to connect educational institutions with private collections, government with private sector
        
        continued study with other specialists at domestic and international level
        
        statement of aims/priorities, division into separate recommendations with background, included specific actions, their requirements, and existing resources to facilitate these
    - - access to organisations/teachers designing curriculum, feed in changes to the course through this network
        
        encourages students to seek unofficial mentorship with established companies
        
        working directly with architectural firms to reeducate and promote the use of stained glass
        
        promotion of the craft through gallery exhibitions of own work including craft Victoria
    - - formal network or organisation to support networking and skills/knowledge dissemination
        
        differentiating and redefining the craft so that it can reconnect with contemporary design fields
        
        inquire about possibility of accessing funding to support apprenticeships and short courses at TAFE/ university
        
        provide one on one tuition for other makers and students in personal workshop
        
        succinct dot point summary of reccommendations with concluing paragraph, reiterates strategies from the 'findings' and 'impacts' sections
    - - private gallery displays in unconventional categories to 'recontextualise' and repurpose the craft
        
        public art collaborations to engage new audiences, challenge conventional notions of stained glass settings and themes
        
        running dialogue with educational organisations and institutions to inform, promote and expand the use of stained glass and associated teaching methods
        
        maintain informal network of emerging practitioners and artists
        
        skill sharing and tutorials through social media
        
        presentation for Melbourne Polytechinc Architectural glass students, advice for best practices working with artists, best pathways to seek tuition and mentorship
        
        multi-day workshops, offered as introductory courses and continuing practice
    - - employer-led consortium which can access and build on existing funding schemes for apprentice-style training and internships post graduation, to meet identified and clearly defined skills gaps in specialist areas of conservation
        
        barbara van ernst textile conservation internship
        
        post-graduate internship funding