John Eggleston
1977, Vol. 10, No. 1,


This issue of Studies in Design Education and Craft marks the tenth birthday of the Journal. Commenced in 1967 under the sponsorship of the College of Craft Education Studies in Design Education and Craft began at a time when relatively few teachers were aware of the potential of the new developments in the teaching of craft, art and technology; still fewer were practising them. Design Education was still a largely unknown designation. The publication suffered the fate of many pioneers; it ran into financial difficulties and the College of Craft Education decided, reluctantly, to discontinue its support after the end of the second year. Fortunately the support of a small group of enthusiasts led them to arrange the publication of the Journal independently; the dramatic growth in the strength and influence of the Journal in the years that followed has abundantly justified their faith. From a total of just under two hundred subscribers in 1967, Studies in Design Education and Craft has now a circulation of three thousand and is distributed world wide.

In its ten years of pu blication the articles in Studies in Design Education and Craft have em braced every aspect of 'education with materials' in schools and colleges. New and old media, traditional and modern techniques, methods or organisation and planning appropriate to the changing patterns of primary, secondary and tertiary education have all been featured. The articles have traced the striking development of art design and craft education from its largely traditional practices of the 1960s through the developments of the decade to the new, more central and considerably more important role it now occupies in school and college. Pride of place has always been given to accounts by practising teachers who have regularly discussed their work with students; their objectives; their developments, their problems and their achievements. Studies in Design Education and Craft has also provided a permanent voice for the perceptive and constructive critical commentary that has accompanied such developments; a commentary that, on occasions, looks not only forwards but also backwards. This critical tradition is of long standing in the art and craft world and it has undoubtedly saved us from many of the excesses that have marred development in other areas of the curriculum - where concepts such as integration, themes, circuses, problem-solving and much else have been adopted with less than sufficient discrimination on occasions. There is little doubt that the pages of this Journal have made a contribution to the soundnees of present practice in design, craft and art education.

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