The IPC Media Schools Design Programme was a two-phase pilot programme run by Archbishop Michael Ramsey Technology College and IPC Media. Phase one involved 12 after-school design sessions using InDesign software followed by a week of work experience at IPC Media magazines. Evaluations informed improvements for phase two, including more integrated curriculum lessons and intensive two-week design courses. Students gained technical design skills and real work experience, and many were inspired to pursue design careers. The partnership successfully addressed career awareness and curriculum integration goals.

1. Project PC Media Schools
I
Design Programme
School rchbishop Michael Ramsey
A
Technology College
Borough Southwark
Outline Archbishop Michael Ramsey
Technology College and IPC Media joined
forces in 2004 to pilot a media project for
key stage 4 students that included work
experience on IPC Media magazines.
This case study describes the programme
and considers how the evaluation of phase
one informed the development of the
programme in the second year. This case
study is largely drawn from the evaluation
report written by Viv Moriarty.
IPC Media Schools
Design Programme
Archbishop Michael Ramsey
Technology College
Creative Partnerships London East and South case study

2. About Archbishop During 2004-05 the school also worked
on a music enterprise project with musician
IPC Media, based in Southwark, south
London, are part of the Time Warner Group The IPC Media
Michael Ramsey and composer Terry Munday. This project
explored the elements of creative learning that
and the largest publishers of consumer
magazines in the UK. The range of magazines Schools Design
Technology College are developed through musical composition
and led to an improved understanding of
produced by IPC is extensive, and includes
titles such as TV Times, Uncut, Now and Programme
Archbishop Michael Ramsey is a mixed how these processes might enhance other Marie Claire. Phase one of the pilot programme ran in
voluntary aided City Technology College in areas of the curriculum. This was supported the autumn term 2005. Lead-in time was
and led by the head of music and Creative AMRTC had recently opened a new facility,
Southwark for students aged 11-18. Over the Centre for Prosperity and Wellbeing, as short and necessitated a pragmatic approach
two-thirds of the students are male. The vast Partnerships coordinator at the school, Tim to the selection of students. Year 11 students
Smith. As a result of his work with this project, an interface with the community. Since it also
majority of students are of Black African or seemed logical to partner IPC with a school had diminishing timetable commitments
Caribbean heritage; about half speak English Tim established a cross-school working group through this term and so two groups of
of teachers focusing on creative project that was geographically close to their offices,
as an additional language and a third have AMRTC was an obvious choice to work with 11 young people were selected who
special educational needs. The surrounding development, especially through innovative were known to have an interest in design.
use of ICT. This group also aims to develop them on a pilot programme.
area is disadvantaged and half the students The programme consisted of a series of
are entitled to free meals. (Ofsted 2006) inter-departmental partnerships and to link Through the programme, IPC Media aims 12 after-school sessions at the college,
projects to existing initiatives and curricula. to influence the education of young people during which students were taught the
Archbishop Michael Ramsey Technology around design and to raise their understanding basics of InDesign, a professional software
College (AMRTC) has worked with Creative of media literacy. The company often finds that package used in the production of all
Partnerships since 2002. Projects have
included the Royal Court Young Writers
project in 2004-05 in which ten short plays
Project Context art positions are difficult to recruit and that
candidates are technically competent but lack
IPC Media magazines. They also explored
some of the issues concerning media
creative abilities. IPC Media and AMRTC literacy and design. Following this 12 week
were written by students through workshops In September 2004, IPC Media approached
agreed the following objectives for the programme, students attended a week of
led by playwrights. Once the plays were Creative Partnerships national office
programme: work experience at IPC Media.
scripted, students directed professional actors expressing a desire to engage with schools.
at the Royal Court Theatre. Students found Taryn Barclay, corporate responsibility • o effectively integrate the programme
t An evaluation framework was agreed by all
writing for an audience challenging but manager at IPC Media, has said ‘IPC is very into the curriculum partners at the start of the pilot programme
rewarding and appreciated the recognition keen to open up the world of magazine design during a meeting facilitated by Viv Moriarty,
to young people, who tend not to think of it • to enable continuing professional
they had received. development (CPD) for teachers and the external evaluator. Evidence was
as a potential career option. We are a huge collected through observations of sessions,
creative industry and we want to make sure art editors around creative design
education for key stage 4 students conversations with key stakeholders
we are nurturing up-and-coming talent and and partners and documentary analysis.
getting the best young designers to be part • to enable development of media literacy
Findings from the analysis of the data from
of our organisation.’ in students phase one of the project suggested that
a number of key issues needed to be
• to enable the programme to be replicated
addressed to improve the effectiveness of
in other contexts
the programme. Creative Partnerships agreed
to support the programme into a second
phase and this case study considers the
outcomes of phase two and the extent to
which identified issues were resolved.
Phase two was launched in April 2006.
The format was similar to the first phase,
with the addition of a two week intensive
course at the start of the summer term.
The IPC Media work experience week
was arranged for later in the summer term.
Time-off from their studies for this week had
to be negotiated with heads of departments
within the school, and students agreed to extra
homework to ensure they did not fall behind in
other subjects.

3. The programme was managed in school The preparation of students for the work For example, when students mentioned the
by Gary Morrisey, technical college project experience was considered important for use of typography and photographs, the art
director. The principal tutor was Ralph the effectiveness of the programme. In phase editor responded to this, critically evaluating
Canning, acting manager of the Centre for two this preparation comprised a number the use of fonts, colours and images as a
Prosperity and Wellbeing. Ralph worked in of elements. Art editors introduced students device for attracting a particular audience.
the design industry for 14 years before joining to the professional skills associated with
magazine publishing, whilst Ralph Canning During the work experience weeks, art editors
the education sector and was responsible
taught students the InDesign software worked in similar ways with the students.
for designing and delivering the course with
package. In addition, conversations with Students were assigned, in pairs, to different
appropriate input from IPC Media. Taryn
professionals from IPC Media who visited magazines and started by producing dummy
Barclay managed the project during phases
during the sessions in school contributed to pages. When a student demonstrated an
one and two at IPC Media. The Centre for
students’ understanding of what would be understanding of the genre of the magazine,
Prosperity and Wellbeing was the venue for
required of them during work experience. he or she was set a more independent project
the project and the students responded to this
such as designing a front cover from scratch
well. They appreciated the fact that this was
The evaluation of phase one recommended or putting in live copy with pictures. The art
separate from school and they perceived
that there should be increased support for editors gave instant feedback and suggestions
that they were treated differently in this
IPC Media art editors during work experience that the students used to enhance their
environment and felt more prepared for the
week to make the best use of their time. work. Some of the art editors were able to
work experience week as a result. The The phase one evaluation also indicated
Observation evidence indicated that art editors incorporate the students’ interests into this
relationship between the students and the the need for greater integration of the learning
were effective when working with students and work. One gave her student a page to work
tutor was good and students responded well experience into the school curriculum. The
able to support and challenge them during on that involved graffiti art, having observed
to the demands of the project. design of phase two certainly reflected a more
work experience weeks and when they visited his interest in this. Four of the students had
integrated approach to the programme with
The evaluation of phase one recommended the school. One art editor, for example, was their pages published in summer editions of
weekly after-school sessions combined with
that a clear student selection process should observed during a session at the school and Uncut and Now magazines.
two weeks of intensive work during normal
be agreed by all partners and this was was seen to maintain professionalism whilst
school hours. This fortnight enabled students
achieved in phase two. It was decided that adapting to students’ needs throughout; he
to be immersed in the project, having already
students from year 10 would be engaged with reframed comments and discussion from
had introductory sessions during which
the programme rather than year 11, due to the students using the appropriate terminology.
they learnt the rudiments of the software.
pressures already on year 11 students. Staff in
The intensive weeks included visits to
design and technology, English and art were
organisations, including Tate Modern and
asked to identify pupils who would benefit
the Newspaper Trust in Wapping. Input by
from the programme. Students were then
IPC Media art editors enabled students
interviewed and selected using the
to understand more about the processes
following criteria:
• students taking design and graphics GCSE
involved in magazine publishing. Additionally,
teachers from the English department
When a student
• tudents with a demonstrable interest
s
(including an advanced skills teacher) taught
sessions on thinking skills, creative writing
demonstrated an
in art and design within publishing
• tudents with good basic skills,
s
and English usage in journalism. These weeks
also provided an opportunity for the students
understanding of
especially in English and literacy to develop a portfolio of work for the Arts
Council England Young People’s Arts Award,
the genre of the
• tudents who did not have work
s
experience arranged
an accredited scheme to recognise the
development of young artists and young
magazine, he or
• tudents who could engage fully
s
in the programme without it interfering
arts leaders. she was set a more
with other work
With the experiences of phase one to draw
on and a longer lead-in time, it was possible independent project
to ensure improved integration of the project
into specific subjects. Colour theory related to such as designing
art for example, whilst typography and the
functional use of language related to the a front cover from
English curriculum.
scratch or putting in
live copy with pictures.

4. Impact and When asked about their work experience,
students recognised the value of having
Many of the issues from phase one of the
programme were successfully addressed in
outcomes learned so much about magazine production
before they went to IPC Media. They also
phase two and the students clearly learned
many technical aspects of publishing and
Art editors who had worked with the students appreciated having the opportunity to work design by being part of the programme. Two of
were impressed with the knowledge of the with professional designers. Several students the students from phase one are now studying
InDesign software that the students displayed. commented that they were able to for a design-related career (one in fashion, the
Comments included: ‘The student has understand the pressures of working other in computer-aided design), something
demonstrated a very good understanding of on a weekly magazine where pages had they had not considered before the programme.
InDesign. She has provided some sophisticated to be produced quickly and accurately. Students from phase two are now in year 11
layouts that show she has strong technical The need for perfection was something that and preparing to submit their portfolios for
abilities’ and ‘Overall, he knew his way around all students were able to appreciate and put the Young People’s Arts Award. The original
InDesign but needed help on the technical side.’ into practice when designing their own pages. intention was for these to be entered for the
Many of the students expressed a strong bronze award but the tutor believes the work
Critically, IPC Media had considered the interest in returning to IPC Media for further merits a silver award. These students have
interests of the students and tried, as far work experience. a range of media skills to offer the school
as possible, to match these to the publications community. They will be working on the school
they worked on. As an example, two students The art editors gave positive critical feedback
newsletter and facilitating communication from
on the programme were taking GCSE business on the students and the originality of their work.
the student council.
studies, which includes a requirement to One commented, ‘I am very impressed with the
produce a business case study. These students final execution, which means he understood the Creative Partnerships has appointed a
were assigned to work at IPC Creative, a processes needed to create pages. Designing project manager for this initiative with a view
corporate department servicing the magazines. his own rubric or running head demonstrated to extending the programme to other local
The students learnt about the business side his creative side.’ Another said, ‘after setting secondary schools with AMRTC as the hub.
of IPC Media; how advertising is sold, for him a feature that he had free reign on, his IPC Media sees the importance of engaging
example, and how magazines are put together. creative abilities started to shine through,’ and with young people to help develop a more
IPC Media also provided documentation, such ‘her layouts were very original whilst adhering diverse generation of designers and the
as dummy contracts, for the case studies. to the house style well.’ partnership with AMRTC has laid firm
foundations for further work.
The phase one evaluation also recommended There was also a general consensus that
that students chosen for the programme had the students had been responsive to the Hannah Wilmot
an appropriate interest in a career involving work placement and in their general approach
art and design and an aptitude in creative to design, ‘J’s enthusiasm developed over
subjects. All students in phase two met the time she spent in the department. She was
these criteria. It was also important that they very responsive to advice and guidance. I was
had a certain maturity in outlook to engage very impressed with the way she responded
appropriately during work experience. During and how quickly she learned.’ Only one art
school based sessions, students were able editor perceived that his student was not very
to use the software effectively within a interested in the subject matter of the
relatively short space of time. The intensive magazine and this inhibited the learning that
weeks were instrumental in this process. could have taken place.
Having a high level of competence in the Students were appreciative of the opportunity
use of the software and a sound background that had been given to them, ‘I got to work
in the terminology of publishing and design, on actual magazine spreads that will actually
the students were able to successfully appear on the next issue.’ There was also
complete the assigned tasks during their work a recognition that students were treated as
experience weeks. They commented that they adults in a professional environment and this
continued to learn the more complex functions contributed to their learning, ‘The whole of
of the software during their time at IPC Media. the experience was extremely good and the
Students were also observed to be working environment was very mature and we were
persistently on their tasks. treated respectfully and like adults.’
Number of students involved 28
Number of sessions 69
Number of teachers and support staff involved 2
Year groups 10 and 11
Creative Partner IPC Media

5. Creative partner Creative Partnerships
IPC Media is the UK’s leading consumer Creative Partnerships is a programme
magazine publisher, with a large portfolio of managed by Arts Council England, the
brands, selling over 350 million copies each national development agency for the arts
year. Titles include What’s on TV, Now, Marie in England. It gives young people in 36
Claire, In Style, Ideal Home, Loaded, NME disadvantaged areas across England the
and Wallpaper*. IPC Media is owned by Time opportunity to develop their creativity and
Inc., the publishing division of Time Warner, their ambition by building partnerships
the world’s largest media organisation. between schools and creative organisations,
businesses and individuals. Creative
With the appointment of a corporate
Partnerships aims to demonstrate the pivotal
responsibility manager in 2005, IPC Media
role creativity and creative people can play
has been increasing its focus on working
in transforming education in every curriculum
with the wider community. IPC’s corporate
subject for children of all ages and abilities.
responsibility activities take a number of
different forms, including engaging with the London East and London South were
environmental issues that affect the publishing established as two of the first sixteen
industry, employee volunteering, community Creative Partnerships areas in 2002,
engagement and charitable and fundraising delivering programmes with schools in
activities. Hackney, Islington, Newham and Tower
Hamlets and Greenwich, Lambeth, Lewisham
www.ipcmedia.com
and Southwark over a four year period.
In April 2006 the two areas merged to form
Writer one Creative Partnerships area delivering a
joint creative programme in eight boroughs.
Hannah Wilmot has worked as a freelance
Creative Partnerships London East and South
consultant for 13 years having previously
is now based at Discover in Stratford.
worked for Battersea Arts Centre, Riverside
Studios and London Arts Board (now Arts
Council England, London) as education
officer. Hannah specialises in the evaluation
of education programmes, particularly those
involving the arts and creativity. She also has
considerable experience of designing and
providing training for artists and teachers
wishing to pursue creative partnerships.
Creative Partnerships London East and South
Discover, 1 Bridge Terrace, London E15 4BG
T: 020 8536 5558
F: 020 8555 3948
E: londoneastsouth@creative-partnerships.com
www.creative-partnerships.com
This case study is available to download on the
Creative Partnerships website. To view this, and to
view the other case studies in this series please visit
www.creative-partnerships.com and go
to the London East and South homepage.
Images: Jason Larkin and students from
Archbishop Michael Ramsey Technology College
Design: Thirdperson www.thirdperson.co.uk
ISBN: 0-7287-1314-4
978-0-7287-1314-7