Teaching Strategies and Lesson Plan Sharing for Pre-U CCEA Art and Design | Pre-U CCEA 艺术与设计：教师教学建议与教案分享

📚 Teaching Strategies and Lesson Plan Sharing for Pre-U CCEA Art and Design | Pre-U CCEA 艺术与设计：教师教学建议与教案分享

The Pre-U CCEA Art and Design course demands high levels of independent enquiry, critical thinking, and sophisticated practical skills. For teachers, structuring a programme that nurtures these attributes while covering the specification’s breadth can be challenging. This article shares practical teaching strategies, assessment insights, and ready-to-use lesson plans drawn from experienced practitioners, aiming to help you inspire pupils and secure outstanding outcomes at this advanced level.

Pre-U CCEA 艺术与设计课程要求学生具备高水平的独立探究能力、批判性思维以及成熟的实践技法。对教师而言，设计一套既能培养这些素质又能覆盖课程大纲广度的教学方案颇具挑战。本文分享了经验丰富的实践者总结的实用教学策略、评估洞见与可直接使用的教案，旨在帮助您激励学生，并在此高级别课程中取得卓越成果。

1. Understanding the Pre-U CCEA Art and Design Specification | 理解Pre-U CCEA 艺术与设计课程大纲

The CCEA GCE Art and Design specification centres on two units at A2 level (the Pre-U equivalent): a Personal Investigation (60%) and an Externally Set Assignment (40%). The Personal Investigation requires a coherent body of work supported by a written element of 1000–3000 words, while the Externally Set Assignment gives a choice of starting points with a 15-hour supervised test. Teachers must ensure students appreciate the sustained, self-directed nature of both components from the very start.

CCEA GCE 艺术与设计课程大纲在 A2 阶段（相当于 Pre-U）聚焦两大单元：个人调研（占 60%）和外部设定作业（占 40%）。个人调研要求创作一组连贯的作品，并附上一篇 1000–3000 字的书面分析；外部设定作业则提供多个出发主题，学生需在 15 小时监考条件下完成作品。教师必须从一开始就让学生理解这两个部分持续、自主的学习特质。

The specification distinguishes four assessment objectives: AO1 (Develop), AO2 (Explore and experiment), AO3 (Record observations and insights), and AO4 (Realise intentions). Weightings emphasise the synthesis of practical and critical work. Embedding these objectives into everyday teaching rather than treating them as a checklist at submission time is essential for pupil success.

大纲明确四个评估目标：AO1（发展）、AO2（探索与实验）、AO3（记录观察与见解）和 AO4（实现意图）。权重设置强调实践作品与批判性研究的融合。将评估目标融入日常教学，而非在提交作品前临时当作核对清单，是学生成功的关键。

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2. Key Assessment Objectives and Their Implications for Teaching | 关键评估目标及其对教学的启示

AO1 demands that students develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding. This means teachers must design activities that routinely require pupils to connect their own work with that of artists, designers, or craftspeople. Simply copying artists’ styles is not enough; students must analyse how and why their chosen references are relevant.

AO1 要求学生通过持续、聚焦的调研发展创意，并借鉴脉络或其他资源，展示分析性与批判性理解。这意味着教师必须设计能够让学生将自身作品与艺术家、设计师或工艺师作品联系起来的学习活动。仅仅模仿艺术家的风格是不够的，学生必须分析所选参考为何及如何与自己的创作相关。

AO2 covers exploring and experimenting with appropriate resources, media, materials, techniques, and processes. Planning a broad range of workshops early in the course builds a toolbox. Students should be encouraged to document ‘failed’ experiments honestly, explaining what they learned, because this demonstrates the reflective practice the examiner values. A narrow, polished portfolio often scores less well than a risk-taking, exploratory one.

AO2 涉及利用合适的资源、媒介、材料、技法和过程进行探索与实验。在课程早期规划丰富的工作坊能够帮助学生建立技法工具箱。应当鼓励学生诚实地记录“失败”的实验，并解释从中获得的经验，因为这种反思性实践正是考官所看重的。一本狭窄而精致的作品集往往得分不及敢于冒险、勇于探索的作品集。

AO3 focuses on recording observations and insights in visual and other forms, while AO4 is about presenting a personal, informed, and meaningful response. The recording must not be limited to photographs; sensitive drawing, annotated sketches, and written reflections all carry weight. The final response must be clearly connected to the journey of investigation. Teaching students to curate and sequence their work tells the narrative the moderator needs.

AO3 侧重以视觉或其他形式记录观察与见解，而 AO4 则关乎呈现个人化、有依据且有意义的最终回应。记录不能局限于照片；充满感受力的手绘、带注释的草图以及书面反思都应占有一席之地。最终作品须与调研历程清晰呼应。教会学生筛选和排序作品，正是讲述评审官所需叙事的关键。

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3. Developing Students’ Personal Investigation Skills | 培养学生个人调研技能

The Personal Investigation is the heart of the Pre-U course. Begin by guiding learners to identify a genuine personal interest rather than a generic theme like ‘nature’ or ‘architecture’. A specific lens — for instance, ‘the visual decay of abandoned industrial sites in Northern Ireland’ — offers more depth. One-to-one tutorials in the first term can help pupils articulate a focused question or hypothesis to drive their visual enquiry.

个人调研是 Pre-U 课程的核心。从一开始就应引导学生找到真正个人的兴趣点，而非选择像“自然”或“建筑”这样笼统的主题。一个具体的切入点——例如“北爱尔兰废弃工业场址的视觉衰变”——能够提供更深层的探索空间。第一学期的一对一指导能够帮助学生清晰地表达一个驱动其视觉探究的聚焦问题或假设。

Teachers should provide frameworks for contextual research. Expect pupils to produce concise case studies on relevant artists, not just biography but a structured analysis of a specific artwork’s form, technique, concept, and meaning. Linking this analysis directly to their own emerging practical work forces synthesis. A mid-point presentation, where each student defends their project direction to the group, builds confidence and critical language.

教师应为脉络化研究提供框架。要求学生就相关艺术家撰写简要的个案分析，不应只是传记，还应包括对特定作品的形式、技法、观念与意义的结构化分析。将这种分析直接与他们自身正在形成的实践作品联系起来，能够促成综合思考。一段中期的演示汇报，让每位学生向小组阐述自己的项目方向，有助于建立信心并锻炼批评语言。

Written element planning should start early. I advise students to keep a digital research diary alongside their sketchbook, drafting reflective paragraphs as their project evolves. Integrating the written component seamlessly with visual evidence avoids the trap of a separate essay that feels detached from the practical work.

书面部分的规划应及早开始。我建议学生在素描本之外再准备一部数字研究日志，随着项目推进随时起草反思段落。将书面元素与视觉证据无缝整合，就能避免那种看似脱离实践作品、生硬附加的论文式写作。

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4. Integrating Critical and Contextual Studies into Studio Practice | 将批判性与脉络化研究融入工作室实践

Too often, critical studies sit as an isolated theory lesson. Instead, embed them within studio sessions. For example, when students are exploring texture through frottage, pause the practical work and project a five-minute analysis of Max Ernst’s frottage techniques. Immediately discuss how Ernst’s conceptual use of ‘chance’ might be applied or subverted in their own experiments. This live link makes theory tangible.

批判性研究常常被当作孤立的学术课程对待。不如将它们融入工作室实践之中。例如，当学生正通过拓印法探索肌理时，可以暂停实践操作，投影一张关于马克思·恩斯特拓印技法的五分钟分析图。随即讨论恩斯特对“偶然性”的概念运用如何能被学生应用到自身的实验中去，或加以颠覆。这种即时联系能让理论变得触手可及。

Regular gallery visits or virtual tours are essential. CCEA moderators look for evidence of first-hand engagement. A workshop in the Ulster Museum or a local artist’s studio can generate rich primary research. Back in the classroom, ask pupils to produce a visual response sheet that directly synthesises something they saw with their current project work, rather than merely writing a review.

定期的美术馆参观或虚拟导览必不可少。CCEA 评审官看重一手接触的证据。在阿尔斯特博物馆或当地艺术家工作室举办一场工作坊，能够催生丰富的一手研究材料。回到课堂后，请学生制作一份视觉反馈单，直接将他们所见的某些元素与当前项目作品进行综合，而不是仅仅写一篇观后感。

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5. Effective Use of Sketchbooks as a Learning Tool | 有效使用素描本作为学习工具

The sketchbook is not a presentational portfolio; it is a thinking space. Teach students to date entries, use a variety of media within the same spread, and avoid erasing or tearing out pages. Messy, overlapping experiments accompanied by probing questions (‘What if I used a palette knife instead?’) are far more valuable than neat but static drawings. I often set ‘sketchbook sprints’ — timed 15-minute bursts where pupils must fill a double page responding to a surprise stimulus.

素描本不是展示性的作品集，而是一个思考空间。要教导学生标注入页日期，在同一跨页中使用多样媒介，并避免擦拭或撕掉页面。那些凌乱、交叠的实验，并配以探究性问题（“若改用调色刀会怎样？”），远比整洁却静态的绘画有价值。我常布置“素描本冲刺”——限时 15 分钟，要求学生根据一个突然给出的刺激物填满一个双跨页。

Annotation strategy is critical. Pupils often write what they like about an artist. Shift this to analytical annotation using sentence stems: ‘The artist’s use of… creates… because…’; ‘This relates to my work through…’; ‘An alternative approach could be…’. Little and often is the key — a few quality sentences per page build a robust record of critical thinking.

注释策略至关重要。学生通常只写他们为什么喜欢某位艺术家。应当将其转变为分析性注释，使用句式引导：“艺术家对于…的运用创造了…因为…”“这与我的作品通过…相关联”“另一种可能的做法是…”。贵精不贵多——每页几句高质量的句子便能建立起扎实的批判性思维记录。

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6. Lesson Plan Example: Observational Drawing Workshop | 教案示例：观察性绘画工作坊

Lesson Title: Observational Drawing – Structure, Form, and Gesture | Duration: 2 hours

课题：观察性绘画——结构、形体与姿态 | 时长：2 小时

Learning Objectives: By the end of the session, students will be able to: record the essential structure of complex natural forms using contour and cross-contour line; apply gestural mark-making to capture movement; and self-evaluate the success of their drawings against given criteria.

学习目标：课程结束时，学生将能够：使用轮廓线和交叉轮廓线记录复杂自然形体的基本结构；运用姿态性的线条表现捕捉动势；并根据给定标准自我评价其绘画作品的成功程度。

Starter (10 mins): Rapid blind contour drawings of a shell, demanding total visual focus without looking at the paper. This breaks the habit of ‘symbolic’ drawing and warms up the hand-eye connection.

导入活动（10 分钟）：对着一枚贝壳进行快速盲画轮廓，要求完全凭视觉观察而不得低头看纸。这能打破“概念符号化”的绘画习惯，并热身手眼协调。

Main Activity 1 (35 mins): Sustained contour drawing of the same shell. Teacher demonstrates using a sharpened graphite stick, modelling how to ‘travel’ the contour slowly, feeling the volume. Pupils work on A2 sugar paper, encouraged to draw larger than life-size. Circulation of teacher provides individual feedback on line weight variation.

主要活动 1（35 分钟）：对同一贝壳进行持续的轮廓绘画。教师用削尖的石墨棒做示范，示范如何沿着轮廓缓慢“行进”，感受体积。学生在 A2 大小的牛皮纸上作画，鼓励画得比实物更大。教师巡视，对线条轻重变化进行个别反馈。

Main Activity 2 (35 mins): Introducing gesture. Students make 30-second, 1-minute, and 3-minute studies of a draped fabric still-life. Materials shift to charcoal and ink brush. Emphasis is on the energy and tension in the folds, not accuracy. Students annotate their favourite gestural marks, linking them to the work of Alberto Giacometti.

主要活动 2（35 分钟）：引入姿态性描绘。学生对一组垂褶布料的静物进行 30 秒、1 分钟和 3 分钟的速写。材料转为炭条和毛笔。重点在于布褶中的能量与张力，而非精准。学生为自己最满意的姿态笔触加上注释，并与阿尔贝托·贾科梅蒂的作品做出联系。

Plenary (15 mins): Gallery walk. Works displayed without names. Pupils use post-it notes to identify two strong examples of ‘structure captured’ and ‘movement captured’, justifying choices orally. Teacher summarises how these skills feed into AO3 recording.

总结环节（15 分钟）：画廊漫步。作品匿名展示。学生用便签条选出两个“最佳捕捉结构”和“最佳捕捉动态”的范例，并对选择做出口头解释。教师总结这些技能如何为 AO3 的记录要求服务。

Resources: Natural forms (shells, bones, dried seed pods), A2 sugar paper, charcoal, graphite sticks, ink, brushes, post-it notes.

资源：自然形体（贝壳、骨头、干燥的种子荚）、A2 牛皮纸、炭条、石墨棒、墨水、画笔、便签条。

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7. Lesson Plan Example: Exploring Mixed Media and Experimentation | 教案示例：混合媒介与实验探索

Lesson Title: Layering and Transparency – Experimental Workshop | Duration: 90 minutes

课题：层叠与透明感——实验工作坊 | 时长：90 分钟

Learning Objectives: Students will explore a minimum of five media combinations to create translucent and opaque layers; analyse the emotive effects of layering in works by contemporary mixed-media artists; and document decision-making processes in their sketchbooks.

学习目标：学生将探索至少五种媒介组合来创造透明与不透明的层次；分析当代混合媒介艺术家作品中层叠手法所引发的情感效果；并在自己的素描本中记录决策过程。

Starter (5 mins): Show two slides: a Robert Rauschenberg ‘Combine’ and an abstract painting by Helen Frankenthaler. Quick pair-share: ‘How is depth created when the surface is not illusionistic?’

导入（5 分钟）：展示两张幻灯片：罗伯特·劳森伯格的一件“组合”作品与海伦·弗兰肯塔勒的一幅抽象绘画。快速同伴交流：“当画面并非错觉空间时，深度感是如何营造的？”

Main Activity (60 mins): Students rotate around seven stations, each set up with different material combinations: (1) tissue paper and PVA glue; (2) oil pastel with watercolour wash resist; (3) torn cardboard relief and ink roll; (4) gesso scraper and powdered pigment; (5) sewing into watercolour paper with thread; (6) acetate sheet and permanent marker transfer; (7) digital photo printed on tracing paper over charcoal drawing. Each station challenge card asks a prompt: ‘Can you make the bottom layer glow through the top?’ or ‘What happens when you tear back a top layer?’ Quick sketchbook notes are mandatory before moving on.

主要活动（60 分钟）：学生轮流进入七个工作站，每个站点设置不同的材料组合：（1）薄棉纸与白乳胶；（2）油画棒与水彩洗出防染效果；（3）撕裂的纸板浮雕与滚墨；（4）石膏刮底与粉状颜料；（5）在水彩纸上缝线；（6）醋酸纤维片与永久马克笔转印；（7）将数码照片打印在描图纸上再覆盖在炭笔画之上。每个站点挑战卡片提出启示性问题：“能否让底层的光感透过表层透出？”或“撕开一部分表层后会发生什么？”在转向下个站点前，学生须在素描本上做简短记录。

Plenary (25 mins): Each student selects their most surprising result. They write a 50-word reflection directly onto the experiment page, linking to a specific artist seen at the start. A few share aloud. Teacher collects sketchbooks to check that experimentation is rigorous and annotated.

总结环节（25 分钟）：每位学生选择自己最意外的一个结果。他们在实验页上直接写下 50 字的反思，并与课前所见的具体艺术家建立联系。几位学生当众分享。教师收上素描本查阅，以确保实验深入且有注释记录。

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8. Differentiation Strategies for Mixed-Ability Art Classrooms | 混合能力艺术课堂的分层教学策略

Pre-U cohorts often include students with diverse prior attainment and different learning needs. For those who are less confident in drawing, offer structured starting points: viewfinders, pre-printed gridded photographs, or partial outlines to work into. Challenge more able pupils through extension prompts like ‘develop a second version that communicates the opposite emotion’ or ‘limit your colour palette to three hues only’.

Pre-U 班级中往往包含先前基础与学习需求各异的学生。对绘画信心不足的学生，可以提供结构化的起点：取景框、预先印好网格的照片，或者可供进一步发展的部分轮廓。针对能力较强的学生，则以拓展性提示提出挑战，例如“创作第二个版本，传达相反的情绪”或“将你的调色板限制在仅三个色相”。

Questioning is a powerful differentiation tool. Use Bloom’s taxonomy: lower-order questions (‘What material did you use?’) support foundation pupils, while higher-order ones (‘How might Dadaist principles transform your approach?’) stretch the most able. Pairing students strategically so that they can learn from one another’s process journal techniques also works well.

提问是一种有力的分层教学工具。运用布鲁姆分类法：低阶问题（“你用了什么材料？”）为基础薄弱的学生提供支持，而高阶问题（“达达原则可能如何改变你的创作方式？”）则能延伸能力最强的学生。有策略地配对，让学生相互学习对方的过程日志技巧，同样效果显著。

For pupils with SEN, provide visual timetables, task checklists, and sensory breaks. A ‘materials bar’ with small samples pre-attached to cards helps those who struggle with verbal instruction. Extension worksheets with advanced critical vocabulary allow gifted learners to work independently without watering down the creative task.

对于有特殊教育需求的学生，提供视觉化时间表、任务核对清单和感官休息时段。一套“材料条”，将小型样本预先贴在卡片上，能够帮助难以理解口头指令的学生。附带进阶批判性词汇的拓展练习纸则能让资优生独立工作，而无需降低创作任务的要求。

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9. Assessment and Feedback: Formative and Summative Approaches | 评估与反馈：形成性与总结性方法

Frequent formative feedback is the engine of progress in art. Use ‘feedback postcards’: after a significant practical lesson, give each pupil a handwritten note with one specific commendation (e.g., ‘Your control of drypoint line in the third print is exceptionally delicate’) and one precise target (‘Next step: add a partial colour block influenced by your Morandi study’). This is manageable for the teacher and memorable for the student.

高频次的形成性反馈是艺术课取得进步的动力。采用“反馈明信片”：在一次重要的实践课之后，给每位学生一张手写便签，包含一条具体的赞扬（例如“你在第三幅版画中对干刻线条的掌控格外细腻”）和一个明确的目标（“下一步：添加一块受到你莫兰迪研究影响的局部色块”）。这对教师来说省时可行，对学生而言印象深刻。

Pupil self-assessment should be scaffolded. Provide a reflection framework: ‘Technically, I succeeded most in…’; ‘Conceptually, this work explores…’; ‘The strongest link to my contextual research is…’; ‘To improve, I need to…’. Video feedback, where a teacher records a 60-second screencast scrolling through a student’s digital portfolio and talking through strengths and areas for development, can be particularly powerful and time-efficient.

学生自我评估需要架构支持。提供一个反思框架：“技术上，我最成功的是…”“观念上，这件作品探索的是…”“与我的脉络化研究最紧密的联系是…”“为求改进，我需要…”。视频反馈——教师录制 60 秒的屏幕滚动画外音，浏览学生的数字作品集并讲述优点与待发展领域——尤其有效且高效。

Summative assessment should be conducted in strict alignment with CCEA mark bands. Train students to peer-assess using redacted moderator feedback from previous cohorts. This demystifies what a ‘confident and highly developed’ response actually looks like and discourages over-reliance on teacher validation.

总结性评估应当严格对标 CCEA 的评分等级。训练学生进行同伴互评，使用以往届次经过脱敏的评审官反馈材料。这能揭开“自信且高度发展”的回应究竟是何模样的神秘面纱，并遏制学生对教师认可的过度依赖。

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10. Preparing Students for the Externally Set Assignment | 帮助学生准备外部设定作业

The Externally Set Assignment (ESA) paper arrives in February, with preparatory studies lasting approximately eight weeks before the 15-hour controlled test. The key challenge is helping pupils maintain energy over the preparatory period and produce a focused final outcome. A common error is tackling too many broad ideas superficially.

外部设定作业（ESA）试卷在二月发放，之后约有八周准备时间，最后进行 15 小时的监考测试。主要挑战在于帮助学生维持准备阶段的创作热情，并产出一个聚焦的最终成果。常见错误是浅尝辄止地处理过多宽泛的创意。

Immediately after receiving the paper, run a ‘creative sprint’ lesson. Give pupils 60 minutes to mind-map their chosen starting point, then produce four small visual thumbnails exploring different potential directions. This prevents procrastination. A formal proposal form — describing intention, contextual links, tentative materials, and time plan — can be submitted by the end of week one.

拿到试卷后，立即开展一节“创意冲刺”课。给学生 60 分钟时间，针对所选出发点绘制思维导图，然后完成四个小幅视觉缩略图，探索不同的可能方向。这能防止拖延。到第一周末提交一份正式的构思计划表，描述创作意图、脉络联系、初步材料选择以及时间规划。

The final test should be rehearsed. Run a 5-hour ‘mini controlled test’ in the classroom, replicating examination rules. This builds stamina and reveals material issues (e.g., drying time, scale problems) without grade risk. Encourage pupils to script the sequence of their 15-hour session: hour-by-hour rough plan, including snack breaks. This reduces anxiety hugely.

最终的测试需要预演。可在教室中组织一场 5 小时的“模拟监考测试”，严格复制考试规则。这能锻炼耐力，并在无评分风险的情况下暴露材料问题（如干燥时间、尺寸问题）。鼓励学生为自己 15 小时的监考时间编写脚本：逐小时的粗略计划，包括休息吃点心的时间。这样能极大降低焦虑感。

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11. Fostering Independent Learning and Artistic Voice | 培养独立学习与艺术声音

Pre-U success relies on pupils owning their practice. Flip the classroom for contextual studies: assign artist research as homework, but in class, students lead discussion seminars. A ‘Question the Artwork’ routine permanently displayed on the wall (What am I seeing? What choices were made? What social or political context might have influenced this? How does this resonate with my own practice?) trains an internal critical dialogue.

Pre-U 的成功依赖于学生对其实践拥有自主权。在脉络化研究方面尝试翻转课堂：布置艺术家研究作为作业，但在课堂上由学生主导研讨讨论。在墙上长期展示“对作品提问”的固定句式（我看到了什么？创作者做出了哪些选择？可能的社会或政治背景是什么？这如何与我自己的实践产生共鸣？），这能训练一种内在的批判对话。

Encourage side projects. Allowing 10% of course time for self-initiated mini-projects — perhaps a zine, a short installation, or a collaboration with a science pupil — can spark genuine artistic identity. These often feed back into the main investigation with refreshed vision. A final year exhibition, even if internal, gives a real-world deadline and curatorial responsibility that builds professional understanding.

鼓励副线项目。允许用 10% 的课时进行自我发起的小型项目——或许是一本独立杂志、一件小型装置艺术，或者与理科学科学生的一次跨学科合作——能够点燃真正的艺术个性。这些项目常常以焕然一新的视角回馈到主线调研之中。一场毕业年展，即便仅在校内举办，也能提供一个现实的截止期限并赋予策展责任，从而建立起专业认知。

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12. Cross-Curricular Links and Enrichment Opportunities | 跨学科联系与拓展机会

Art does not exist in a vacuum. Strong Pre-U portfolios often reference literature, history, science, or psychology. Partner with the English department to run a poetry-and-visual-response workshop; collaborate with Biology to produce botanical illustrations that teach both scientific observation and formal aesthetics. Such links deepen contextual understanding and demonstrate the intellectual ambition that CCEA examiners reward.

艺术并非在真空中存在。优秀的 Pre-U 作品集常引用文学、历史、科学或心理学的内容。与英语系合作举办一场诗歌与视觉回应的工作坊；与生物系协作产出兼具科学观察与形式美学的植物学图谱。这样的跨学科联系能够深化脉络理解，并彰显 CCEA 考官所青睐的智识雄心。

External enrichment builds confidence and CV strength. Encourage submissions to the Ulster Youth Art Festival, the Royal Ulster Academy of Arts student show, or online platforms like the ARTiculation Prize. Contact local galleries, such as the MAC in Belfast or the Nerve Centre in Derry, about artist-in-residence schemes that could host a small group visit and chance to co-create.

校外拓展能建立信心并强化个人履历。鼓励学生投稿参加阿尔斯特青年艺术节、皇家阿尔斯特艺术学院学生展，或像 ARTiculation Prize 这样的在线平台。联系当地的美术馆，如贝尔法斯特的 MAC 艺术中心或德里/伦敦德里的神经中枢中心，询问艺术家驻留计划，或许能安排一次小组参观及共同创作的机会。

Finally, invite past pupils back to speak about their art foundation or degree experiences. Their authentic testimony about the transition from Pre-U to further study is incredibly motivating. These alumni can also serve as informal mentors, demystifying the next steps.

最后，邀请往届毕业生回校谈谈他们的艺术预科或大学学位经历。他们对于从 Pre-U 迈向下一阶段学习的真实感言极具激励作用。这些校友还可担任非正式的导师，为学弟学妹揭开未来道路的面纱。

Published by TutorHao | Art Revision Series | aleveler.com

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