EduArts
Ethical Action Plan
The ethical action plan was developed through an iterative and reflective process. Rather than being fixed at the outset, ethical considerations evolved alongside the project design as my understanding of feasibility, participant experience, and research responsibility deepened.
Initially, the project was conceived as a visually rich intervention combining an animated video and an interactive PDF. Through discussion with my tutor and peers and reflection on time constraints, I recognised that prioritising complex formats risked diverting attention from the core pedagogical question: how students make decisions about digital software use. This prompted a shift towards a more sustainable and adaptable approach, resulting in two web-based resources focused on clarity and functionality rather than production complexity. This decision influenced the ethical plan by foregrounding accessibility, ease of iteration, and responsiveness to feedback.
As the project was refined, the action research dimension became clearer, particularly in relation to research methods. I recognised the importance of gathering feedback from both students and technical staff in order to understand the resource from multiple perspectives: learner experience and teaching practice. This dual focus shaped the ethical plan, shifting it towards an ongoing cycle of feedback, reflection, and implementation rather than a single instance of data collection. Given my dual role as technician and lecturer, I chose quick anonymous surveys to reduce pressure and support honest responses. This decision reflects an awareness of power dynamics and a commitment to creating an ethical research environment where participants can contribute freely and without concern about judgement or evaluation.
Ethical Action Plan (500-750 words)*
This document is a chance for you to begin shaping your project while thinking through its ethical considerations, implications, and responsibilities. We know this might feel early in your action research journey, but this short plan is here to help pin down your ideas and work-in-progress.
Use whatever writing format that suits you – lists, bullet points, statements or paragraphs – and follow the suggested links stated alongside some of the questions for guidance.
A good starting point is the BERA Guidelines for Educational Research, fifth edition (2024) alongside the ‘Ethics Files and Resources’ on Moodle.
When you’re ready, email your draft to your allocated tutor 48 hours in advance of you first group tutorial in the week commencing 6 October 2025, so it can help guide the focus of discussions and support your project development.
Name: Andrada Bodea
Tutor: Rachel Marsden
Date: 06/10/2025
| What is the working title of your project? Also write a few sentences about the focus of your project. Focus: Project responds to a recurring issue among students who often feel unsure about which digital tools such as Photoshop, Illustrator, InDesign, or Clo3D are most appropriate at different stages of their projects. In addition to that showing that the visual attractiveness (aesthetics, layout, design) of educational/resources materials can improve interest, motivation, engagement, and sometimes even learning outcomes. Working title: Digital Journeys: Supporting Student Workflow in Fashion Education with Design Software This project explores how students navigate digital software in fashion projects at LCF. It features three prototype resources: A general video animation illustrating a typical student journey (e.g., Photoshop for drawing/photo editing → Illustrator for logos/technical drawings → InDesign for portfolios). A custom roadmap for each brief, showing the sequence of software and tasks (example from Year 2 Womenswear Fashion Design Technology). A search function, allowing students to quickly identify the most appropriate software for specific project tasks. The aim is to improve transparency, accessibility, and confidence in digital workflows while reducing confusion about software use. The project prioritizes inclusive design (legible fonts, high contrast, alt text) and supports fair access to knowledge regardless of prior experience. Social justice angle: The work aligns with principles of educational equality and inclusion by addressing digital literacy gaps that can disadvantage some learners. It supports fair access to knowledge regardless of prior experience, helping students navigate complex digital environments with greater confidence. The project also acknowledges that some students face accessibility barriers, so inclusive visual communication will be prioritised (e.g., legible typography, high contrast visuals, and alt text). |
| What sources will you read or reference? Share 5 to 10. – UAL Inclusive Teaching and Learning Framework. – Adobe Education Exchange – Pedagogical Approaches to Creative Software Learning. – Norman, D. (2013) The Design of Everyday Things – principles of usability and accessibility. – Hooks, B. (1994) Teaching to Transgress: Education as the Practice of Freedom. – Laurillard, D. (2012) Teaching as a Design Science: Building Pedagogical Patterns for Learning and Technology. – Kolb, D. (1984) Experiential Learning: Experience as the Source of Learning and Development. – Shulman, L. (1986) Those Who Understand: Knowledge Growth in Teaching. – Color Oracle – accessibility and colour perception simulation. – Mayer, R. E. & Estrella, G. (2014) Benefits of emotional design in multimedia instruction. Learning and Instruction, 33, 12–18. – Heidig, S., Müller, J. & Reichelt, M. (2015) Emotional design in multimedia learning: Differentiation on relevant design features and their effects on emotions and learning. Computers in Human Behavior, 44, 81–95. |
| What action(s) are you planning to take, and are they realistic in the time you have (Sept-Dec)? Mid–Late October: Finalise project outline and storyboard + create and edit the video and pdf Early November: Create and edit the animated video and interactive PDF showing which app suits which project type. Mid November: Share the resource in class demonstrations. Launch a short online feedback survey (linked by QR code). Early December: Conduct questionnaires with a few technicians to gather feedback on how the resource supports teaching practice. Staff numbers: approx. 10 Student numbers: 15-20 |
| Who will be involved, and in what way? (e.g. colleagues, students, local community…). Note, if any of your participants will be under the age years of 18yrs, please seek further advice from your tutor. Students (18+): 15/20 students from LCF, completing an anonymous survey. Technical staff: 10 participants for questionnaire to gather professional feedback. Focusing on these participant numbers ensures feasibility for the project timeline. Engaging both students and staff provides a balanced view of the resource’s impact and potential for wider use across units. No under-18 participants will be included. |
| What are the health & safety concerns, and how will you prepare for them? https://canvas.arts.ac.uk/sites/explore/SitePage/42587/health-and-safety-hub https://canvas.arts.ac.uk/sites/explore/SitePage/45761/health-and-safety-policies-and-standards The project has minimal health and safety risks. All activities will be carried out within standard classroom environments or online (Moodle, Teams). Accessibility and wellbeing are key considerations. The resource will follow institutional accessibility standards (e.g. readable fonts, sufficient contrast, subtitles and captions, alternative text for visuals). |
| How will you manage and protect any physical and / or digital data you collect, including the data of people involved? https://www.bera.ac.uk/publication/ethical-guidelines-for-educational-research-fifth-edition-2024-online#consent https://www.bera.ac.uk/publication/ethical-guidelines-for-educational-research-fifth-edition-2024-online#privacy-data-storage Data collection in accordance with BERA and GDPR: Responses from questionnaires will be anonymous; no personal identifiers (names, student numbers, emails) will be recorded. Storage: All digital data received via Mentimeter will be securely stored on UAL password-protected devices and UAL OneDrive encrypted cloud storage. Retention: Data will be retained for a maximum of 12 months following analysis, after which it will be permanently deleted. Confidentiality: Any quotes used in reports, presentations, or publications will be anonymised, ensuring no participant can be identified. Withdrawal: Participants may withdraw their data up until the point analysis begins, after which data will be included in anonymised form. This approach ensures compliance with ethical responsibilities, privacy, and data protection standards, prioritizing participants’ confidentiality and wellbeing throughout the project. Clear information sheets and consent forms will be provided. |
| How will you take ethics into account in your project for participants and / or yourself? https://www.bera.ac.uk/publication/ethical-guidelines-for-educational-research-fifth-edition-2024-online#responsibilities-participants https://www.bera.ac.uk/publication/ethical-guidelines-for-educational-research-fifth-edition-2024-online#responsibilities-sponsors https://www.bera.ac.uk/publication/ethical-guidelines-for-educational-research-fifth-edition-2024-online#responsibilities-wellbeing See Emotionally Demanding Research PDF on Moodle The project is guided by values of respect, inclusion, and transparency. Participants will receive clear information outlining the purpose and voluntary nature of the project. Feedback will be used solely to improve the resource, not to assess student performance. All communications and visuals will prioritise accessibility and clarity. The emotional dimension of digital learning will also be considered, ensuring the resource empowers students rather than overwhelming them. |
Weaving Visuals and Language into Fashion Learning
This project develops a multimodal digital glossary to help students learn technical drawing for fashion design. It specifically addresses the needs of learners with English as a second language, neurodivergent students, and students with disabilities. By offering simplified definitions, visual, video and audio support, multilingual functionality, and interactive note-taking spaces, the glossary aims to promote inclusive learning practices that align with Universal Design for Learning (UDL) principles (CAST, 2018).
A prototype and initial reflections on this concept are published on my blog: Visual Glossary for Inclusive Digital Learning.
Grounded in my experience as a designer, illustrator, educator and technician, this project responds to persistent classroom challenges. Students often struggle with discipline-specific language and symbolic conventions especially when these are communicated exclusively through text-heavy or culturally narrow formats. This glossary acts not only as a pedagogical support tool but also as a site of intersectional, sustainable, and decolonial transformation, shaped by my own positionality and values as an inclusive practitioner.
Positionality and Identity as an Inclusive Practitioner
This intervention is shaped by my identity and experience as an international educator, creative practitioner, and former English as an Additional Language (EAL) student. I often think visually and spatially, and I’ve observed during my 1-2-1 sessions, that many students, particularly in art and design disciplines, do too. As someone who is visually impaired (though not formally classified as having a disability), I have a heightened awareness of how visual information is processed and the kinds of adjustments that can support accessibility and clarity. This perspective informs my sensitivity to students’ diverse needs and my commitment to creating inclusive learning experiences.
In my sessions, I’ve seen students hesitate to ask questions due to fear of judgment, peer pressure, and cultural norms that discourage speaking up. With some struggling to follow fast-paced technical explanations in a second language. Additionaly some are unfamiliar with certain visual references or Western design conventions. Disabilities are often undisclosed, so as tutors we can’t always identify who might need extra support. This is why it is important to create inclusive platforms.
Watching Kim Sum’s work on visual cultures and inclusive representation also challenged me to question who is visible in digital-technical education. Many standard glossaries presume fluency in language, technicality and cultural conventions. The glossary I am proposing disrupts this by integrating diverse visual examples and removing the expectation that students conform to one way of knowing or learning by centering their needs and providing a tool that supports rather than corrects.
Institutional, National, and Global Perspectives on Equality and Diversity
Inclusion in education is not optional; it is a legal, institutional, and ethical imperative. National policies, such as the Equality Act (2010), mandate that higher education institutions make reasonable adjustments for students with disabilities and remove barriers related to language and cultural background. Institutional frameworks like UAL’s Inclusive Teaching and Learning toolkit and sector-wide guidance from Advance HE (2021) urge educators to design inclusive curricula that are accessible and representative of diverse learners.
This glossary is aligned with these mandates. Drawing on CAST’s (2018) UDL Guidelines, it supports multiple means of representation (text, image, video, audio), engagement (interactivity, student feedback), and expression (student-generated content). Globally, digital learning tools are becoming more inclusive, but many still fail to account for the full spectrum of student experience, especially in specialist creative disciplines like fashion. This intervention addresses that gap by offering a customisable, multilingual, culturally aware resource that can evolve with student contributions.
Ahmed (2012) warns against institutions “doing diversity” without challenging underlying structures. This glossary resists such performativity by embedding co-creation: students can suggest terms and reflect on concepts in their own words. This participation makes the glossary a living tool.
Understanding Inequity and Responding Through Practice
The recurring issues I’ve witnessed, students hesitating to ask questions, encountering unfamiliar technical terms, or quietly navigating confusion, reflect structural inequities, not individual deficiencies. These challenges are particularly pressing for students with learning differences such as dyslexia, ADHD, or autism, and for those for whom English is an additional language. The difficulty often lies not in their ability to learn, but in the way information is presented and the assumptions it carries. This is especially relevant at institutions like UAL, where, according to UCAS data for the 2025 study year, nearly 55% of students come from outside the UK (48% international and 7% EU). The linguistic, cultural, and academic diversity within this majority student group highlights the urgency of adopting more inclusive, accessible teaching practices that don’t rely on assumed norms of communication or comprehension.

Percentage breakdown of UK, EU, and International students at University of the Arts London, based on UCAS data for the 2025 entry cycle.
The glossary is informed by the principles of the Social Model of Disability at UAL and is intended as an inclusive resource that supports equitable access to information. Rather than addressing or singling out particular groups, it takes a universal approach that benefits all users. By embedding inclusivity into its structure and language, the glossary avoids tokenism and stereotyping, fostering a shared understanding and accessibility for everyone. This approach focuses on accessibility as a collective benefit in line with UAL’s values and aims “to identify barriers that could be removed for the benefit of all students”.
Drawing on Bruner’s (1960) idea that any subject can be taught honestly to any learner, the glossary offers layered access through simple definitions, visuals, audio, and short videos, supporting diverse learning styles. Vygotsky’s (1978) Zone of Proximal Development highlights how students benefit from guidance beyond immediate classroom interactions, the glossary acts as a “more capable peer” accessible anytime without judgment. Piaget’s (1952) emphasis on concrete learning supports the glossary’s multimodal approach, leading with clarity rather than abstract assumptions.
Recognising epistemic injustice (Rekis, 2023), the glossary challenges Eurocentric norms by encouraging students to personalise terms through annotations in their own language or style. Exclusion operates silently in many design classrooms, often through assumptions about students’ prior knowledge or familiarity with Eurocentric standards. Rekis (2023) explores how epistemic injustice manifests when students are expected to express understanding through Western academic norms, disregarding other valid forms of knowledge. The glossary’s open notes section allows students to annotate each term in their own language or cognitive style, promoting flexibility and ownership.
Sustainability, Intersectionality, and Decolonising the Curriculum
This glossary is a sustainable digital resource – open, reusable, and expandable. It is designed to evolve with time and with users as students can suggest new terms and definitions. This collaborative process not only keeps the content current but creates a living archive of knowledge that reflects a broader, more inclusive canon. In time the glossary can be created for different subjects and tailored to spefic classes too. By dividing the glossary in different subjects we avoid it having to be too heavy and overwhelming with terms, instead it would focus around 10/15 main terms.
The glossary engages with intersectionality (Crenshaw, 1991) as it recognizes that students don’t experience exclusion through a single lens: linguistic, neurodivergent, or disabled identities intersect with gender, race, and class. By offering multimodal entry points and co-creation opportunities, the glossary adapts to these layered identities and respects each learner’s context.
Rekis (2023) argues that true inclusivity in design education requires confronting whose knowledge is seen as “technical” or “professional.” This glossary refuses to universalise the Western canon and instead diversifies both form and content. Students can tag, annotate, or question the terms presented, turning the glossary into a space for critical reflection as much as technical learning.
It also serves a formative function: it can be introduced at induction, used across modules, and updated as a cumulative class artefact. This not only makes the resource pedagogically engaging, but builds community. As Gravett (2022) argues, student–staff partnerships in co-creation can improve not just tools, but entire learning cultures.
Inclusive Design Features: Accessibility in Visual and Textual Elements
The glossary would feature responsive design making it available in browser or as a mobile app. To ensure the glossary is not only content-inclusive but also visually and cognitively accessible, its interface design is grounded in established accessibility principles. According to CAST (2018), learners benefit from materials that reduce perceptual barriers including those caused by poor contrast, non-readable fonts, or reliance on a single sensory modality. In line with UDL Guideline 1.1 (“Offer ways of customizing the display of information”), the glossary uses sans-serif fonts such as Arial and Open Dyslexic, both of which support improved legibility for students with dyslexia or cognitive processing differences. Users can adjust font size, line spacing, and background contrast to personalise their experience and reduce cognitive load.
The glossary also reflects best practices from Advance HE’s Inclusive Curriculum Framework (2021), which recommends the use of simple layouts, accessible navigation, and multimodal content formats. Definitions are presented in concise, supported by visual icons, diagrams, and optional audio/video playback.
Importantly, colour accessibility is integrated into the glossary’s visual design from the outset. Following guidance from Jenny and Kelso (2007), the glossary avoids problematic colour combinations (such as red–green), ensures that information is never conveyed by colour alone, and uses patterns, icons, and text labels to provide visual familiarity. The interface has been designed and tested using Color Oracle simulation tools to ensure built-in accessibility for users with color blindness. This approach aligns with WCAG 2.1 standards and supports the principle of inclusive design by ensuring accessibility is not an add-on but a foundational aspect of the tool’s development.
These inclusive visual and interaction design choices ensure that the glossary aligns with UDL’s commitment to multiple means of perception, offering an equitable learning experience for all students, including those with visual impairments or learning differences.

annotations are just for illustratative purpose (2025)
Barriers & Benefits
A key barrier is the need for moderation to review student submissions and ensure content is appropriate, accurate, and copyright-compliant, especially if image uploads are allowed. Language accessibility also poses a challenge, as auto-translators can be unreliable, meaning human translation may be needed. Producing and translating video content also takes time and effort. Another consideration is the platform used to host the glossary. It may require funding for hosting. Finally, as tools like Illustrator receive regular updates, the glossary and related resources will need periodic review to remain current and useful.
Despite these challenges, the platform offers a range of educational benefits. It improves communication between staff and students by acting as a central point of reference, where answers can be accessed in real time. This encourages student agency, as learners can independently seek support and revisit materials at their own pace. The platform supports self-directed learning and scaffolds student understanding, particularly for those with different learning preferences. In the long term, it promotes inclusivity, digital literacy, and greater autonomy, key skills for both academic success and future professional development.
Evaluation through Peer & Tutor Input & Reflection
The feedback received from my tutor, peers, and my own reflections has been invaluable in refining this intervention. My tutor highlighted the practical and inclusive nature of the glossary, noting how it not only supports technical learning but also addresses linguistic and cultural barriers. The suggestion to foreground sustainability and intersectionality has encouraged me to consider ways to involve students actively in the glossary’s growth, such as contributing terms or examples as part of peer-learning activities. This would enhance the resource’s relevance and foster student agency, helping to decolonise the curriculum by reflecting diverse cultural and professional practices beyond Western-centric perspectives.
Following this, I have decided to implement a feature where students can share their opinions and feedback in a dedicated space, rather than uploading images, which poses copyright and moderation challenges (see barriers section). This approach supports student voice while maintaining control over content quality and legal compliance. I am still exploring the best methods to further decolonise the curriculum, balancing inclusivity with practical constraints. For example, the glossary could incorporate global design references to resist Eurocentric dominance and affirm diverse cultural heritages as valid technical knowledge.
Peer feedback echoed these points, affirming that the intervention addresses key inclusivity issues students face and will be a valuable learning tool. However, peers also emphasized the importance of prioritising content to avoid overwhelming students. Starting with techniques students find most challenging and gradually expanding the glossary based on ongoing student feedback will help manage workload and maintain focus. Colleagues could also be invited to contribute to the glossary over time, sharing responsibility and embedding it into wider academic practice.
Conclusion
The Visual Glossary for Digital Technical Drawing offers a concrete, inclusive, and sustainable response to the systemic exclusions observed in fashion education. Creating the Visual Glossary for Digital Technical Drawing has taught me a lot about the hidden barriers many students face in fashion education. Beyond just accessibility, I’ve learned the importance of designing tools that challenge dominant norms and include diverse voices through collaboration.This glossary is more than a reference, it’s a living, adaptable platform that promotes equity and decolonisation.
This process deepened my commitment to creating educational spaces where every student feels represented and empowered to contribute. I’m inspired to continue developing resources that reflect and respect diverse ways of knowing. Its multimodal design, collaborative functionality, and decolonising visual strategy make it more than a glossary it is a platform for shared knowledge, epistemic justice, and student empowerment.
Bilbiography
Ahmed, S., 2012. On Being Included: Racism and Diversity in Institutional Life. Durham: Duke University Press.
Advance HE, 2021. Inclusive Curriculum Framework. [online] Advance HE. Available at: https://www.advance-he.ac.uk/knowledge-hub/inclusive-curriculum-framework [Accessed 28 June 2025].
Bruner, J.S., 1960. The Process of Education. Cambridge, MA: Harvard University Press.
CAST, 2018. Universal Design for Learning Guidelines Version 2.2. [online] Available at: https://udlguidelines.cast.org/ [Accessed 27 May 2025].
Crenshaw, K., 1991. Mapping the margins: Intersectionality, identity politics, and violence against women of color. Stanford Law Review, 43(6), pp.1241–1299.
Gravett, K., 2022. Student–staff partnerships and the construction of belonging in higher education: A co-constructed conceptual exploration. Teaching in Higher Education, 27(1), pp.44–58. https://doi.org/10.1080/13562517.2020.1839740
Jenny, K. and Kelso, J., 2007. Design for the Colour Impaired: A Colour Design Guide for the Colour Vision Impaired. [pdf] Color Oracle. Available at: https://colororacle.org/colororacle/resources/2007_JennyKelso_ColorDesign_hires.pdf [Accessed 27 June 2025].
Piaget, J., 1952. The Origins of Intelligence in Children. New York: International Universities Press.
Rekis, J., 2023. Epistemic Injustice in Design Education: Language, Legitimacy, and the Studio. Journal of Inclusive Design Pedagogies, 2(1), pp.31–45.
Shen, M. and Sanders, S., 2023. Small Changes, Big Impact: Micro-Inclusive Interventions in Higher Education. Journal of Learning Development in Higher Education, (26), pp.1–14.
Vygotsky, L.S., 1978. Mind in Society: The Development of Higher Psychological Processes. Cambridge, MA: Harvard University Press.
UCAS. (2025). University of the Arts London – Entry requirements and statistics. [online] UCAS. Available at: https://www.ucas.com/explore/unis/9928464e/university-of-the-arts-london/stats?studyYear=2025 [Accessed 15 Jul. 2025].
University of the Arts London (n.d.) Disability Service: Our Values. [PDF] Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0029/28829/Disability-Service-Values-PDF-1080-KB.pdf [Accessed 10 Jul. 2025].
UAL, 2021. Inclusive Teaching and Learning Toolkit. [online] University of the Arts London. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning/inclusive-teaching-and-learning [Accessed 2 July 2025].
Image bibliograhy
UCAS. (2025). Student statistics for University of the Arts London (visual data image). UCAS. Available at: https://www.ucas.com/explore/unis/9928464e/university-of-the-arts-london/stats?studyYear=2025 [Accessed 15 Jul. 2025].
Bodea, A. (2025). Prototype of Visual Threads (work in progress): A glossary for digital fashion drawing in Adobe Illustrator [illustration].
In exploring approaches to addressing racism in education, I’ve engaged with positionality, and intersectionality, the latter as theorised by Kimberlé Crenshaw. Crenshaw’s framework encourages us to understand how multiple aspects of identity interact to shape individual experiences of oppression, rather than treating issues like race or gender as separate and isolated factors. This is crucial in educational institutions, where structures often treat students and staff as if they each fit into a single box.
Bradbury’s (2020) critique of Baseline Assessment policy in England reveals how education systems that appear race-neutral in fact reinforce white, monolingual norms. EAL (English as an Additional Language) children are assessed in English at age 4–5, disadvantaging many racialised and bilingual students. Drawing on Critical Race Theory, Bradbury shows how concepts like interest convergence and colourblindness expose the systemic biases embedded in so-called “neutral” policies. These issues can’t be understood through race alone, intersectionality helps us see how language, ethnicity, and class converge to label children as “low ability” early on, shaping their future trajectories.
This need to interrogate structural inequality is echoed in the Channel 4 video The School That Tried to End Racism, which highlights white privilege as the experience of living without experiencing racism. The experiment illustrates how discussions of equality often overlook the different starting points people have, aligning closely with intersectional thinking and the need to recognise varied experiences.
In Garrett’s (2024) work on racialised PhD students, these themes appear again. Drawing on Bhopal and Pitkin’s (2020) concept of the ‘triple burden’ Garrett highlights how race, gender, and class intersect to compound exclusion. Lander and Santoro (2017) describe the hypervisibility and invisibility that racialised academics often face, a contradiction I’ve witnessed in my own institution. Sadiq’s (2023) TEDx talk reinforces this, critiquing mainstream DEI training for oversimplifying identity and advocating for more localised, psychologically safe approaches. Together, these texts demonstrate that intersectionality is not optional, it is essential for truly understanding and addressing systemic racism in education. While critics of Advance HE (e.g., Orr, 2022) question the evidence base for institutional diversity reforms, Crenshaw reminds us that the absence of statistical proof does not equal the absence of racism. Structural issues often manifest through everyday microaggressions, exclusions, and barriers that are difficult to quantify, but profoundly real to those experiencing them.
In my own academic context, I reflect on NSS data showing improved satisfaction among BAME students, though small awarding and support gaps persist. These numbers do not tell the full story. Understanding them through an intersectional lens helps identify which groups are still excluded, whose voices are missing, and what institutional changes might ensure equitable belonging.
Addressing racism in education must go beyond superficial inclusion efforts. It requires a structural, intersectional approach that examines who policies benefit, who they harm, and how identity factors compound over time. Crenshaw’s theory provides a vital lens for educators, researchers, and institutions to interrogate policies and practices that appear neutral but reproduce systemic inequity. True anti-racism is not checklist-driven, it is transformative, localised, and deeply reflective of lived realities.
In my own UK-based academic context, I’ve seen awarding gaps between white and racialised students persist, particularly for Black and EAL students. While metrics like NSS (The National Student Survey) show modest progress, they don’t capture how students navigate cultural alienation, implicit bias, or a lack of belonging nor do they reflect the emotional labour. Awarding gaps persist, particularly for Black and EAL students. While metrics like the NSS suggest modest progress, they fail to capture the deeper realities of cultural alienation, implicit bias, and emotional labour. The heatmap below visualises a related pattern: racialised students and staff are often highly visible in institutional narratives, yet remain excluded from the spaces where real decisions are made. Drawing on intersectionality and Critical Race Theory, it highlights the disconnect between symbolic inclusion and structural power a gap that continues to shape educational inequality.
1. Visibility (e.g., being seen or showcased):
Literature and my own experience suggest racialised individuals are highly visible in:
- Marketing/prospectuses (e.g., diversity brochures)
- DEI (Diversity, Equity, and Inclusion) panels or training
- Student-facing spaces like open days or recruitment
2. Influence (e.g., decision-making, shaping policy):
However, these same groups are often underrepresented in roles that carry structural power, like:
- Curriculum design committees
- Senior leadership
- Research funding decisions or strategy
This disconnect is backed by Critical Race Theory concepts like:
- Tokenism: being included symbolically but excluded from decision-making.
- Interest convergence: institutions acting only when it suits dominant group interests

This conceptual heatmap illustrates the disconnect between visibility and influence for racialised individuals in UK educational institutions. Informed by Garrett’s (2024) work on hypervisibility and invisibility, and Lander and Santoro’s (2017) observations on the performative nature of diversity, the map highlights how racialised academics and students are often highly visible in symbolic spaces, such as marketing materials, DEI panels, and student-facing events, yet remain underrepresented in the structural arenas where real decisions are made, such as curriculum design, leadership roles, and policy-making. In my own academic context, I’ve witnessed this pattern play out: where lived experience is mined for optics but sidelined in strategy. This tool invites readers to question not just who is present, but who holds influence, and what a truly inclusive educational structure would look like.
Together, these texts call for anti-racism that is structural, not symbolic. They highlight three recurring themes:
- Intersectional exclusion – where race, gender, class, and language interact to deepen marginalisation.
- Institutional self-preservation – how policies and initiatives often protect the status quo.
- The need for epistemic justice – recognising and valuing the knowledge and lived experience of minoritised groups.
If we are to be serious about anti-racism, we must listen differently, teach differently, and lead differently. This means resisting one-size-fits-all solutions, diversifying who gets to shape the curriculum and policy, and making discomfort part of the work. As Crenshaw (2016) argues “If we aren’t intersectional, some of us, the most vulnerable, are going to fall through the cracks.”
Bibliography
Bhopal, K. and Pitkin, C. (2020) ‘Racialized minority women’s experiences of the “triple burden” of oppression resulting from their classed, gendered, and ethnic identities’, Gender and Education, 32(6), pp. 709–726.
Bradbury, A. (2020) ‘A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England’, Race Ethnicity and Education, 23(2), pp. 241–260. Available at: [Reading_Blog Task 3 Folder] (Accessed: 5 June 2025).
Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167.
Crenshaw, K. (2016) The Urgency of Intersectionality [Video]. TED Conferences. Available at: https://www.ted.com/talks/kimberle_crenshaw_the_urgency_of_intersectionality (Accessed: 11 June 2025).
Garrett, R. (2024) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, pp. 1–15. Available at: [Reading_Blog Task 3 Folder] (Accessed: 7 June 2025).
Lander, V. and Santoro, N. (2017) ‘The hypervisibility and invisibility of racialized academics in higher education’, Race Ethnicity and Education, 20(3), pp. 300–314.
Office for Students (no date) National Student Survey data [Online]. Available at: https://www.officeforstudents.org.uk/data-and-analysis/national-student-survey-data/ (Accessed: 11 June 2025).
Orr, J. (2022) ‘Revealed: The charity turning UK universities woke’, The Telegraph [Online]. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (Accessed: 3 June 2025).
Sadiq, A. (2023) ‘Diversity, Equity & Inclusion. Learning how to get it right’, TEDx [Online]. YouTube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed: 6 June 2025).
The School That Tried to End Racism (2020) Channel 4 documentary [Online]. Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg (Accessed: 4 June 2025).
As an Associate Lecturer and digital support technician, I frequently assist students working in Adobe Creative Cloud and CLO3D. Many of these learners are international students or speak English as an additional language. They often struggle with specific digital terminology, which can lead to confusion and hesitation in practical tasks.
To improve inclusivity in my teaching, I propose developing a Visual Glossary for Digital Fashion Technical Drawing. This would present essential digital design terms with simplified English definitions and clear visual examples in video format/animations and as well as non-moving image form from software interfaces. It would be accessible in PDF format which is a universal file type. Where relevant, visual examples will feature different cultures in order to provide diverse points of view and inclusivity. Later, the glossary can also include translations in key student languages (e.g. Mandarin, Arabic, Spanish).
This intervention is grounded in three educational theories:
- Bruner’s Constructivist Theory (Scaffolding and Spiral Curriculum) – By providing linguistic scaffolding through translations and visuals, learners can gradually build knowledge over time and gain independence in using technical vocabulary.
- Piaget’s Cognitive Development Theory – Students assimilate new information by linking it with existing knowledge. The glossary supports this by connecting familiar linguistic or visual cues to unfamiliar digital terms.
- Universal Design for Learning (UDL) – The glossary presents content through multiple means: written text, images, and language options. This helps ensure that students with different learning preferences and language backgrounds can all access the material.

This is a low-cost, scalable resource that could start with 20–30 core terms. Over time, it could expand or be integrated into induction materials.
The aim is to improve comprehension, reduce language-based anxiety as well as inclusivity for neurodivergent learners, and promote equitable access to digital creative education.
Bibliography
Bruner, J.S., 1960. The process of education. Cambridge, MA: Harvard University Press.
CAST, 2018. Universal Design for Learning Guidelines Version 2.2. [online] Available at: https://udlguidelines.cast.org/ [Accessed 27 May 2025].
Piaget, J., 1952. The origins of intelligence in children. New York: International Universities Press.
Images
CAST (2024). Universal Design for Learning Guidelines version 3.0. Retrieved from https://udlguidelines.cast.org [Accessed 24 May 2025].
Faith and Intersectionality
Kimberlé Crenshaw’s theory of intersectionality explains how identity factors such as faith, race, gender, and socio-economic status interact to shape experiences of discrimination. She argues that focusing on a single identity fails to capture the complexity of overlapping marginalisation. Building on Crenshaw’s work, later scholars introduced the concept of intersectional invisibility, where individuals with multiple marginalised identities are overlooked by systems intended to address discrimination.
Reki (2023) expands on Crenshaw’s theory by examining how religious identity intersects with other categories to create epistemic injustice, where individuals’ knowledge is dismissed or devalued due to prejudice. Using an intersectional lens, Reki shows how religious minorities face compounded marginalisation at the intersections of faith, race, gender, and class. This reinforces Crenshaw’s call to address multiple identity factors and deepen understanding of how religious identity shapes experiences of discrimination and invisibility. Kwame Anthony Appiah (2014), in Is Religion Good or Bad? touches on epistemic injustice as he reflects on how post-19th-century Europe saw a shift where “you could do all sorts of serious things… even philosophy” without religious constraint. However, as Appiah notes, “in large areas of the globe this separation between religion and science has not happened yet.” This shows that faith continues to shape intellectual and cultural life in many parts of the world. Crenshaw’s framework is useful here in revealing how religious belief, geography, and cultural background intersect with identity, influencing how individuals are perceived and treated. Due to the difference in culture and how the connection between science and faith has developed many are prone to situations of epistemic injustice due to stereotyping those with religious beliefs.
In Islam, Women and Sport, Jawad (2022) explores how faith and gender affect Muslim women’s participation in sport, stating their “invisibility in major sporting competitions” results from “social, political, economic, and educational” factors. Western sports culture often conflicts with Islamic values regarding women’s bodies, as many sports require “specific types of sports equipment and outfits that lead to high visibility of women’s bodies” and take place in mixed-sex settings. This tension increases where “the wearing of hijab is not allowed in some secular states and some international sports governing bodies” (Jawad, 2022). Intersectionality reveals how such policies are based on single-axis thinking that ignores the interaction of gender and religion. Jawad (2022) also notes that in some cultures, “sport related activities can be seen as low-status pursuits” or “a luxury activity,” highlighting how socio-economic status intersects with religious and cultural identity to limit access.
Simran Jeet Singh (2016), in Challenging Race, Religion, and Stereotypes in the Classroom, describes how people are judged “simply because of how they look or what they believe” and how society often denies this reality. He warns against painting communities “with a single brush stroke,” stressing the diversity within them. Singh’s experiences of discrimination based on visible identity markers demonstrate the intersection of faith and race. His advocacy for challenging stereotypes through “conversation and empathy” echoes Crenshaw’s call to recognise that identity categories interact rather than exist in isolation.
According to UAL’s 2024 Equality, Diversity and Inclusion report, 60 percent of students declare no religion or belief, 29 percent identify with a religion, and 11 percent prefer not to say. While this suggests a largely secular body, the religious third includes diverse groups such as Muslims, Christians, Hindus, and Buddhists. This diversity highlights the need for an intersectional approach, as students’ experiences are shaped not only by gender, race, or class but also by religious identity. Faith can influence expectations around clothing, schedules, and social inclusion. Crenshaw (1989) notes that those with intersecting identities often face invisibility and unmet needs. More detailed data on religion, gender, socio-economic status, and class, interpreted through intersectionality, would improve understanding of how economic hardship and faith-based exclusion overlap to impact educational outcomes. Without this insight, inclusion efforts risk reinforcing dominant norms.

Data not published as populations less than 10 ( – )
In my teaching context at UAL, these insights resonate strongly. Students from diverse faith backgrounds often encounter barriers arising from the intersection of faith, gender, and other identity factors. For example, some students may need time for prayer or may prefer gender-segregated spaces for certain activities. These are not merely isolated accommodations. They reflect the complex ways students’ identities shape their experiences of inclusion or exclusion. Crenshaw’s (1989) theory encourages us to move beyond one-size-fits-all approaches and to examine how institutional policies and cultural assumptions may unintentionally privilege dominant norms. Without an intersectional approach, students with multiple marginalised identities may experience institutional invisibility. Recognising and addressing these overlapping dynamics is essential for creating an educational environment where all students feel seen, supported, and valued.
Bibliography
Appiah, K.A., 2014. Is religion good or bad? (This is a trick question). [YouTube] 16 June. Available at: https://www.youtube.com/watch?v=X2et2KO8gcY [Accessed 26 April 2025].
Crenshaw, K., 1989. Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics. University of Chicago Legal Forum, 1989(1), pp.139–167.
Jawad, H., 2022. Islam, Women and Sport: The Case of Visible Muslim Women. [online] Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ [Accessed 19 April 2025].
Purdie-Vaughns, V. and Eibach, R.P., 2008. Intersectional invisibility: The distinctive advantages and disadvantages of multiple subordinate-group identities. Sex Roles, 59(5–6), pp.377–391. Available at: https://link.springer.com/article/10.1007/s11199-008-9424-4 [Accessed 17 April 2025].
Reki, J., 2023. Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia, 38, pp.779–800. Available through academic databases and Moodle [Accessed 30 April 2025].
Trinity University, 2016. Challenging Race, Religion, and Stereotypes in the Classroom. [YouTube] Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk [Accessed 22 April 2025].
University of the Arts London, 2024. Equality, Diversity and Inclusion Data Report 2024. [pdf] Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0030/472836/UAL-EDI-data-report-2024-PDFA.pdf [Accessed 28 April 2025].
Kimberlé Crenshaw’s theory of intersectionality helps us understand how identities like race, gender, and disability interact to create unique and intensified forms of oppression. Crenshaw (1990) explains that individuals at the intersection of multiple marginalized identities don’t just face additive discrimination, but distinct forms that often go unseen. Crenshaw (1990) mentions that existing frameworks fail to recognize the experiences of those who are multiply marginalized.
The lived experiences of people like Ade Adepitan, Christine Sun Kim, and Chay Brown illustrate intersectional invisibility very well. Ade, as a Black paralympic athlete, experiences structural barriers that are shaped by both racism and ableism. He highlights how it’s not disability that limits people, but the inaccessible world around them. This idea is also echoed by the Social Model of Disability (UAL, 2024) and Crenshaw’s idea of “political intersectionality”, where individuals are often overlooked within both racial justice and disability movements. Political intersectionality, as Crenshaw (1990) explains, refers to how individuals who belong to more than one marginalized group can be excluded from political movements that focus on only one aspect of identity. Ade offers a compelling hypothetical example: he describes a situation where an individual, who is part of multiple marginalized groups, struggles to secure employment either due to an employer’s prejudice based on skin color or because the employer perceives accommodating a disability as too challenging. For such individuals, the risk of facing multiple layers of discrimination is imminent. Cases like these are incredibly difficult to prove. However, meaningful change can occur if society recognizes such actions as unacceptable and unethical. A shift in collective attitudes can lead to a more inclusive and progressive society.
Christine Sun Kim, a Deaf artist, exposes how public and artistic spaces often ignore Deaf culture. Her project Captioning the City (2021) challenges hearing-centered design, showing how Deaf people are excluded not just physically but culturally. Her work illustrates how people with multiple marginalized identities are made invisible by systems that only address one axis of identity, reinforcing Crenshaw’s point that movements become ineffective or incomplete if they ignore how different forms of discrimination combine in the lives of real people.

Chay Brown, a trans gay man who is also “not neurotypical”, draws attention to how even LGBTQ+ spaces can exclude and how ‘ignoring difference within groups contributes to tension among group’ (Crenshaw, 1990, p. 1242). Lack of sensory-friendly environments and step-free access highlight how some people are left behind when accessibility is seen in narrow terms. He calls for an inclusive design that reflects all aspects of identity, reinforcing Crenshaw’s point that social movements falter when they fail to address complexity (Crenshaw, 1990).
A recurring theme across these narratives is how compounded identities often go unseen and how individuals must carry the emotional burden of advocating for their inclusion in systems not designed for them. This aligns with Crenshaw’s framing of compound discrimination, where intersecting oppressions do not simply add up, but interact in complex ways. Ade, Christine, and Chay each describe how they are forced to educate others, push for basic access, and persist in spaces that fail to recognize their full identities. Their discrimination is not just layered, but interwoven as Crenshaw (1990, p. 1245) mentions, forming unique experiences that are often invisible to those designing systems, spaces, or movements.



The need for intersectional analysis is essential in understanding the limitations of UAL’s data. The data, as it stands, presents disability and ethnicity as separate categories, which doesn’t allow for a full understanding of the compounded challenges faced by students with intersecting marginalized identities. For example, according to UAL’s attainment profiles, while students with disabilities have a higher attainment rate than non-disabled students (84% vs. 80% in 2023/2024), this data overlooks the experiences of students who may be both disabled and from a racial or ethnic minority background. If we fail to consider the intersection of disability and ethnicity or other aspects, we risk missing the unique forms of oppression that affect students at these intersections, resulting in a false or incomplete understanding of the issue.
Positionality also plays a critical role in how we interpret and act on this data. Our positionality shapes how we interpret data, make decisions, and implement change. As Bayeck (2022, p. 7) explains, “The connection of context, space, and identity influences positionality.” This highlights how our perspectives, shaped by where we stand and who we are, directly affect the conclusions we draw. Without an intersectional lens, any analysis of attainment data becomes superficial, merely ticking boxes rather than fostering meaningful change. Analyzing these factors separately risks perpetuating inequality, as it fails to address the full complexity of students’ lived experiences. By adopting an intersectional approach, we can better understand the true barriers students face and make informed decisions that lead to real, inclusive change at UAL.
Bibliography
Adepitan, A., 2024. Ade Adepitan gives amazing explanation of systemic racism. [online] Available at: https://www.youtube.com/watch?time_continue=1&v=KAsxndpgagU&embeds_referring_euri=https%3A%2F%2Fmoodle.arts.ac.uk%2F&source_ve_path=MzY4NDIsMjM4NTE [Accessed 23 Apr. 2025].
Bayrer, R., 2022. Positionality: The interplay of space, context, and identity. International Journal of Qualitative Methods, [online] Available at: https://digitalcommons.usu.edu/cgi/viewcontent.cgi?article=1853&context=itls_facpub [Accessed 23 Apr. 2025].
Crenshaw, K., 1990. Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp. 1241-1299. Available at: https://blogs.law.columbia.edu/critique1313/files/2020/02/1229039.pdf [Accessed 23 Apr. 2025].
Kim, C.S., 2020. “Friends and Strangers”. [online] Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI [Accessed 23 Apr. 2025].
University of the Arts London (UAL), 2025. Attainment profiles for disability and ethnicity [online] Available at: https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=c04b6e35-6d26-4db8-9ea0-5e27d30e3402&dashcontextid=638684775887265547 [Accessed 23 Apr. 2025].
University of the Arts London (2022) The Social Model of Disability at UAL. [YouTube video] Available at: https://www.youtube.com/watch?v=mNdnjmcrzgw [Accessed 19 April 2025].
Images
Baxter, L., 2021. Christine Sun Kim: Captioning The City. [Photograph] Available at: https://various-artists.com/christine-sun-kim/ [Accessed 23 Apr. 2025].
Bodea, A., 2025. Tapestry of Intersectionality [digital artwork]. London.
Bodea, A., 2025. Color Chips of Intersectionality [digital artwork]. London.
Introduction
Teaching digital design tools such as Photoshop, Illustrator, InDesign, and CLO3D to business students at London College of Fashion has been both a challenge and a rewarding experience. When I first started, I assumed students would quickly see the value of these tools, but many arrived with little or no prior design experience. Initially, this made them hesitant and sometimes even resistant. However, as I refined my approach, I saw their engagement shift. Watching students go from uncertainty to confidence has pushed me to think more deeply about how I teach and how I can make digital tools accessible to everyone.
Why Digital Tools Matter in Fashion Business
I used to assume that because these students were studying fashion business, they would naturally see the relevance of digital tools. But that wasn’t always the case. Some students initially questioned why they needed to learn software like Photoshop or CLO3D when their focus was on business strategies. I’ve had to rethink how I communicate the importance of these tools—not just as creative platforms but as essential skills for marketing, branding, merchandising, and product development.
As Kolb (1984) suggests, “learning is the process whereby knowledge is created through the transformation of experience.” The more I align software training with real-world applications, the more students see the value in developing these skills. It’s been rewarding to see that shift in perspective.
Challenges and Adaptations
Every class brings challenges, and I’ve had to continuously adapt. Some key obstacles include:
- Lack of Prior Design Knowledge – Many students struggle with basic design principles. I’ve learned to break concepts down into small, digestible steps, reinforcing lessons with practical examples.
- Technical Complexity – Software like CLO3D can feel overwhelming. I now introduce essential tools first, allowing students time to explore before layering on advanced techniques. To help with this, I provide annotated guides that include step-by-step screenshots, labeled diagrams, and explanations of key features. These guides allow students to navigate the software independently and revisit instructions when needed. For example, in Photoshop, I highlight essential tools like layers and masks with arrows and notes, while in CLO3D, I illustrate garment construction steps with interface labels.
- Perceived Relevance – Some students question why they need these tools. I incorporate case studies from major fashion brands to demonstrate real-world applications, helping them connect digital skills to their future careers.
Teaching Strategies That Work
Looking back, I can see how my teaching has evolved. Strategies that have helped include:
- Scaffolding Learning (Vygotsky, 1978) – Structuring lessons so students build skills gradually has helped reduce frustration. “What a child can do today with assistance, she will be able to do by herself tomorrow” (Vygotsky, 1978).
- Reducing Cognitive Overload (Sweller, 1988) – I simplify introductions, provide annotated guides, and use video tutorials. Dual coding (Paivio, 1986), pairing visuals with explanations, has significantly improved student comprehension.
- Hands-On Learning (Kolb, 1984) – Students learn best by doing. Incorporating industry-based projects, like digital product presentations or mock marketing campaigns, has enhanced engagement.
Looking Forward
Even with these improvements, I know there’s room to grow:
- Gamification – Interactive design challenges could make learning more dynamic.
- Industry Engagement – Bringing in guest speakers could reinforce real-world applications.
- Blended Learning Models – A mix of in-person lessons and online resources might better support diverse learning styles.
Final Thoughts
Teaching digital tools to business students has challenged me to become a more thoughtful educator. It’s not just about showing students how to use software, it’s about helping them see how these tools fit into their careers. While students may struggle at first, I’ve learned to see these moments as opportunities for reflection and growth. Watching students evolve from hesitant beginners to confident creators is the most fulfilling part of my work, and I’m excited to keep refining my approach.
Bibliography
Kolb, D. A. (1984). Experiential Learning: Experience as the Source of Learning and Development. Englewood Cliffs, NJ: Prentice Hall.
Paivio, A. (1986). Mental Representations: A Dual Coding Approach. Oxford: Oxford University Press.
Sweller, J. (1988). “Cognitive Load During Problem Solving: Effects on Learning.” Cognitive Science, 12(2), 257–285.
Vygotsky, L. S. (1978). Mind in Society: The Development of Higher Psychological Processes. Cambridge, MA: Harvard University Press.
Record of Observation or Review of Teaching Practice
Artefacts to be observed/reviewed: Moodle Assignment Guidance for Staff and Students
Size of student group: N/A
Observer: Andrada Bodea
Observee: Gwen Shen
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 artefact within the curriculum?
There are two artefacts here. One is a tutorial video designed to guide students through the process of submitting assignments via Moodle. It could be part of an academic skills or digital literacy component within any curriculum to help reduce submission anxiety. The other tutorial video is for staff who may wish to set up a submission portal in Moodle for checking students’ progress, particularly image-based or infographic submissions.
How long have you been working with this group and in what capacity?
There are mainly 2 groups in this context – students group and staff group – depending on whether they need this information. Therefore, the length is not applicable here but they are designed based on the feedback from teaching and administrative staff that I worked with previously and the experience dealing with students’ questions before.
What are the intended or expected learning outcomes?
Students will understand how to locate, correctly upload, submit their assignments and make changes following institutional guidelines via Moodle.
Teaching Staff will understand how to create and configure a Moodle Assignment submission, including providing clear instructions and supporting materials to students.
What are the anticipated outputs (anything students will make/do)?
Students will submit assignments via Moodle Assignment correctly.
Staff will create a Moodle Assignment submission point for a formative assessment.
Are there potential difficulties or specific areas of concern?
Students may have issues with file size limits or incorrect file formats.
Staff might overlook important settings, such as enabling the correct feedback types.
However, both videos do address who to contact separately if there are further questions.
How will students be informed of the observation/review?
Not applicable.
What would you particularly like feedback on?
I am open to everything that could help me improve the tutorial videos as there will be a new project to re-create them soon.
How will feedback be exchanged?
Via this ROT form provided by PGcert teaching team.
Part Two
Observer to note down observations, suggestions and questions:
Online Submission for Students
The tutorial is well-paced, with clear instructions and an engaging delivery. The voice is clear and easy to follow, making the content accessible to a wide range of learners. A larger cursor is used effectively as an accessibility feature, particularly benefiting users with vision impairments. The animated clicking further helps guide attention to key actions on screen, making it easier to follow along. Maintaining this consistency across all videos would enhance clarity and usability.
Looking at the “Readable PDFs and Turnitin” video, the side-by-side comparison is well-structured and effectively highlights key differences, reinforcing the main points in a clear and visual way. Where a contact email is mentioned, displaying it on-screen (where applicable) rather than only directing viewers to where they can find it may improve accessibility. Regarding the section on compressing PDFs, it clearly presents two methods while also introducing an institution-approved tool, ensuring that students follow appropriate guidelines and best industry practices. Including contact email for assessment queries in all video intros, positioned below the titles, could further improve ease of access, allowing students to locate it quickly when needed.
Moodle Assignment for Staff
The tutorial provides clear guidance on avoiding acronyms in submission titles, ensuring clarity in communication. The step-by-step demonstration of how to add descriptions and titles, supported by examples, reinforces understanding effectively. Explanations of why certain settings should or should not be used are well-reasoned, offering clear justification for the recommendations. As with the student tutorial, including a contact email in the video intros (positioned below the titles) could improve accessibility, making it easier for staff to locate support when needed. The tutorial follows a well-structured and logical flow, presenting the information in a way that is easy to follow and builds confidence in using Moodle for assignments.
Overall, the tutorials are well-structured, clearly presented, and designed to help both students and staff navigate Moodle with confidence. Features like the larger cursor and animated clicking make the content more accessible, while the step-by-step demonstrations and visual examples are presented in a clear and engaging way. The explanations behind recommended practices are well thought out, making it easy to understand not just how to use Moodle, but why certain approaches work best. Adding small enhancements, like consistently displaying contact information, could further improve accessibility and ease of use. That said, the tutorials already do a great job of providing clear guidance and practical support, making them a valuable resource for the academic community. Personally, I found them very useful and easy to follow.
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
I appreciate the recognition of the bigger cursor and animated clicking to highlight the focus point, as these elements were intentionally designed to enhance accessibility and engagement. I will ensure consistency in using these features across all tutorial videos to maintain clarity and usability.
The suggestion to display contact emails address in the video is a valuable recommendation. I will implement this change to improve accessibility when reviewing and updating it, ensuring that students and staff can quickly find support when needed.
Overall, I will act on the feedback by maintaining accessibility features, adding visible contact details where applicable, and ensuring consistency in presentation. These enhancements will further improve the tutorials, making them more user-friendly and supportive for students and staff.
Record of Observation or Review of Teaching Practice
Session/artefact to be observed/reviewed: ACP Illustrator Online Training
Size of student group: approx. 10 – 15
Observer: Gwen Shen
Observee: Andrada Bodea
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 session is part of the Adobe Certified Professional (ACP) Illustrator training, which prepares students for the ACP exam. It provides industry-relevant skills in Adobe Illustrator, helping students gain a valuable certification at no cost.
How long have you been working with this group and in what capacity?
I have been working with this group specifically for this 4-day session. However, I have extensive experience teaching Adobe software and running ACP training and exams.
What are the intended or expected learning outcomes?
By the end of the session, students should:
- Demonstrate proficiency in key Adobe Illustrator tools and techniques.
- Understand core design principles relevant to vector graphics.
- Be fully prepared to take and pass the ACP Illustrator exam.
What are the anticipated outputs (anything students will make/do)?
Students will complete practical exercises, including creating vector-based artwork, working with typography, and applying effects. Their final output will be taking the ACP exam.
Are there potential difficulties or specific areas of concern?
- Varying skill levels among students may require additional support for some.
- Technical difficulties related to online learning (software access, internet issues).
- Engagement and interaction may be more challenging in an online format.
- Limited Training Hours vs. Recommended Experience
One key concern is that this course provides only approx. 20 hours of instruction, while the Adobe Certified Professional exam recommends at least 150 hours of experience with a Creative Cloud application. Most of my students are beginner levels but sadly I cannot change the amount of hours that are being offered.
How will students be informed of the observation/review?
Students will be informed at the beginning of the session that an observation is taking place as part of my PGCert professional development. They will be reassured that the focus is on my teaching, not their performance.
What would you particularly like feedback on?
I am open to all feedback. However, I would especially appreciate insights on:
- My clarity in instruction and explanations.
- The effectiveness of my pacing and session structure.
- How well I engage and support students in an online format.
How will feedback be exchanged?
Written feedback via this form.
Part Two
Observer to note down observations, suggestions and questions:
I believe the instructions given by Andrada are very clear. A great example is how Andrada provided a verbal explanation of which shortcut keys can be used to zoom in and zoom out. This is particularly important in an online teaching environment, as students cannot see which shortcut keys are being pressed on the other side.
I also appreciate how Andrada delivered the session in an inclusive way by considering the different workspaces that students may have in Adobe Illustrator. For example, if students do not have the Properties panel, they can go to the Window menu to dock it. This is a very thoughtful reminder, as everyone’s workspace may not be the same.
One thing I really like about the pacing was that after explaining the difference between the Selection tool and the Direct Selection tool, there was a quick recap to reinforce students’ understanding. This is a brilliant practice because students can easily get lost in the many small learning steps within this context. Therefore, appropriate emphasis and brief summaries help ensure that students stay on track. Additionally, Andrada frequently checked if students had any questions, which was very helpful.
One question I have after the session is whether there are any additional resources to help students with self-paced learning in preparation for the exam. Since the exam recommends having 150 hours of experience, I imagine students may need extra practice or learning outside of the 20-hour training. However, students may have already been directed to these resources at the beginning or end of the training.
It was a really well-organized session. I don’t think there is much to suggest here. If I had to mention something, perhaps minimizing some minor crackling background noise could enhance the experience, though it was so minor that it’s hardly worth pointing out. Overall, even as someone outside this field, I feel that by following Andrada’s guidance, I could quickly grasp the basic tools in Illustrator. Andrada is truly skilled at breaking down complex concepts into simpler, more digestible explanations.
Thank you!
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
I greatly appreciate the detailed feedback and the positive comments about the clarity of my instructions, the pacing of the session, and how I engaged with students in an online environment. These observations reaffirm that my approach to explaining key concepts, such as the use of shortcuts and workspace customization, has been effective. Moving forward, I will continue to provide clear verbal explanations of shortcut keys and workspace variations, ensuring that students can follow along regardless of their personal settings in Adobe Illustrator. Additionally, I will maintain my focus on making complex concepts more accessible by breaking them down into manageable steps, as this feedback shows it is helpful.
The feedback on pacing was also reassuring. I am glad to hear that the recap after explaining the Selection and Direct Selection tools helped reinforce understanding. This practice will be something I continue to incorporate, as I believe summarizing key points ensures that students stay on track and solidifies their learning. This approach aligns with Bloom’s Taxonomy of Learning Domains, specifically the cognitive domain, which emphasizes the development of higher-order thinking skills such as analysis, synthesis, and evaluation. By recapping key points and ensuring understanding, I am helping students move from basic knowledge recall to more complex applications of the tools, supporting their progression through higher levels of learning. Bloom’s Taxonomy of Learning Domains categorizes cognitive development into levels, progressing from simple recall of facts to higher-order thinking skills such as analysis, synthesis, and evaluation. By reinforcing understanding through recaps and summaries, I am helping students move through these levels, encouraging deeper engagement with the material. This approach ensures that students not only retain information but also apply it more effectively in real-world contexts.
I will also continue to check in frequently with students to ensure that they are understanding the material, as this approach has been appreciated. Regarding the concern about additional resources for self-paced learning, we have a Moodle page dedicated to this course. This page includes a variety of supplementary materials, such as extra reading, written instructions, recorded sessions, and practice tests. These resources are available to help students reinforce their learning and prepare for the ACP exam, especially considering the recommended 150 hours of experience. Students are directed to these resources at the beginning of the course, and I will continue to remind them of their availability throughout the training. However, it is important to note that the time between the first session and the exam is extremely short, which can make it challenging for students to fully absorb all the content. Unfortunately, I do not have a say in the organisation of the lessons, but I will make sure to offer as much support as possible within the given time frame.
Finally, the small technical issue regarding background noise is something I plan to address by purchasing a better microphone. This will ensure clearer audio in future sessions and reduce any distractions caused by sound quality issues.
Overall, I am grateful for the constructive feedback and will apply these suggestions to improve both the content and delivery of my sessions.
Bibliography
Anderson, L.W. and Krathwohl, D.R., 2001. A taxonomy for learning, teaching, and assessing: A revision of Bloom’s taxonomy of educational objectives. Pearson Education.
Bloom, B.S., 1956. Taxonomy of educational objectives: The classification of educational goals. Handbook I: Cognitive domain. Longmans, Green & Co.