EduArts
Art and Education, together

Author: Andrada Bodea

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Reflective post

Exploring Object-Based Learning for Digital Image Making

Object-based learning is an educational approach that actively incorporates physical objects into the learning experience. (Chatterjee & Hannan, 2016) 

The word ‘object’ is meant to refer to any specimen, artefact or artwork that can be referred to as material culture (Pearce, 1994) however the term can also refer to written pieces of work such as manuscripts and books (Kador and Chatterjee, 2020). Integrating objects in learning has been used in order to “inspire, inform, engage, and motivate learnings at all stages of life” (Chatterjee & Hannan, 2016). One of the main reasons for using objects in education is it can invoke an evolved consciousness and promotes interaction in addition to that it can challenge the viewer to see the objects from different perspectives. According to Kolb (1984) in order to gain real knowledge, the learner must be involved in the experience and go through a cycle of learning which includes the following steps: active participation, reflection, conceptualization with analysis and experimentation using the new knowledge. 

Kolb’s Experiential Learning Cycle
(adapted from Kolb, 1984)

There is a great potential for incorporating OBL into digital design practice and teaching as Schultz (2012) states “interaction with artefacts deepens students’ learning”. I recognized the potential of OBL during my online microteaching session on layout design where students gained a better understanding of a 2 page spread layout  after viewing a magazine, particularly in relation to image distortion caused by the book spine. This reinforced how important it is for designers to consider materiality when working digitally. 

When talking about OBL I would also like to mention the Modality Principle which states that learning is more effective when instructional materials present information using both visual and auditory channels, rather than relying on text alone. This principle is based on Cognitive Theory of Multimedia Learning, which suggests that humans have separate channels for processing visual and auditory information (Mayer, 2014). The theory examines how humans acquire knowledge through a variety of media.

Proposed Implementation of OBL in Digital Design for potential future classes 

To integrate OBL into my teaching practice, I plan to develop a structured approach that allows students to interact with physical objects while maintaining a strong digital focus and here are some of the ideas: 

Typography with Blocks – Using letter blocks for typesetting to demonstrate key typography principles such as leading, kerning, and tracking. This hands-on method allows students to visualize spacing and composition. Combining verbal explanations with physical demonstrations significantly enhances information retention, as visualization reinforces auditory input especially when talking about technical terms. According to Mayer’s (2001) Multimedia Learning Theory, integrating visual and verbal elements helps learners construct deeper mental representations, making knowledge more accessible and memorable. 

Movable type on a composing stick on a type case
Typesetting Blocks

Curated Database of Objects – I aim to create a digital and physical repository of interesting and award-winning objects, including household items, packaging, and print materials. This collection would serve as a resource for inspiration, sparking curiosity and deeper analysis. In addition to being a great resource for teaching this will also provide me with a broader knowledge of current and past trends. 

Material Studies in Layout Design – Encouraging students to examine physical magazines, interactive books, and alternative print formats to understand composition, material choices, and how design elements interact with physical constraints. 

Visits to the LCF Archives – Following a recent visit to the LCF Archives, I see immense value in allowing students to analyze historical fashion items, embroidery samples, and packaging designs and many other items as LCF Archives boasts itself as being a ‘a set of eccentric and eclectic collections that explore the history of London as a fashion capital’ (London College of Fashion, n.d.). This hands-on engagement that LCF Archives provide can inform digital projects on a multitude of topics. 

Dancing Shoes, heel detail, 1925 – 1935
Dior Spring Catalogue Sketches, 1966
Heart Tube Hat by Philip Treacy, 1997
Dancing Shoes, 1925 – 1935

Experimental Print and Pattern-Making – Using block printing tools and textured objects to create physical patterns, which can then be digitized and refined in software like Photoshop or Illustrator. This process connects handmade elements with digital workflows, reinforcing hybrid design thinking. 

Block Printing On Fabric – Rajasthan, India
Block Printing, Origin: India
Block Printing

Texture Scanning and Digital Brushes – Encouraging students to scan and photograph textures from different objects to create unique digital brushes for illustration and graphic design projects. This exercise fosters resourcefulness and creativity. 

Color Exploration with Organic Materials – Using fruits, vegetables, and natural dyes to explore color palettes and variations based on the stages of drying and freshness. This approach bridges traditional color theory with real-world observation. 

Object Analysis and Peer Learning – Allowing students to bring a personal object to class, prompting their peers to analyze its function, design, and historical context. This exercise fosters discussion, critical thinking, and new perspectives. 

Physical Mock-Ups and Exhibition – Having students create packaging for an object, considering form, texture, target audience, and functionality. A final exhibition of their work would encourage peer learning and provide insights into real-world design challenges. 

Conclusion

By integrating OBL into digital design education, students can develop a deeper appreciation for materiality, user interaction, and physical constraints, elements like these often overlooked in purely digital workflows. As Hardie (2015) demonstrated through case studies, engaging with objects fosters analytical skills, research abilities, and critical thinking, all of which are essential for designers. Incorporating these strategies into my teaching will not only enrich student learning but also help bridge the gap between the tangible and the virtual, preparing them to be a 360 degree designer who can consider all aspects of design and not limit themselves. 

For further context on OBL and Hardie’s case studies refer to my notes “Object-Based Learning For Graphic Design“

Interacting with objects is crucial in graphic design, where so much of what we create digitally might eventually take physical form. Object-based learning pushes us to think beyond the digital tools we use daily, encouraging a deeper connection to materials, form, and meaning. As designers, we need to be multifaceted and multidimensional thinkers and be able to analyze, reflect, and understand how our work functions in the real world. Engaging with objects strengthens our ability to see, question, and create with intention, making us more adaptable and thoughtful designers. 

Bibliography

Chatterjee, H. and Hannan, L. (2016) Engaging the Senses: Object-Based Learning in Higher Education. Farnham: Ashgate. 

Hardie, K. (2015) ‘Using Object-Based Learning to Develop Critical Thinking in Fashion and Textile Design Students’, Art, Design & Communication in Higher Education, 14(1), pp. 33-47. 

Kador, T. and Chatterjee, H. (2020) Object-Based Learning and Well-Being: Exploring Material Connections. London: Routledge. 

Kolb, D.A. (1984) Experiential Learning: Experience as the Source of Learning and Development. Englewood Cliffs, NJ: Prentice Hall. 

Mayer, R.E. (2014) The Cambridge Handbook of Multimedia Learning. 2nd edn. Cambridge: Cambridge University Press. 

Schultz, P. (2012) ‘Tactile Learning: Enhancing Digital Creativity through Material Engagement’, International Journal of Art & Design Education, 31(2), pp. 184-191. 

Image Bibliography

Bodea, A. (2025) Block Printing, Origin: India. [Photograph]. Unpublished.

Bodea, A. (2025) Block Printing – Wooden Blocks. [Photograph]. Unpublished.

Bodea, A. (2025) Dancing Shoes, heel detail, 1925–1935. [Photograph]. Unpublished.

Bodea, A. (2025) Dior Spring Catalogue Sketches, 1966. [Photograph]. Unpublished.

Bodea, A. (2025) Heart Tube Hat by Philip Treacy, 1997. [Photograph]. Unpublished.

Bodea, A. (2025) Dancing Shoes, 1925–1935. [Photograph]. Unpublished.

Bodea, A. (2025) Kolb’s Experiential Learning Cycle (adapted from Kolb, 1984). [Infographic]. Unpublished.

Heidelbach, W. (2004) Metal movable type. Available at: https://en.wikipedia.org/wiki/Typesetting#/media/File:Metal_movable_type.jpg (Accessed: 4 February 2025).

Neha (n.d.) Block printing on fabric – Rajasthan, India. Block printing traditional process, Jaipur – center of traditional handicrafts of India. Available at: https://stock.adobe.com/uk/search?asset_id=383313377 (Accessed: 4 February 2025).

Rangizzz (n.d.) Letterpress background, close up of many old, random metal letters. Available at: https://stock.adobe.com/uk/search?k=Typesetting+blocks&search_type=recentsearch&asset_id=96668495 (Accessed: 4 February 2025).

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Case Study

Case Study I: Knowing & Responding to Students’ Diverse Needs in the Digital Space 

Introduction & Background 

Teaching design software online presents unique challenges, particularly in engaging students and fostering inclusivity. In my experience teaching Adobe software, I observed a lack of participation, reluctance to ask questions, and hesitation in exploring new tools. Many students demonstrated passive learning behaviors, often avoiding verbal contributions or direct interaction. This disengagement can stem from discomfort with digital tools, language barriers, or fear of making mistakes in a virtual setting. 

Evaluation 

Vygotsky’s ZPD highlights the gap between what students can do independently and what they can achieve with guidance. Many of my students were in this zone, where they had some familiarity with digital tools but lacked confidence to apply them effectively. Without structured support, students often remain in their actual development level, unable to progress beyond basic functions and tools. 

A key challenge was shifting students’ focus from outcome-driven learning where their main focus was on the result to embracing the learning process. Many students were hesitant at the beginning of sessions, requiring time to warm up to the environment. Since online workshops were often short (e.g., two hours, with no follow-up), it was difficult to build trust and confidence within a limited timeframe. 

Language barriers, cultural differences, and varying educational backgrounds shape how students engage with new concepts. Some may struggle with confidence, while others approach learning from entirely different perspectives. Recognizing these diverse needs within the ZPD framework means creating spaces where all students, regardless of background, feel supported in their learning journey. By acknowledging and embracing this diversity, I can better guide students in developing their skills, ensuring that no one is left behind due to structural or communicative barriers.

Moreover, online learning reduces opportunities for real-time intervention, making it harder to tackle the learning curve effectively. Without immediate feedback, students may struggle without realizing areas for improvement, leading to limited engagement and slow progression. Since the learning curve is essential in supporting learners within their ZPD, I need to integrate strategies that promote active participation and allow students to gradually bridge the gap between their current skills and potential mastery. 

A key challenge is shifting students’ focus from outcome-driven learning … to embracing the learning process

Moving forward – Applying Vygotsky’s ZPD in Online Learning 

To better support students in their ZPD, I will implement strategies based on scaffolding (Wood, Bruner, & Ross, 1976) and collaborative learning which are key aspects of Vygotsky’s theory. Scaffolding is a concept developed by Wood, Bruner, and Ross (1976), that provides temporary support to help students progress in their learning. 

  • Building Trust with Structured Engagement: Starting sessions with interactive polls, warm-up exercises or ice-breakers to encourage participation. This reduces anxiety and provides an entry point into the lesson.
  • Providing Multiple Participation Avenues: Some students struggle with verbal interaction. Instead of forcing discussion, I will encourage engagement through chat functions, collaborative documents/projects, or email follow-ups. Additionally, I will explore using NVivo, a program that enables students to ask questions and participate in polls anonymously, fostering a more inclusive learning experience. This will allow students to participate at their comfort level while still staying engaged in the learning process.
  • Encouraging Peer Learning & Collaboration: Vygotsky emphasized the role of social learning, where students benefit from working with more knowledgeable peers. I will introduce small collaborative projects, such as group moodboard exercises using Adobe Project Concept (a collaborative tool). To reduce student anxiety, I will also implement anonymous participation methods, allowing students to share ideas or ask questions without revealing their identity. Studies suggest that anonymity in learning environments can increase confidence and reduce fear of judgment (Joinson, 2001).
  • Gradual Release of Responsibility (Scaffolding): Initially, I will provide detailed step-by-step guidance (high support). As students gain confidence, I will reduce assistance, encouraging them to apply skills independently. This follows the scaffolding model, where students move from guided practice to autonomy.

By implementing these strategies, I aim to bridge the gap between students’ current knowledge and their potential skills, helping them progress within their ZPD and tackle inclusivity issues of those who are more reserved. 

Conclusion

Vygotsky’s ZPD and scaffolding theory provide valuable insights into addressing student disengagement in online learning. By creating structured scaffolding opportunities, offering multiple engagement methods, and fostering collaborative learning, I will support students in their learning journey. Moving forward, I plan to refine these strategies by incorporating more interactive and adaptive teaching techniques, ensuring that students feel supported, motivated, and empowered to explore digital tools with confidence. Ensuring an inclusive approach that meets students’ diverse needs allows all learners, regardless of background, language proficiency, or prior experience, to access learning equitably, fostering a supportive and engaging environment where they can thrive.

Bibliography

Joinson, A. N. (2001) ‘Self-disclosure in computer-mediated communication: The role of self-awareness and visual anonymity’, European Journal of Social Psychology, 31(2), pp. 177-192. 

Vygotsky, L. S. (1978) Mind in Society: The Development of Higher Psychological Processes. Harvard University Press. Available at: https://www-vlebooks-com.arts.idm.oclc.org/Product/Index/353559?page=0&startBookmarkId=-1 (Accessed: 10 February 2025). 

Wood, D., Bruner, J. S. and Ross, G. (1976) ‘The role of tutoring in problem solving’, Journal of Child Psychology and Psychiatry, 17(2), pp. 89-100. 

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Notes

Object-Based Learning For Graphic Design 

Objects can be used to arouse a deeper understanding of some design and culture contexts within the graphic design realm such as branding, consumerism, aesthetics and ethics as well as to develop communication, critical analytical skills, research skills and provide inspiration. Objects are incorporated into graphic design teaching, as explained by Hardie (2015) through three case studies. 

Choosing impressive objects

Students had to choose an object that evokes the WOW. The object now represents the student’s voice and “silence is only to be broken by the exclamation of Wow” (Hardie, p5, 2015). After the “wow” a discussion follows based on the impact of the object and more specifically the design has upon the viewer. The student is given a choice in picking the object, this leads the student to unconsciously think about the impact in different ways such as on themselves, therefore tapping into their own experiences and onto others. 

Working in groups and analyzing objects

Following a series of theoretical lessons where concepts such consumerism, popular culture and semiotics are discussed, a student group activity (5-6 students ea.) within a cohort of 55-85 students takes place. Students are provided with different objects and are asked to write a detailed description of the objects. This includes sketches, photographs, quotes and are asked to complete an “object identification form” (Hardie, p6, 2015). The form includes questions related to the object’s function, age, target audience, whether it is ergonomically designed, manufacturing producer, communication aspects and think about the object’s value in different aspects such as financial, social, historical or cultural, which gives the students the opportunity to apply the theoretical concepts they’ve learned earlier in the curriculum. In addition to that, the student’s are asked about their personal view upon the object as well and are encouraged to debate different perspectives within the group. The teacher ensures discussions remain focused and productive while allowing meaningful student engagement reminding the learners about the task’s requirements. 

Student led exhibition

At the start of their second term, first-year graphic design students (approx. 80) participate in the For the Love of Graphics exhibition, an OBL experiential learning activity. Each student selects a graphic design object they love, researches its background, and writes a short description (50–100 words) justifying their choice and explaining its context. The student-led exhibition fosters research, teamwork, time management, and curation skills (Hardie, 2015, p. 15). Held on Valentine’s Day “to maximize the connotations of love,” the event encourages students to “consider their relationship with designs and position these objects as revered exhibits” (Hardie, 2015, p. 15). It also supports reflective writing, helping to “lessen the tensions of writing that design students often report as troublesome” (Hardie, 2015, p. 15). Student feedback highlights the exhibition’s impact in strengthening group identity, broadening design perspectives, and improving key skills. Responses include “high level of work/design,” “everyone working together,” and “broadened my perspective on what design is” (Hardie, 2015, p. 15). 

BIBLIOGRAPHY

Hardie, K. (2015) Wow: The power of objects in object-based learning and teaching. York: Higher Education Academy.

Categories
Microteaching

Magazine Ad Layout Creative Workshop

For my microteaching session, I designed an activity where students created a two-page magazine advert for a fashion object for a fictional brand, targeting a specific market. My aim was to enhance their observation skills, design awareness, and critical analytical thinking while also improving their communication and aesthetic judgment. I incorporated key concepts such as branding, target market and layout principles to provide a well-rounded learning experience. 

Planning the Session

The session was carefully structured to make design principles accessible to students with varying levels of experience. I started with an interactive icebreaker, where students were shown different adverts and asked to distinguish between mass-market and luxury. This not only engaged them from the start but also introduced the fundamental concept of branding and visual cues. Because this task was relatively easy, it formed a learning slope that eased students into the session and built their confidence. As the session progressed, the difficulty of the tasks increased step by step, allowing students to gradually build their understanding without feeling overwhelmed. 

20-Minute Microteaching Plan

  • 2 min – Introduction & Icebreaker
  • 5 min – Theories on Layout
  • 2 min – Target Market & Poll
  • 3 min – Explain Brief
  • 5 min – Activity
  • 3 min – Discussion/Feedback & Wrap-up

I planned the learning outcomes to ensure students gained: 

  • A foundational understanding of graphic design concepts 
  • An ability to analyze visual elements critically 
  • Awareness of layout structures used in magazines 
  • Confidence in applying design tools to create a compelling advert 

To keep the session digestible, I broke down technical terminology into bite-sized explanations, covering margins, columns and grids as well as short mention of some typography concepts. By using visual examples at every step, I aimed to make the lesson more accessible and inclusive for different learning styles. 

I gave the students the opportunity in choosing their target market via a poll therefore I prepared two briefs one covering Mass-Market audience and one for Luxury. Only the winning brief was shared with the students during the lesson however second brief is available and would be shared with students as possible homework for further exploration alongside other ideas to explore.

Lesson slide – Luxury Advert brief
Lesson slide – Mass Market Advert brief

Methods of Engagement

Maintaining student engagement was crucial, so I incorporated multiple interactive elements: 

  • Verbal Interaction: Inviting students to speak via microphone 
  • Chat Participation: Encouraging responses and discussions in the chat 
  • Polls: Allowing students to make decisions collectively which determined the outcome of the exercise 
  • Choice-Based Learning: Letting students pick their own object for the advert 

Additionally, I included a variety of visual references, such as magazine spreads and sketches, to cater to visual learners. The emphasis on “layout is everywhere around us” sparked a eureka moment for students, helping them see design principles in everyday life. 

Slide – Luxury vs Mass-Market + Poll results

Learning Outcomes

To evaluate whether students absorbed the key concepts, I observed their ability to apply design principles in their advert creations. Students sketched their advert ideas, shared them on screen, and spoke about their design choices via microphone, explaining their approach to layout. This allowed me to assess their understanding in real-time and provided an opportunity for peer learning. The feedback I received indicated that students found the structured breakdown of technical terms helpful and that even those without prior design knowledge were able to successfully complete the task.

Students work

Reflection and Areas of Improvement

The feedback was overwhelmingly positive, with students appreciating the clear explanations, step-by-step approach, and engaging visuals. Some highlights included: 

  • Strong use of visual references and examples 
  • Well-structured introduction to layouts and branding 
  • Effective use of interactive elements (chat, mic, polls) 
  • A homework option to extend learning 

However, an area for improvement was the slide content. Some students noted that slides with dense information could have been more streamlined. Additionally, separating the luxury and mass-market comparisons more clearly could enhance clarity, perhaps I could have made a more succinct slide regarding the comparison of the two markets. One student also questioned whether covering all the layout tools was too ambitious within the short time frame. 

In addition to this I have noticed some students did not use margins or columns in their design or added them afterwards which is the opposite of what I intended – I would have liked if I had more time to guide them a bit more through the planning phase of the layout where you choose your margins and columns and would have liked to add that element of “let’s do this part together”. 

Slide set – “Step by Step Layout”

Final Thoughts

The Microteaching session reinforced the importance of interactive and visually supported learning. I was able to guide students toward a deeper understanding of branding, layout, and design principles. Moving forward, I aim to refine my slide content for better pacing and clarity while ensuring that all elements remain digestible within the given timeframe.

By incorporating object-based learning, although in a digital format, it sparked an interest in me in regard to incorporating life objects in graphic design teaching and especially in the online space as this could be a challenge. One key takeaway from this experience, especially after watching my peers’ microteaching sessions, is the value of interacting with real-life objects in design education. In digital spaces, we often rely on images and screens, but holding an object in person engages multiple senses such as texture, weight, even scent, that can only be imagined in a digital format. This physical interaction fosters a deeper connection and understanding that is sometimes lost in virtual learning. It has made me think on how I might incorporate more tangible elements into my teaching, even in an online setting, to bridge the gap between digital and physical experiences. 

Bibliography

Ambrose, G., 2011. Layout: The basics of graphic design. 2nd ed. Lausanne: AVA Publishing.

Categories
Notes

Design Crits: The Negatives and Positives 

Upon reading The Design Critique and the Moral Goods of Studio Pedagogy by Jason K. McDonald and Esther Michela I have come across the concept of “moral goods” in design studio pedagogy, focusing on how instructors use critiques within the studio setting. Moral goods are values or positive outcomes that people aim to achieve within a specific practice or activity. They are the qualities or benefits that make something feel worthwhile, meaningful, or “good” to those involved. In the context of studio pedagogy, moral goods help instructors and students determine what is valuable in their work and interactions. These goods are not just practical or external rewards (like money or grades) but are deeply tied to the ethics and culture of the practice itself. They shape how people judge their actions and guide their behaviors within a particular field. The paper is based on six in-depth interviews with instructors regarding critiques in the design studio environment. 

THE POSTIVE

The study identifies moral goods as goals that are meaningful within the studio environment. These goods include: 

For Students: Critiques develop students’ skills, confidence, and ability to think independently. 

For Instructors: Critiques offer a sense of professional satisfaction and growth through unstructured, adaptive teaching and can provide self-confidence. 

For Stakeholders (the professional environment or community): Critiques help maintain professional and industry standards, benefiting clients, future employers, and the design community.

THE NEGATIVE

1. Emotional Impact on Students 

Public Nature: Critiques are often conducted publicly, which can create an atmosphere of fear, defensiveness, and anxiety. 

Tone and Balance: Harsh critiques can make students feel judged or attacked, rather than supported, leading to stress and discouragement. If critiques are delivered insensitively, they can demotivate students or even cause them to disengage from the learning process. Instructors face difficulties balancing their feedback. Being overly harsh can discourage students, while being too lenient might fail to push students toward growth. 

Unpredictability: The open-ended nature of critiques can make it hard for instructors to anticipate how students will react or what outcomes will emerge. 

Example: An instructor described a situation where a student became frustrated and unmotivated after a critique, prompting the instructor to back off to avoid damaging the student’s enthusiasm. 

Example: An instructor admitted struggling to strike the right balance, sometimes focusing too much on making students feel valued at the expense of pushing their work forward. Pushing a student too hard might harm their motivation, while being too lenient might not help them grow. 

2. Power Dynamics 

Authority Issues: Critiques sometimes reflect the instructor’s personal preferences or biases, rather than the student’s goals or broader design standards when presented as “absolute truths”. This can mislead students about the nature of the expertise and industry standards. Issues as such can discourage students from developing their own design identity or questioning authority. 

Example: The paper mentions that some critiques might impose the instructor’s views, which could suppress students’ creative independence. 

3. Misjudgment and misinterpretation 

Misguided Feedback: Instructors might not fully grasp or understand the student’s idea and shut it down prematurely. If instructors misjudge what is “good” for students, their critiques can be counterproductive. Some instructors acknowledge that critiques can “do damage” if they misinterpret a student’s needs or focus too narrowly on one aspect of development. 

Example: An instructor assumed a student was lazy and pushed them to redo a project. It later turned out the student didn’t understand the technique, and the extra pressure only increased their frustration. 

4. Potential Overemphasis on Standards 

Conflict with Creativity: Some instructors prioritize professional or academic standards during critiques, which might hinder their creativity. 

Example: One instructor noted that their technical critiques were sometimes too complex for students to grasp, leaving them confused rather than inspired. 

CONCLUSION

While critiques can be powerful tools for learning and growth, they also carry risks. Poorly conducted critiques may harm students emotionally, reinforce power imbalances, or fail to achieve their educational goals. Additionally, universities should take a more active role in overseeing how critique sessions are conducted, ensuring that they are structured and aligned with established learning outcomes and industry standards. Allowing instructors unrestricted freedom to critique without structure can lead to unfounded, subjective, and uncontrolled feedback, which may undermine the learning experience. Critiques should be guided by clear, measurable objectives and limited to a reasonable portion of studio time, ideally no more than 20%, to maintain a balanced and effective teaching environment. 

Bibliography

McDonald, J.K. and Michela, E., 2019. The design critique and the moral goods of studio pedagogy. Design Studies, 62, pp.1–35.

Categories
Notes

Drawing as a Form of Encoding

The paper “Drawing Lab” by Michelle Salamon explores the association between drawing and human memory through a series of 5 workshops. The purpose of drawing is seen as a learning and encoding tool. Encoding is the process through which we modify information in order to make it storable, this could be either visual, semantic or auditory. Through a series of workshops, drawing is observed to help encoding, storage and retrieval of memories. 

An interesting aspect of drawing explored in the paper is it can be seen as a physical activity for learning as we observe, memorize and transform information through a physical act. Kinesthetic learning is a style of development, understanding and retaining information through physical activity and hands-on experience (Oxford University Press, n.d.). Visual learning and visual communication help with meaning and memory and provide an extra or alternative method of understanding information. For example, infographics are an excellent tool for transforming large datasets into accessible, visually appealing formats. They simplify information by using visuals and hierarchies, making it easier to grasp key points at a glance. Infographics not only enhance comprehension but also make retaining information much more manageable, especially when dealing with overwhelming data. Adding visuals aspects, we make our work more accessible to a wider audience. 

Another aspect of drawing is its transformative nature, it brings into consideration the aspect that drawing is not merely about reproducing what is seen but about engaging deeply with an experience, uncovering layers of meaning, and forging connections between observation and interpretation. Drawing is seen as ‘an autobiographical record of one’s discovery of an event- seen, remembered or imagined’ (Berger, 2012) which emphasises the personal and intimate nature of drawing.  

Drawing is an unpredictable and exploratory process, allowing designers to innovate by embracing the unexpected. The lack of complete control often leads to surprising results, opening the door to new ideas and creative breakthroughs. This process of breaking down and reassembling information reflects how drawing fosters “constructive perception” (Tversky, 2011). The ambiguity of drawing, which involves analysis and transformation of information, can help designers innovate by embracing the personal and interpretive nature of the process. Even when an object or scene is clear to the eye, the act of drawing can alter it significantly, as the artist’s perception, focus, and emotional engagement shape the outcome. Similarly, drawing from memory often results in interpretations that differ from reality, as the ingestion and recall of information are deeply personal. This transformation can lead to unexpected and innovative results, as the final drawing reflects not just the subject but also the unique perspective and creative reinterpretation of the artist as Berger states “For the artist drawing is discovery” (Berger, 2012 p3). 

In essence drawing is a form of memory training, it allows for processing information with a personal and emotional viewpoint which makes it an essential tool for personal evolution and cognitive growth. 

Bibliography 

Berger, J. (2012) Berger on Drawing. Edited by J. Savage. Aghabullogue, Ireland: Occasional Press. 

Oxford University Press, n.d.Kinesthetic learning. In: Oxford English Dictionary Online. Available at: https://www.oed.com [Accessed 6 January 2025].

Salamon, M. (2018) ‘Drawing Laboratory: Research Workshops and Outcomes’, Spark: UAL Creative Teaching and Learning Journal, 3(2), pp. 131–141 

Tversky, B. (2011) ‘Visualising thought’, Cognitive Science, 3(3), pp. 499–535