Category: Reflective post

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.

Reading The Design Critique and the Moral Goods of Studio Pedagogy by Jason K. McDonald and Esther Michela made me reflect on my own experiences with critiques and offering feedback in creative education. The paper introduces the concept of “moral goods” in studio pedagogy, emphasizing how critiques shape both students’ learning and instructors’ teaching approaches. While critiques play a vital role in helping students develop technical skills, independent thinking, and confidence, they can also be emotionally challenging. 

Balancing Constructive Criticism and Emotional Well-being 

A key issue raised in the paper is the emotional impact of critiques, particularly when delivered in public settings. This has made me more conscious of how I deliver critiques and how different students respond. I have found that giving feedback in a one-to-one setting is much easier than in front of a group. In private sessions, students tend to be more open and receptive, without the pressure of their peers watching. This allows for more in-depth discussions and tailored feedback that directly addresses their concerns. In contrast, group critiques can sometimes make students hesitant to engage, either out of fear of judgment or reluctance to challenge others’ opinions. One-to-one settings create a more comfortable space for constructive dialogue, making the critique process more effective and supportive. 

A challenge I often face is having to provide direct feedback due to time constraints, whether it’s the limited time I have with the student or their impending hand-in deadline. In these situations, I sometimes worry that my feedback might come across as too intense or direct. However, clear and immediate guidance is often necessary to help them make quick improvements. Finding the right balance between being efficient and supportive remains a challenge, as I want to ensure they leave with actionable insights without feeling discouraged. 

Balancing my own influence and bias with students’ aesthetics is something I actively consider when giving feedback. Students often ask me directly what makes a “good” layout or which font they should use, but I avoid providing definitive answers. If I were to dictate a singular “correct” approach, it could lead to homogenized work where students simply follow instructions rather than developing their own creative identities. Instead, I encourage them to engage in thorough research, emphasizing that understanding what makes a layout effective comes from exploration and analysis rather than prescriptive rules. This approach aligns with Self-Determination Theory by Deci and Ryan (1985), which highlights the importance of autonomy, competence, and motivation in learning. Providing direct answers could reduce students’ sense of ownership over their creative decisions, making them overly dependent on external validation rather than developing their own judgment. By fostering autonomy and guiding students toward self-directed inquiry, I help them build the confidence and analytical skills necessary to shape their own design identities while ensuring meaningful engagement with their work. 

While critiques are valuable for learning and development, they must be carefully structured to balance constructive feedback with student well-being. Time constraints, power dynamics, and emotional impact all influence how critiques are received and their effectiveness in fostering growth. Reflecting on my own experiences, I see the importance of creating a supportive yet efficient feedback environment, one that encourages learning without overwhelming students. Moving forward, I aim to refine my approach by ensuring feedback remains clear, purposeful, and adaptable to different student needs and contexts. 

For further context on critiques in the studio enviroment refer to my notes “Design Crits: The Negatives and Positives“

Bibliography

Deci, E.L. and Ryan, R.M., 1985. Intrinsic motivation and self-determination in human behavior. New York: Springer. 

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

The paper “Drawing Lab” by Michelle Salamon explores the association between drawing and memory through a series of workshops, positioning drawing as a tool for learning and encoding information. Encoding is the process of modifying information to make it storable, whether visually, semantically, or auditorily. Through my own teaching practice, I have observed that drawing enhances encoding, storage, and retrieval of memories, particularly when used in digital fashion design and illustration. 

In my experience teaching Adobe software and CLO3D, I recognize that drawing is more than a representational skill, it is an active and exploratory process that aids comprehension. For instance, when teaching students how to create vector illustrations in Illustrator, I emphasize sketching as a method for refining ideas that offers a quick exploration of designs. This aligns with the kinesthetic learning theory (Oxford University Press, n.d.), which suggests that physical engagement enhances cognitive retention. By drawing initial concepts before digitizing them, students interact with the material in a way that strengthens their learning and recall. 

Additionally, the transformative nature of drawing aligns with constructivist learning theories, particularly Tversky’s (2011) concept of “constructive perception.” Tversky argues that perception is an active process in which individuals shape their understanding through interaction and reinterpretation. This idea supports the notion that learning is strengthened when students engage with material through exploration and personal interpretation. In my workshops, I have noticed that students who engage in freehand sketching before transitioning to digital tools often produce more innovative designs. This unpredictable and exploratory aspect of drawing fosters creative breakthroughs, as students reinterpret information through their own lens rather than simply replicating it.  

I encourage students to engage in layout exploration and mini thumbnail sketches before working digitally. In graphic design, a thumbnail sketch for layout refers to a quick, low-fidelity drawing used to explore and communicate different design concepts and solutions (Mural, 2025). This method allows students to efficiently plan their compositions, reducing time wasted on excessive adjustments when working directly in InDesign. Since InDesign functions best when the layout is already structured, thumbnail sketches serve as a roadmap, ensuring effective time management. Sketching first helps avoid unnecessary fiddling in digital tools and allows students to focus on refining their design rather than struggling with technical aspects too early in the process. 

Furthermore, drawing serves as an autobiographical and reflective practice (Berger, 2012). In my own work, I encourage students to document their design process through sketching, which helps them internalize and critically analyze their creative decisions. This approach aligns with Kolb’s experiential learning cycle (1984), particularly the reflective observation stage, where students evaluate their work and iterate on their designs based on their insights. 

In essence, integrating drawing into teaching practice has reinforced its role as a cognitive and creative tool. By combining traditional sketching with digital techniques, I support students in developing deeper conceptual understanding and more personal connections to their work. 

For further context on drawing in relation to human memory and Salamon’s case studies refer to my notes “Drawing as a Form of Encoding“

Bibliography

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

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

Mural (2025) Thumbnail Sketching. Available at: https://www.mural.co/templates/thumbnail-sketching [Accessed 6 February 2025]. 

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. 

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. 

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. 

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. 

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. 

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).