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Peer Review

Record of Observation or Review of Teaching Practice 3/3 

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. 

Categories
Peer Review

Record of Observation or Review of Teaching Practice 2/3

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.

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Peer Review

Record of Observation or Review of Teaching Practice 1/3

Session/artefact to be observed/reviewed: ACP Illustrator Online Training 

Size of student group: approx. 10 – 15 

Observer: Carys Kennedy 

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. 

The videos I have shared include a mix of different moments across the course: 

  • Day 1/4: Students asking questions after a demo on how to create a pattern in Illustrator. 
  • Day 1/4: A student needing extra help modifying their pattern. 
  • Day 3/4: Discussion about the ACP exam and its structure. 
  • Day 3/4: Students working through theory-based exercises. 

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. The video I shared with you is part of Day 1 out of 4. Prior to this, we already had a 2-hour session where we covered an introduction to Illustrator, key tools, and workspace navigation. 

The course runs as follows: 

  • Days 1–3: Lessons from 10:00 to 16:30, with a 1.5-hour break each day. 
  • Day 4: A 2-hour revision session, followed by the certification exam (50 minutes long). 

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 and working with typography. 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: 

  • How I present the ACP exam – I want to ensure that students take the exam seriously while also minimizing unnecessary stress or anxiety. I’d appreciate feedback on how to balance the importance of the exam with a supportive, reassuring approach. 
  • My pacing and interaction in an online setting – I’d like to know if my pacing is effective and whether I am engaging students enough during the session. 
  • Voice clarity and accent – I’d appreciate feedback on whether my explanations are clear and easy to understand, including my voice clarity and pronunciation. 

How will feedback be exchanged? 

Written feedback via this form. 

Part Two 

Observer to note down observations, suggestions and questions: 

Thank you Andrada for sharing a range of different moments from a recording of the Adobe Certified Professional (ACP) Illustrator training you delivered recently – I enjoyed watching it. I watched the first 40 minutes of the video, as otherwise my review section would have been too long – I hope that’s OK. 

Section 1: Group demonstration

In the first section of the recording (around 8 minutes), you were answering student questions about the software and demonstrating the answers. When doing this, your explanations seemed well paced and clear, which is an achievement given that you were sharing complex, multi-step instructions. You described what you were doing, named the tools you were selecting, and paused at key moments. The first student replied to say ‘thank you’ via the chat, which indicated that their question had been answered clearly. There were a couple of students who hadn’t confirmed in the chat if their question had been answered, and they stayed to discuss these during the break.

You asked for feedback on your voice clarity and accent. I found your voice to be clear, and you used clear, plain English throughout which made your instructions easy to follow – so no concerns at all there! There were one or two moments in the first 10 minutes of the recording when the audio quality made it difficult to hear exactly what you were saying – this wasn’t an issue with your voice or accent, though.  

You also reminded students that they can access the recording, which will be an excellent revision tool for them. I’m a big advocate of recording sessions where possible, so it was great to see this in action.  

Section 2: Individual student feedback 

One student did come into the chat with follow-up questions, and you stayed on the call during the break to offer support. You spent time 1:1 with the student, answering their questions in a clear, step-by-step way. You were patient and supportive, and it was clear the student was grateful for you sharing your expertise. 

There were one or two slight miscommunications while you were working 1:1 with the student, where I thought you might have misunderstood what the student was asking (or perhaps I did!) Some clarifying questions before moving onto demonstrations might have been helpful. There was also a minor point where the student was confused about how to zoom in and out – you mentioned a mouse wheel, and the student was momentarily confused because they have a trackpad. Again, a quick question like “Do you have a mouse or a trackpad?” could have allowed you to tailor your advice to the student and minimise confusion. 

Section 3: Exam information 

When you talked about the exam, your language remained clear, and your delivery was well-paced. However, there was a lot of factual information given to the students about the exam (e.g. timings, mark breakdowns, how to prep their machines, etc.). You did provide some visuals – and I wondered whether this section would have benefited from a slide deck, which students could also have access to as a reference. My thinking is that it is easy in an exam situation to forget key information (e.g. “How long did Andrada say I should spend on the first section?!”); it is also good inclusive practice to provide key information in writing as well as verbally – this is less possible while you’re demonstrating software, but could have worked well here. 

Part Three 

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged: 

I appreciate the positive comments about my clarity of speech and pacing, which I believe are crucial when teaching complex software online. The feedback on voice clarity and pausing at key moments is helpful as I strive to make my sessions accessible and easy to follow. Using clear, plain English in combination with technical terms and providing session recordings for revision aligns with inclusive teaching practices. Recordings allow for reinforcement and review, a principle emphasized in blended learning and student engagement (Graham, 2006). 

I also value the suggestion to follow up with individual students. When I provide personalized support, asking clarifying questions, particularly when I don’t fully understand a student’s request is very important in order to give tailored teaching. In future sessions, I will make a conscious effort to ask probing questions, such as “Do you have a mouse or a trackpad?” to better understand the student’s setup and avoid confusion. Asking about the mouse or trackpad will help clarify confusion related to navigation methods within Illustrator, such as zooming in and out. Tailoring guidance based on these setups will improve clarity and efficiency. Perhaps I could do a poll at the beginning of the session to find out whether they are using a mouse or to find out which operating system are they using however I always cover during sessions both set-ups, this would be helpful to see what the majority of students are using.

Regarding the exam section, I want to clarify that we provide a slide deck containing key exam information. This slide deck is available as a reference, and I ensure students have access to it ahead of the exam. I emphasize the slide deck during the discussion to ensure students are aware of its availability and importance. This serves as a visual reinforcement, making it easier for students to recall crucial information. Mayer’s Cognitive Theory of Multimedia Learning suggests that using both verbal and visual information, such as the slide deck alongside verbal instructions, enhances learning by facilitating dual coding. Dual coding theory engages different cognitive channels, improving memory retention and understanding. 

In summary, I will increase interactivity by asking clarifying questions and refine how I engage with individual needs. These adjustments will help provide more tailored and accessible teaching, enhancing student engagement and learning outcomes. 

Bibliography

Graham, C. R. (2006). Blended learning systems: Definition, current trends, and future directions. Handbook of Distance Education, 3(1), 299-318.

Mayer, R. E. (2005). The Cognitive Theory of Multimedia Learning. Cambridge University Press.

Categories
Case Study

Case Study 2: Plan for and support student learning through appropriate approaches and environments

Introduction 

In my role as a technician and associate lecturer supporting students in digital fashion design and Adobe software, I conduct 1-2-1 sessions where students seek guidance on various software applications, such as Photoshop, Illustrator, InDesign, Premiere Pro, and CLO3D. While students typically select one software per session, many arrive without clear learning goals, or request assistance with multiple programs at once. Additionally, these sessions take place in an open-access area, which can be noisy and disruptive. This lack of focus, overambitious expectations, and distracting environment necessitate a structured approach to ensure effective learning. 

Context and Challenges 

1-2-1 sessions in the open-access space present key challenges: 

  • Undefined Learning Goals: Some students struggle to articulate their needs, making session structuring difficult. 
  • Overwhelming Expectations: Requests for guidance on multiple Adobe applications within an hour limit depth of learning. 
  • Time Constraints: One-hour sessions necessitate focused learning. 
  • Noisy Environment: Disruptions reduce concentration and engagement. 

Approach and Strategies 

To enhance structure, I follow up via email where possible, prompting students to specify their focus in advance. At the start of the session, I clarify that in-depth learning is achievable only for one software at a time and encourage follow-ups for broader needs. This aligns with V2 (“Promote engagement in learning and equity of opportunity for all to reach their potential”) by helping students set realistic objectives. 

Setting and Managing Expectations:

Clarifying Learning Goals 

At the beginning of each session, I ask targeted questions such as: 

  • “What specific outcome do you want to achieve?” 
  • “Are you working on a project requiring a particular skill?” 
  • “Do you have visual examples of your goal?” 

This constructivist approach supports V1 (“Respect individual learners and diverse groups of learners”) by tailoring sessions to each student’s needs. Piaget (1971) emphasizes that “students construct knowledge based on prior experience,” which is why guiding them through structured questioning enhances learning. 

Prioritization 

When students request help with multiple applications, I guide them to prioritize foundational skills first, explaining that targeted learning improves retention. Sweller (1988) states that “reducing extraneous cognitive load enhances learning efficiency,” supporting my approach of breaking down content into manageable chunks. 

Scaffolding Learning 

Rather than overwhelming students, I introduce concepts step by step. For instance, if a student needs to create a mood board but is unfamiliar with both Photoshop and InDesign, I begin with layout basics in InDesign before progressing to image editing in Photoshop. Vygotsky (1978) argues that “learning occurs best when support is provided within a student’s zone of proximal development,” reinforcing the importance of structured guidance. 

Flexible Teaching Methods

To accommodate different learning styles, I adapt my methods, using: 

  • Live demonstrations with step-by-step explanations. 
  • Hands-on exercises where students practice in real time. 
  • Digital resources for post-session learning. 

Kolb (1984) states that “learning is most effective when students engage in experience, reflection, and adaptation.” This aligns with A2 (“Teach and/or support learning through appropriate approaches and environments”), ensuring accessibility despite environmental challenges. 

Encouraging Independent Learning 

To foster autonomy, I provide additional resources such as online tutorials, university workshops, and follow-up emails with tailored learning materials. Zimmerman (2002) highlights that “students who regulate their learning develop stronger problem-solving skills,” reinforcing the importance of self-directed study. 

Learning Goals & Teaching Strategies diagram

Reflection and Impact 

Implementing these strategies has significantly improved session effectiveness. Students leave with clearer objectives, structured learning approaches, and practical skills applicable to their projects. These methods align with PSF 2023: 

  • V1: Tailoring sessions to individual needs ensures inclusivity. 
  • V2: Helping students set achievable goals enhances engagement. 
  • A2: Flexible teaching methods support diverse learners. 

Moving Forward 

To further refine sessions, I plan to:

  • Improve Pre-Session Preparation: Introduce automated reminders prompting students to specify their goals.
  • Enhance Learning Materials: Develop structured video tutorials and quick reference guides.
  • Optimize the Learning Environment: Advocate for quieter session spaces.
  • Gather Continuous Feedback: Implement post-session surveys to assess impact and improvements.
  • Develop a Structured Introductory Session: Create a planned session covering key aspects of Photoshop, Illustrator, and InDesign for students who are unsure of their focus or want an overview of multiple applications.

These enhancements will improve both the structure and impact of my sessions. Encouraging students to define their goals in advance will lead to more efficient use of time, while additional learning materials will provide ongoing support beyond our meetings. Addressing environmental distractions will help maintain focus, creating a more productive space for learning. Regular feedback will allow me to refine my approach, ensuring that sessions remain relevant and beneficial. By prioritizing these improvements, I aim to foster a more effective and student-centered learning experience.

Conclusion 

Through my practice, I have developed an adaptive approach that ensures goal-oriented student support. I aim to create an inclusive, engaging, and accessible learning environment. Moving forward, student feedback and additional digital resources will further enhance engagement and learning outcomes. 

Bibliography

Advance HE. (2023). Professional Standards Framework for Teaching and Supporting Learning in Higher Education (PSF 2023). Available at: https://www.advance-he.ac.uk/knowledge-hub/professional-standards-framework-teaching-and-supporting-learning-higher-education-0

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

Piaget, J. (1971). Psychology and Epistemology: Towards a Theory of Knowledge. Viking 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. Harvard University Press. 

Zimmerman, B. J. (2002). Becoming a Self-Regulated Learner: An Overview. Theory into Practice, 41(2), 64–70. 

Image Bibliography

Bodea, A. (2025). Learning Goals & Teaching Strategies Diagram [Infographic].

Categories
Case Study

Case Study 3: Assessing and Feedback: Real-Time Reflection for Better Learning

While formal assessment is not part of my role, I regularly assess students’ work during classes and one-to-one sessions to provide constructive feedback that helps them improve their skills. To evaluate students’ understanding during lessons, I use practical tasks that encourage hands-on learning and problem-solving. For example, after a Premiere Pro session, I assign students the task of creating a 30-second social media advertisement using provided assets. This helps them engage with the software, navigate creative constraints, and apply theoretical knowledge in practice. By working within set limitations, students develop problem-solving skills and adaptability while learning how to use digital tools effectively. 

Assessment

I implement formative assessments through structured tasks which are strongly based on brief learning outcomes and industry standards, such as creating a social media advert in Premiere Pro or refining magazine layouts in InDesign. These tasks encourage practical application while allowing me to assess comprehension in real time. I ensure that the assessment of students’ work addresses the key aspects of enquiry, knowledge, process, communication, and realisation providing opportunities for critical analysis, and encouraging the application of industry-relevant concepts.

Feedback

Instead of simply pointing out issues, I encourage them to critically evaluate their work, fostering deeper engagement with the subject and encourage research and experimentation. Encouraging independent research further develops critical thinking by guiding students to seek solutions beyond immediate feedback. If a student struggles with typography or layout in InDesign, I might suggest they analyze professional editorial layouts to identify best practices. This aligns with Kolb’s Experiential Learning Cycle (1984), where students move from observation to experimentation, refining their skills through iteration. By engaging in this reflective process, they take ownership of their learning and build the ability to problem-solve independently. 

Reflect, Review, improve: Combining Digital Tools and Peer Input

Moving forward I would like to build on my current strategies, I aim to refine my feedback approach by integrating peer review sessions and student personal reflection on their work. I would try this for one of the units and would not use it constantly for variety purposes. 

I would like to implement digital assessment tools to track student progress over time. Platforms such as Padlet or Miro could allow students to document their design process, enabling more in-depth discussions and iterative improvements. By incorporating these tools, students can view and reflect, assess, and provide feedback on their own progress. According to Schön (1983) there are two types of reflections: 

  • Reflection-in-action – happens during an activity – making real-time adjustments based on immediate feedback. 
  • Reflection-on-action – happens after an activity – analyzing past experiences to improve future performance. 

Schön (1983) argues that “reflection-in-action is the capacity to reshape what we are doing while we are doing it, allowing practitioners to respond to unique situations as they unfold.” which provides an excellent way of improving students’ work before their hand in. Encouraging students to document and review their design process using digital platforms supports this model, helping them refine their approach in real time.  

Additionally, reflection-on-action enables students to look back on their completed projects, evaluate their strengths and weaknesses, and develop strategies for improvement in future work. 

Peer feedback fosters collaboration, helping students learn from each other while developing their analytical skills as mentioned by Bandura (1986), “The modeling process allows students to develop new skills by observing others, processing feedback, and applying what they have learned in their own work”. By engaging in peer review, students observe the decision-making processes of others and refine their own work based on shared insights. This interactive learning process not only enhances technical proficiency but also fosters a sense of community and confidence in their creative abilities. 

Conclusion 

To enhance student learning, I focus on practical tasks that align with industry standards and encourage real-time problem-solving. Incorporating digital tools like Padlet or Miro will allow students to track and reflect on their progress, leading to a more structured and self-reflective learning experience. Peer feedback will further encourage collaboration and self-improvement, helping students refine their skills and develop a deeper understanding of their work. These strategies aim to create a dynamic and supportive learning environment that promotes growth and independence.

Effective assessment and feedback strategies are essential for fostering student engagement and skill development. I aim to create an environment where students can take ownership of their learning. The incorporation of Schön’s Reflective Practice (1983) and Bandura’s Social Learning Theory (1986) further supports this approach, emphasizing the importance of reflection and peer interaction in the learning process.  

Bibliography

Bandura, A. (1986) Social foundations of thought and action: A social cognitive theory. Englewood Cliffs, NJ: Prentice-Hall. 

Kolb, D. A. (1984) Experiential learning: Experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall. 

Schön, D. A. (1983) The reflective practitioner: How professionals think in action. New York: Basic Books. 

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Reflective post

Balancing Critique and Creativity

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. 

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Reflective post

From Paper to Pixel: How Drawing Enhances Digital Design

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. 

Thumbnails Sketches
Exploring layout for an Art magazine spread

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. 

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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.