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Blogs – Action Reasearch ProjectIntroduction – Digital Journeys: Supporting Student Workflow in Fashion Education with Design Software Designing Clarity: The Rationale Behind Digital Journeys Research Methods Data Findings and Reflection Action Research Cycle & Iterative Processes Ethical Action Plan Presentation Bibliography ARP Extra Notes AI Log Expanding on t […] “Blogs – Action Reasearch Project”

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Designing Clarity: The Rationale Behind Digital Journeys1. Clarifying Digital Goals through Visual Structure Digital Journeys is informed by goal-setting theory, which emphasises the role of clarity in supporting effective learning. Locke and Latham argue that goals are most effective when they are specific rather than vague, as they direct attention and support persistence (2002). Within Digital Journeys, this theory is operationalised through visual structure: Digital expectations are made explicit at each project stage Tasks are clearly linked to appropriate software Progression is visualised through a structured roadmap By translating abstract assessment briefs into visible, sequenced actions, Digital Journeys functions as a goal-clarification tool, reducing uncertainty and helping students decide how to begin their work. 2. Supporting Confidence through Mastery-Oriented Learning The project also draws on goal orientation theory, particularly the distinction between mastery and performance orientations. Dweck describes mastery-oriented learning as focused on developing competence through process and understanding, rather than demonstrating ability or correctness (1986). Digital Journeys supports a mastery orientation by: Emphasising process over outcome Normalising iteration and experimentation Framing software learning as developmental rather than evaluative By shifting attention away from “getting it right” and towards understanding workflows, the resource supports confidence, resilience, and risk-taking, aligning with later work by Dweck on growth-oriented learning environments (2006). 3. Learning through Experience, Reflection and Scaffolding This process-led approach aligns with experiential learning theory. Kolb defines learning as knowledge created through the transformation of experience (1984), a model that closely reflects how fashion students engage with creative software through project work. Within Digital Journeys: Interaction with software constitutes concrete experience The visual roadmap supports reflection by making workflows visible Clear explanations of when and why tools are used support abstract conceptualisation This experiential cycle is reinforced through scaffolding. Wood, Bruner and Ross describe scaffolding as enabling learners to achieve tasks they could not complete independently (1976). Digital Journeys provides: Step-by-step visual guidance Task-specific software recommendations Graduated support that reduces cognitive overload Together, these features support increasing independence, confidence, and autonomy in digital workflows. 4. Visual and Emotional Design as a Pedagogical Strategy Beyond functionality, Digital Journeys deliberately foregrounds visual and aesthetic design as a pedagogical strategy. Research in multimedia learning suggests that emotionally engaging and visually considered materials can enhance motivation and comprehension when aligned with learning goals (Mayer and Estrella, 2014; Um et al., 2012). This aligns with CAST’s assertion that barriers to learning are located in curriculum design rather than in learners themselves (2018), and with UAL guidance that frames inclusive design as central to student engagement. As a result, Digital Journeys is designed to be: Visually clear and intuitive Interactive rather than text-heavy Engaging without being distracting Design is treated not as decoration, but as a tool for supporting understanding and motivation. 5. Accessibility, Inclusion and Transparent Learning Pathways The project is grounded in principles of accessibility and inclusion, recognising that digital literacy is unevenly distributed. Research shows that implicit expectations around digital competence can disadvantage students without prior access to specialist tools (Selwyn, 2010; Helsper and Eynon, 2013; Beetham, 2017). In line with the Social Model of Disability embedded in the UAL Inclusive Teaching and Learning Framework, this project understands barriers as produced by educational design rather than by individual students. Digital Journeys responds by: Reducing reliance on dense, text-heavy instruction Providing visual scaffolding and structured pathways Making software expectations transparent and explicit Text-heavy instructional design is widely recognised as a barrier for diverse learners, including disabled and neurodivergent students, students from non-design backgrounds, and students with English as an additional language (CAST, 2018; University of the Arts London, n.d.). By making workflows visible and navigable, Digital Journeys aims to reduce cognitive overload, support equitable access to digital knowledge, and enable students to engage more confidently with creative software. A more detailed discussion of the theoretical and pedagogical foundations underpinning Digital Journeys is explored in a separate blog post. (click here) Bibliography Beetham, H. (2017) Developing digital literacies. London: Jisc. CAST (2018) Universal Design for Learning Guidelines version 2.2. Wakefield, MA: CAST. Dweck, C.S. (1986) ‘Motivational processes affecting learning’, American Psychologist, 41(10), pp. 1040–1048. Dweck, C.S. (2006) Mindset: The new psychology of success. New York: Random House. Helsper, E.J. and Eynon, R. (2013) ‘Distinct skill pathways to digital engagement’, European Journal of Communication, 28(6), pp. 696–713. Kolb, D.A. (1984) Experiential learning: Experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall. Locke, E.A. and Latham, G.P. (2002) ‘Building a practically useful theory of goal setting and task motivation’, American Psychologist, 57(9), pp. 705–717. Mayer, R.E. and Estrella, G. (2014) ‘Benefits of emotional design in multimedia instruction’, Learning and Instruction, 33, pp. 12–18. Selwyn, N. (2010) ‘Degrees of digital division’, Learning, Media and Technology, 35(4), pp. 491–507. Um, E., Plass, J.L., Hayward, E.O. and Homer, B.D. (2012) ‘Emotional design in multimedia learning’, Journal of Educational Psychology, 104(2), pp. 485–498. University of the Arts London (n.d.) Inclusive Teaching and Learning Framework. London: University of the Arts London. Wood, D., Bruner, J.S. and Ross, G. (1976) ‘The role of tutoring in problem solving’, Journal of Child Psychology and P […] “Designing Clarity: The Rationale Behind Digital Journeys”

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Presentation

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Introduction – Digital Journeys: Supporting Student Workflow in Fashion Education with Design Software Choosing the right software at the right stage of a project is a recurring challenge in fashion education. This short video introduces Digital Journeys, a visually designed learning resource that I developed to help students navigate creative software workflows with greater clarity and confidence. Digital Journeys addresses this through two core features: an interactive Roadmap, where students can visualise their project journey and tasks required to meet learning outcomes Quick Search function, which allows students to look up specific tasks and reiceive a direct answer on which software to use, explains shortly the reasoning on why this is appropriate, and suggests alternatives where appropriate. The video below provides a brief overview of the Digital Journeys resource and demonstrates how it is intended to be used in practice. Digital Journeys Introduction Video (04:45) (Click to watch) What triggered the project Students consistently used inappropriate or non-industry software for assessed tasks Resistance to learning unfamiliar software; preference for “what they already know” Confusion around why multiple software tools (Photoshop, Illustrator, InDesign, CLO3D) are used within one project International students struggled with dense technical terminology during short teaching sessions No existing resource clearly showed the workflow across multiple software platforms Navigating Software Choices in Industry-Led Practice Through my role as a Learning Technology technician and Creative Digital Sofware associate lecturer at London College of Fashion, I have observed that this uncertainty often leads students feeling too overwhelmed to start the project and to inefficient workflows that leads to frustration and lost time, particularly when students attempt to complete complex outputs, such as portfolios, in software that is not aligned with industry-standard practice. Industry-standard practice refers to software that operates as a de facto global standard, established through widespread and sustained adoption across professional fashion and design practice, higher education curriculum, and global industry production workflows, rather than through formal regulation or regional preference. Market analyses indicate that Adobe Creative Cloud and its core applications (including Photoshop, Illustrator and InDesign) hold a substantial share of the global creative software market (Adobe products command over 80% of the graphic design software market according to Statista, 2024), with Adobe reported as the leading provider in this sector and its tools widely adopted across professional creative workflows (Straits Research, 2025; Exploding Topics, 2024). Mapping Digital Guidance Through Design This challenge is further compounded by the limited visual guidance provided in current unit handbooks, which are often written in academic language and do not clearly articulate digital workflows or professional software expectations. In my experience as a fashion design studio assistant, In professional design practice, software is selected strategically according to task and output rather than personal preference. In response to these recurring issues, this action research project explores the development of Digital Journeys, a visually designed learning resource intended to clarify creative software workflows and support students’ confidence and decision-making in ways that better reflect industry-standard practice in the UK fashion sector. How can a visually designed digital learning resource clarify creative software workflows and support students’ understanding, confidence, and decision-making in fashion education? This project is guided by the research question:How can a visually designed digital learning resource clarify creative software workflows and support students’ understanding, confidence, and decision-making in fashion education? Designing for Equity and Clarity in Digital Learning Rather than framing students’ uncertainty around software choice as a lack of skill or preparedness, this project positions workflow clarity as a responsibility of educational and instructional design. Digital Journeys is conceived as a visually led intervention that makes digital expectations explicit, transparent, and aligned with professional practice, supporting students to navigate complex creative processes with greater confidence and autonomy. Digital Journeys is meant to act as a companion to the hanbook and materials not a replacement. By foregrounding clarity, accessibility, design and consistency, the project seeks to reduce unnecessary barriers to learning and promote more equitable engagement with industry-standard digital tools within fashion education. Bibliography Exploding Topics (2024) Graphic design software statistics. Available at: https://explodingtopics.com/blog/graphic-design-stats (Accessed: 12 December 2025). Statista (2024) Worldwide graphics software market share. Available at: https://www.statista.com/statistics/1369176/worldwide-graphics-market-share/ (Accessed: 5 January 2026). Straits Research (2025) Creative software market report. Available at: https://straitsresearch.com/report/creative-software-market (Accessed: 12 December 2025). V […] “Introduction – Digital Journeys: Supporting Student Workflow in Fashion Education with Design Software”

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Tue, 16 Dec 2025 14:52:49 +0000

Action Research Cycle & Iterative Processes Developing Digital Journeys through an Action Research cycle The development of Digital Journeys followed an iterative Action Research cycle, allowing the resource to evolve through cycles of making, feedback, reflection, and refinement. This approach is well suited to design education, where knowledge is generated through practice and iterative development rather than linear problem-solving (McNiff and Whitehead, 2011). Digital Journeys ARP Cycle (fig 1) Identify and plan Following the identification of persistent confusion around digital workflows and software choice, the project moved into a planning phase focused on designing a visual roadmap that could make complex processes explicit. In art and design education, visual mapping and diagramming are recognised as key modes of thinking, helping learners understand sequencing, relationships, and purpose (Gray and Malins, 2004). This informed the decision to communicate workflows visually rather than through text-heavy explanations. Design and feedback (first iteration) The next action within the cycle was the creation of an initial visual mock-up of the Digital Journeys Roadmap. Peer and tutor feedback identified several areas for improvement: Reordering the legend to improve clarity and visual hierarchy Replacing the term industry standard software with software suggestions to avoid overly prescriptive language Clarifying context by specifying the relevant unit, brief, and year of study Digital Journeys ROADMAP 1.0 – Mock-up (fig 2) Digital Journey design and interaction assets plan (fig 3) Digital Journeys QUICK SEARCH 1.0 – Mock-up (fig 4) Reflect and redesign Reflection on this feedback informed the redesign of the resource, leading to the development of a second interactive prototype with improved navigation and visual consistency. This iterative movement between making and reflecting reflects Schön’s concept of reflection-in-action, where designers refine solutions through continuous engagement with their work (Schön, 1983). These changes align with principles of information design, where hierarchy and contextual framing are essential for effective communication (Lupton, 2017). In response to feedback, and building on the original project vision, the following features were added: dropdown menus were introduced, allowing students to select their course and year of study and view a tailored workflow according to their selected unit brief multiple software suggestions were integrated dark mode interactive elements on the roadmap Digital Journeys 1.2 – ROADMAP – Working Prototype with interactive elements (fig 5) Digital Journeys 1.2 – QUICK SEARCH – Working Prototype with interactive elements (fig 6) Digital Journeys 1.2 – QUICK SEARCH & ROADMAP Dark Mode – Working Prototype with interactive elements (fig 7) for a full demonstration of the resource please refer to my Introduction blogpost “Introduction – Digital Journeys: Supporting Student Workflow in Fashion Education with Design Software” Validate and evaluate (student and staff questionnaires) Feedback from surveys confirmed the clarity and usefulness of the roadmap while also identifying specific areas for future development. Suggested additions included: Links to in-house tutorials or official Adobe tutorials to ensure consistency and reliability Brief software overviews explaining purpose and typical use Step-by-step visual guidance for moving between software Examples of outcomes and techniques to show what is possible Expanded software options, including alternatives where Adobe software is inaccessible Integration into existing platforms such as Moodle or course handbooks Opportunities for ongoing student feedback and suggestions Clearer onboarding support for students from non-design backgrounds This feedback validated the relevance of Digital Journeys as a workflow-support tool while also highlighting how it could be expanded to better support diverse learning needs. Analyse, feasibility and iteration Accessibility testing using Colour Blind Oracle indicated that colour distinctions between research stages and InDesign were difficult to perceive for users with red–green colour vision deficiencies, specifically Deutan (deuteranomaly and deuteranopia) and Protan (protanomaly and protanopia) conditions. This finding reinforces the need to design interfaces that do not rely on colour alone to communicate meaning (Lupton, 2017). Accessibility testing Digital Journeys roadmap ROADMAP – original colour version (fig 8) Digital Journeys ROADMAP – simulated view for red–green colour vision deficiency (protanopia) using Color Oracle (fig 9) From a feasibility perspective, Digital Journeys would require ongoing maintenance due to regular software updates and annual major version changes. This highlights the importance of designing the resource as a flexible, updateable system rather than a fixed artefact, with content that can be reviewed and refreshed to remain accurate and relevant. Next steps The next stage of development will focus on improving colour accessibility, alternative text and font size for a more inclusive approach, expanding in-house and official Adobe tutorial integration, reasearching a better platform to and iterate/update and host the resource and continuing iterative testing with a focus group. Through ongoing Action Research cycles, Digital Journeys will remain an evolving, design-led resource responsive to both pedagogic needs and software change. Bibliography Gray, C. and Malins, J. (2004) Visualizing Research: A Guide to the Research Process in Art and Design. Aldershot: Ashgate. Lupton, E. (2017) Graphic Design: The New Basics. 2nd edn. New York: Princeton Architectural Press. McNiff, J. and Whitehead, J. (2011) All You Need to Know About Action Research. 2nd edn. London: SAGE. Schön, D.A. (1983) The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books. Color Oracle (n.d.) Color Oracle: A free colour blindness simulator for Windows, Mac and Linux. Available at: https://colororacle.org (Accessed: 1 November). Visual Bibliography Fig. 1Bodea, A. (2025) Digital Journeys ARP Cycle. Original visual composition developed by the author, based on an adapted Adobe Stock infographic template: Infographic design template with place for your data (Adobe Stock ID: 438815703). Available at: https://stock.adobe.com/uk/images/infographic-design-template-with-place-for-your-data-vector-illustration/438815703 (Accessed: 2026). Fig. 2Bodea, A. (2025) Digital Journeys ROADMAP 1.0 – Mock-up. Author’s original design. Fig. 3Bodea, A. (2025) Digital Journeys: Design and Interaction Assets Plan. Author’s original diagram. Fig. 4Bodea, A. (2025) Digital Journeys QUICK SEARCH 1.0 – Mock-up. Author’s original design. Fig. 5Bodea, A. (2025) Digital Journeys 1.2 – ROADMAP: Working Prototype with Interactive Elements. Author’s original design. Fig. 6Bodea, A. (2025) Digital Journeys 1.2 – QUICK SEARCH: Working Prototype with Interactive Elements. Author’s original design. Fig. 7Bodea, A. (2025) Digital Journeys 1.2 – QUICK SEARCH & ROADMAP (Dark Mode): Working Prototype with Interactive Elements. Author’s original design. Fig. 8Bodea, A. (2025) Digital Journeys ROADMAP – Original Colour Version. Author’s original design. Fig. 9Bodea, A. (2025) Digital Journeys ROADMAP – Simulated View for Red–Green Colour Vision Deficiency (Protanopia). Author’s original design, si […] “Action Research Cycle & Iterative Processes”

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Visual Threads – An Accessible Glossary for Digital Fashion Drawing Weaving Visuals and Language into Fashion Learning This project develops a multimodal digital glossary to help students learn technical drawing for fashion design. It specifically addresses the needs of learners with English as a second language, neurodivergent students, and students with disabilities. By offering simplified definitions, visual, video and audio support, multilingual functionality, and interactive note-taking spaces, the glossary aims to promote inclusive learning practices that align with Universal Design for Learning (UDL) principles (CAST, 2018). A prototype and initial reflections on this concept are published on my blog: Visual Glossary for Inclusive Digital Learning. Grounded in my experience as a designer, illustrator, educator and technician, this project responds to persistent classroom challenges. Students often struggle with discipline-specific language and symbolic conventions especially when these are communicated exclusively through text-heavy or culturally narrow formats. This glossary acts not only as a pedagogical support tool but also as a site of intersectional, sustainable, and decolonial transformation, shaped by my own positionality and values as an inclusive practitioner. Positionality and Identity as an Inclusive Practitioner This intervention is shaped by my identity and experience as an international educator, creative practitioner, and former English as an Additional Language (EAL) student. I often think visually and spatially, and I’ve observed during my 1-2-1 sessions, that many students, particularly in art and design disciplines, do too. As someone who is visually impaired (though not formally classified as having a disability), I have a heightened awareness of how visual information is processed and the kinds of adjustments that can support accessibility and clarity. This perspective informs my sensitivity to students’ diverse needs and my commitment to creating inclusive learning experiences. In my sessions, I’ve seen students hesitate to ask questions due to fear of judgment, peer pressure, and cultural norms that discourage speaking up. With some struggling to follow fast-paced technical explanations in a second language. Additionaly some are unfamiliar with certain visual references or Western design conventions. Disabilities are often undisclosed, so as tutors we can’t always identify who might need extra support. This is why it is important to create inclusive platforms. Watching Kim Sum’s work on visual cultures and inclusive representation also challenged me to question who is visible in digital-technical education. Many standard glossaries presume fluency in language, technicality and cultural conventions. The glossary I am proposing disrupts this by integrating diverse visual examples and removing the expectation that students conform to one way of knowing or learning by centering their needs and providing a tool that supports rather than corrects. Institutional, National, and Global Perspectives on Equality and Diversity Inclusion in education is not optional; it is a legal, institutional, and ethical imperative. National policies, such as the Equality Act (2010), mandate that higher education institutions make reasonable adjustments for students with disabilities and remove barriers related to language and cultural background. Institutional frameworks like UAL’s Inclusive Teaching and Learning toolkit and sector-wide guidance from Advance HE (2021) urge educators to design inclusive curricula that are accessible and representative of diverse learners. This glossary is aligned with these mandates. Drawing on CAST’s (2018) UDL Guidelines, it supports multiple means of representation (text, image, video, audio), engagement (interactivity, student feedback), and expression (student-generated content). Globally, digital learning tools are becoming more inclusive, but many still fail to account for the full spectrum of student experience, especially in specialist creative disciplines like fashion. This intervention addresses that gap by offering a customisable, multilingual, culturally aware resource that can evolve with student contributions. Ahmed (2012) warns against institutions “doing diversity” without challenging underlying structures. This glossary resists such performativity by embedding co-creation: students can suggest terms and reflect on concepts in their own words. This participation makes the glossary a living tool. Understanding Inequity and Responding Through Practice The recurring issues I’ve witnessed, students hesitating to ask questions, encountering unfamiliar technical terms, or quietly navigating confusion, reflect structural inequities, not individual deficiencies. These challenges are particularly pressing for students with learning differences such as dyslexia, ADHD, or autism, and for those for whom English is an additional language. The difficulty often lies not in their ability to learn, but in the way information is presented and the assumptions it carries. This is especially relevant at institutions like UAL, where, according to UCAS data for the 2025 study year, nearly 55% of students come from outside the UK (48% international and 7% EU). The linguistic, cultural, and academic diversity within this majority student group highlights the urgency of adopting more inclusive, accessible teaching practices that don’t rely on assumed norms of communication or comprehension. Student Demographics at UAL (UCAS, 2025 Entry)Percentage breakdown of UK, EU, and International students at University of the Arts London, based on UCAS data for the 2025 entry cycle. The glossary is informed by the principles of the Social Model of Disability at UAL and is intended as an inclusive resource that supports equitable access to information. Rather than addressing or singling out particular groups, it takes a universal approach that benefits all users. By embedding inclusivity into its structure and language, the glossary avoids tokenism and stereotyping, fostering a shared understanding and accessibility for everyone. This approach focuses on accessibility as a collective benefit in line with UAL’s values and aims “to identify barriers that could be removed for the benefit of all students”. Drawing on Bruner’s (1960) idea that any subject can be taught honestly to any learner, the glossary offers layered access through simple definitions, visuals, audio, and short videos, supporting diverse learning styles. Vygotsky’s (1978) Zone of Proximal Development highlights how students benefit from guidance beyond immediate classroom interactions, the glossary acts as a “more capable peer” accessible anytime without judgment. Piaget’s (1952) emphasis on concrete learning supports the glossary’s multimodal approach, leading with clarity rather than abstract assumptions. Recognising epistemic injustice (Rekis, 2023), the glossary challenges Eurocentric norms by encouraging students to personalise terms through annotations in their own language or style. Exclusion operates silently in many design classrooms, often through assumptions about students’ prior knowledge or familiarity with Eurocentric standards. Rekis (2023) explores how epistemic injustice manifests when students are expected to express understanding through Western academic norms, disregarding other valid forms of knowledge. The glossary’s open notes section allows students to annotate each term in their own language or cognitive style, promoting flexibility and ownership. Sustainability, Intersectionality, and Decolonising the Curriculum This glossary is a sustainable digital resource – open, reusable, and expandable. It is designed to evolve with time and with users as students can suggest new terms and definitions. This collaborative process not only keeps the content current but creates a living archive of knowledge that reflects a broader, more inclusive canon. In time the glossary can be created for different subjects and tailored to spefic classes too. By dividing the glossary in different subjects we avoid it having to be too heavy and overwhelming with terms, instead it would focus around 10/15 main terms. The glossary engages with intersectionality (Crenshaw, 1991) as it recognizes that students don’t experience exclusion through a single lens: linguistic, neurodivergent, or disabled identities intersect with gender, race, and class. By offering multimodal entry points and co-creation opportunities, the glossary adapts to these layered identities and respects each learner’s context. Rekis (2023) argues that true inclusivity in design education requires confronting whose knowledge is seen as “technical” or “professional.” This glossary refuses to universalise the Western canon and instead diversifies both form and content. Students can tag, annotate, or question the terms presented, turning the glossary into a space for critical reflection as much as technical learning. It also serves a formative function: it can be introduced at induction, used across modules, and updated as a cumulative class artefact. This not only makes the resource pedagogically engaging, but builds community. As Gravett (2022) argues, student–staff partnerships in co-creation can improve not just tools, but entire learning cultures. Inclusive Design Features: Accessibility in Visual and Textual Elements The glossary would feature responsive design making it available in browser or as a mobile app. To ensure the glossary is not only content-inclusive but also visually and cognitively accessible, its interface design is grounded in established accessibility principles. According to CAST (2018), learners benefit from materials that reduce perceptual barriers including those caused by poor contrast, non-readable fonts, or reliance on a single sensory modality. In line with UDL Guideline 1.1 (“Offer ways of customizing the display of information”), the glossary uses sans-serif fonts such as Arial and Open Dyslexic, both of which support improved legibility for students with dyslexia or cognitive processing differences. Users can adjust font size, line spacing, and background contrast to personalise their experience and reduce cognitive load. The glossary also reflects best practices from Advance HE’s Inclusive Curriculum Framework (2021), which recommends the use of simple layouts, accessible navigation, and multimodal content formats. Definitions are presented in concise, supported by visual icons, diagrams, and optional audio/video playback. Importantly, colour accessibility is integrated into the glossary’s visual design from the outset. Following guidance from Jenny and Kelso (2007), the glossary avoids problematic colour combinations (such as red–green), ensures that information is never conveyed by colour alone, and uses patterns, icons, and text labels to provide visual familiarity. The interface has been designed and tested using Color Oracle simulation tools to ensure built-in accessibility for users with color blindness. This approach aligns with WCAG 2.1 standards and supports the principle of inclusive design by ensuring accessibility is not an add-on but a foundational aspect of the tool’s development. These inclusive visual and interaction design choices ensure that the glossary aligns with UDL’s commitment to multiple means of perception, offering an equitable learning experience for all students, including those with visual impairments or learning differences. Prototype of Visual Threads (work in progress), a glossary for digital fashion drawing in Adobe Illustrator, annotations are just for illustratative purpose (2025) Barriers & Benefits A key barrier is the need for moderation to review student submissions and ensure content is appropriate, accurate, and copyright-compliant, especially if image uploads are allowed. Language accessibility also poses a challenge, as auto-translators can be unreliable, meaning human translation may be needed. Producing and translating video content also takes time and effort. Another consideration is the platform used to host the glossary. It may require funding for hosting. Finally, as tools like Illustrator receive regular updates, the glossary and related resources will need periodic review to remain current and useful. Despite these challenges, the platform offers a range of educational benefits. It improves communication between staff and students by acting as a central point of reference, where answers can be accessed in real time. This encourages student agency, as learners can independently seek support and revisit materials at their own pace. The platform supports self-directed learning and scaffolds student understanding, particularly for those with different learning preferences. In the long term, it promotes inclusivity, digital literacy, and greater autonomy, key skills for both academic success and future professional development. Evaluation through Peer & Tutor Input & Reflection The feedback received from my tutor, peers, and my own reflections has been invaluable in refining this intervention. My tutor highlighted the practical and inclusive nature of the glossary, noting how it not only supports technical learning but also addresses linguistic and cultural barriers. The suggestion to foreground sustainability and intersectionality has encouraged me to consider ways to involve students actively in the glossary’s growth, such as contributing terms or examples as part of peer-learning activities. This would enhance the resource’s relevance and foster student agency, helping to decolonise the curriculum by reflecting diverse cultural and professional practices beyond Western-centric perspectives. Following this, I have decided to implement a feature where students can share their opinions and feedback in a dedicated space, rather than uploading images, which poses copyright and moderation challenges (see barriers section). This approach supports student voice while maintaining control over content quality and legal compliance. I am still exploring the best methods to further decolonise the curriculum, balancing inclusivity with practical constraints. For example, the glossary could incorporate global design references to resist Eurocentric dominance and affirm diverse cultural heritages as valid technical knowledge. Peer feedback echoed these points, affirming that the intervention addresses key inclusivity issues students face and will be a valuable learning tool. However, peers also emphasized the importance of prioritising content to avoid overwhelming students. Starting with techniques students find most challenging and gradually expanding the glossary based on ongoing student feedback will help manage workload and maintain focus. Colleagues could also be invited to contribute to the glossary over time, sharing responsibility and embedding it into wider academic practice. Conclusion The Visual Glossary for Digital Technical Drawing offers a concrete, inclusive, and sustainable response to the systemic exclusions observed in fashion education. Creating the Visual Glossary for Digital Technical Drawing has taught me a lot about the hidden barriers many students face in fashion education. Beyond just accessibility, I’ve learned the importance of designing tools that challenge dominant norms and include diverse voices through collaboration.This glossary is more than a reference, it’s a living, adaptable platform that promotes equity and decolonisation. This process deepened my commitment to creating educational spaces where every student feels represented and empowered to contribute. I’m inspired to continue developing resources that reflect and respect diverse ways of knowing. Its multimodal design, collaborative functionality, and decolonising visual strategy make it more than a glossary it is a platform for shared knowledge, epistemic justice, and student empowerment. Bilbiography Ahmed, S., 2012. On Being Included: Racism and Diversity in Institutional Life. Durham: Duke University Press. Advance HE, 2021. Inclusive Curriculum Framework. [online] Advance HE. Available at: https://www.advance-he.ac.uk/knowledge-hub/inclusive-curriculum-framework [Accessed 28 June 2025]. Bruner, J.S., 1960. The Process of Education. Cambridge, MA: Harvard University Press. CAST, 2018. Universal Design for Learning Guidelines Version 2.2. [online] Available at: https://udlguidelines.cast.org/ [Accessed 27 May 2025]. Crenshaw, K., 1991. Mapping the margins: Intersectionality, identity politics, and violence against women of color. Stanford Law Review, 43(6), pp.1241–1299. Gravett, K., 2022. Student–staff partnerships and the construction of belonging in higher education: A co-constructed conceptual exploration. Teaching in Higher Education, 27(1), pp.44–58. https://doi.org/10.1080/13562517.2020.1839740 Jenny, K. and Kelso, J., 2007. Design for the Colour Impaired: A Colour Design Guide for the Colour Vision Impaired. [pdf] Color Oracle. Available at: https://colororacle.org/colororacle/resources/2007_JennyKelso_ColorDesign_hires.pdf [Accessed 27 June 2025]. Piaget, J., 1952. The Origins of Intelligence in Children. New York: International Universities Press. Rekis, J., 2023. Epistemic Injustice in Design Education: Language, Legitimacy, and the Studio. Journal of Inclusive Design Pedagogies, 2(1), pp.31–45. Shen, M. and Sanders, S., 2023. Small Changes, Big Impact: Micro-Inclusive Interventions in Higher Education. Journal of Learning Development in Higher Education, (26), pp.1–14. Vygotsky, L.S., 1978. Mind in Society: The Development of Higher Psychological Processes. Cambridge, MA: Harvard University Press. UCAS. (2025). University of the Arts London – Entry requirements and statistics. [online] UCAS. Available at: https://www.ucas.com/explore/unis/9928464e/university-of-the-arts-london/stats?studyYear=2025 [Accessed 15 Jul. 2025]. University of the Arts London (n.d.) Disability Service: Our Values. [PDF] Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0029/28829/Disability-Service-Values-PDF-1080-KB.pdf [Accessed 10 Jul. 2025]. UAL, 2021. Inclusive Teaching and Learning Toolkit. [online] University of the Arts London. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning/inclusive-teaching-and-learning [Accessed 2 July 2025]. Image bibliograhy UCAS. (2025). Student statistics for University of the Arts London (visual data image). UCAS. Available at: https://www.ucas.com/explore/unis/9928464e/university-of-the-arts-london/stats?studyYear=2025 [Accessed 15 Jul. 2025]. Bodea, A. (2025). Prototype of Visual Threads (work in progress): A glossary for digital fashion […] “Visual Threads – An Accessible Glossary for Digital Fashion Drawing”

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Sun, 06 Jul 2025 20:37:56 +0000

Thank you so much for your thoughtful response. You’ve raised some really important points, especially around the limitations of the UAL dashboard when it comes to capturing the lived realities of those with multiple targeted identities. The separation of ethnicity and disability in the data really does flatten the complexity of these experiences,…Read more

In reply to - Andrada Bodea wrote a new post on the site EduArts Disability and Intersectionality – Unpacking Layered Inequalities Kimberlé Crenshaw’s theory of intersectionality helps us understand how identities like race […]

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Fri, 13 Jun 2025 16:12:46 +0000

I’m glad these points connect with your own experience. Epistemic injustice is definitely one of those aspects that gets overlooked but has real impact on how people feel seen and heard. You’ve picked up on exactly what I was trying to show, how religious identity gets sidelined under the assumption of neutrality. That gap between policy and liv…Read more

In reply to - Andrada Bodea wrote a new post on the site EduArts Faith and Intersectionality K […] “Faith and Intersectionality”

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Fri, 13 Jun 2025 11:17:28 +0000

The connections between Crenshaw’s work and the personal stories helped make the idea of intersectional discrimination feel more tangible, it’s something I’m still learning to see more clearly myself.

I completely agree with you on “political intersectionality” it really challenges us to think beyond surface-level inclusion. When movements…Read more

Andrada Bodea posted a new activity comment

Fri, 13 Jun 2025 11:14:13 +0000

I really appreciate you highlighting the link between theory and the lived realities at UAL. That balance was central to how I approached the post. Your point about the invisible aspects of students’ identities is really eye-opening. It’s something I think we need to keep doing, pushing boundaries to recognise the need of actively go towards inc…Read more

In reply to - Andrada Bodea wrote a new post on the site EduArts Faith and Intersectionality K […] “Faith and Intersectionality”

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Thu, 12 Jun 2025 20:13:24 +0000

Thanks so much for your thoughtful response! I’m glad the way Crenshaw’s theory was used as a foundation came through clearly it really helps to frame how systemic structures, including the design of physical spaces, can create layered forms of exclusion and oppression.

I’m happy to hear you enjoyed the Tapestry of Intersectionality and that…Read more

Andrada Bodea wrote a new post on the site EduArts

Wed, 11 Jun 2025 10:54:22 +0000

Understanding Racism in Education Through Intersectional Perspectives In exploring approaches to addressing racism in education, I’ve engaged with positionality, and intersectionality, the latter as theorised by Kimberlé Crenshaw. Crenshaw’s framework encourages us to understand how multiple aspects of identity interact to shape individual experiences of oppression, rather than treating issues like race or gender as separate and isolated factors. This is crucial in educational institutions, where structures often treat students and staff as if they each fit into a single box. Bradbury’s (2020) critique of Baseline Assessment policy in England reveals how education systems that appear race-neutral in fact reinforce white, monolingual norms. EAL (English as an Additional Language) children are assessed in English at age 4–5, disadvantaging many racialised and bilingual students. Drawing on Critical Race Theory, Bradbury shows how concepts like interest convergence and colourblindness expose the systemic biases embedded in so-called “neutral” policies. These issues can’t be understood through race alone, intersectionality helps us see how language, ethnicity, and class converge to label children as “low ability” early on, shaping their future trajectories. This need to interrogate structural inequality is echoed in the Channel 4 video The School That Tried to End Racism, which highlights white privilege as the experience of living without experiencing racism. The experiment illustrates how discussions of equality often overlook the different starting points people have, aligning closely with intersectional thinking and the need to recognise varied experiences. In Garrett’s (2024) work on racialised PhD students, these themes appear again. Drawing on Bhopal and Pitkin’s (2020) concept of the ‘triple burden’ Garrett highlights how race, gender, and class intersect to compound exclusion. Lander and Santoro (2017) describe the hypervisibility and invisibility that racialised academics often face, a contradiction I’ve witnessed in my own institution. Sadiq’s (2023) TEDx talk reinforces this, critiquing mainstream DEI training for oversimplifying identity and advocating for more localised, psychologically safe approaches. Together, these texts demonstrate that intersectionality is not optional, it is essential for truly understanding and addressing systemic racism in education. While critics of Advance HE (e.g., Orr, 2022) question the evidence base for institutional diversity reforms, Crenshaw reminds us that the absence of statistical proof does not equal the absence of racism. Structural issues often manifest through everyday microaggressions, exclusions, and barriers that are difficult to quantify, but profoundly real to those experiencing them. In my own academic context, I reflect on NSS data showing improved satisfaction among BAME students, though small awarding and support gaps persist. These numbers do not tell the full story. Understanding them through an intersectional lens helps identify which groups are still excluded, whose voices are missing, and what institutional changes might ensure equitable belonging. Addressing racism in education must go beyond superficial inclusion efforts. It requires a structural, intersectional approach that examines who policies benefit, who they harm, and how identity factors compound over time. Crenshaw’s theory provides a vital lens for educators, researchers, and institutions to interrogate policies and practices that appear neutral but reproduce systemic inequity. True anti-racism is not checklist-driven, it is transformative, localised, and deeply reflective of lived realities. In my own UK-based academic context, I’ve seen awarding gaps between white and racialised students persist, particularly for Black and EAL students. While metrics like NSS (The National Student Survey) show modest progress, they don’t capture how students navigate cultural alienation, implicit bias, or a lack of belonging nor do they reflect the emotional labour. Awarding gaps persist, particularly for Black and EAL students. While metrics like the NSS suggest modest progress, they fail to capture the deeper realities of cultural alienation, implicit bias, and emotional labour. The heatmap below visualises a related pattern: racialised students and staff are often highly visible in institutional narratives, yet remain excluded from the spaces where real decisions are made. Drawing on intersectionality and Critical Race Theory, it highlights the disconnect between symbolic inclusion and structural power a gap that continues to shape educational inequality. 1. Visibility (e.g., being seen or showcased): Literature and my own experience suggest racialised individuals are highly visible in: Marketing/prospectuses (e.g., diversity brochures) DEI (Diversity, Equity, and Inclusion) panels or training Student-facing spaces like open days or recruitment 2. Influence (e.g., decision-making, shaping policy): However, these same groups are often underrepresented in roles that carry structural power, like: Curriculum design committees Senior leadership Research funding decisions or strategy This disconnect is backed by Critical Race Theory concepts like: Tokenism: being included symbolically but excluded from decision-making. Interest convergence: institutions acting only when it suits dominant group interests This heatmap is inspired by themes in CRT and intersectionality research. It highlights how racialised staff are often visible in institutional optics but underrepresented in decision-making roles. This conceptual heatmap illustrates the disconnect between visibility and influence for racialised individuals in UK educational institutions. Informed by Garrett’s (2024) work on hypervisibility and invisibility, and Lander and Santoro’s (2017) observations on the performative nature of diversity, the map highlights how racialised academics and students are often highly visible in symbolic spaces, such as marketing materials, DEI panels, and student-facing events, yet remain underrepresented in the structural arenas where real decisions are made, such as curriculum design, leadership roles, and policy-making. In my own academic context, I’ve witnessed this pattern play out: where lived experience is mined for optics but sidelined in strategy. This tool invites readers to question not just who is present, but who holds influence, and what a truly inclusive educational structure would look like. Together, these texts call for anti-racism that is structural, not symbolic. They highlight three recurring themes: Intersectional exclusion – where race, gender, class, and language interact to deepen marginalisation. Institutional self-preservation – how policies and initiatives often protect the status quo. The need for epistemic justice – recognising and valuing the knowledge and lived experience of minoritised groups. If we are to be serious about anti-racism, we must listen differently, teach differently, and lead differently. This means resisting one-size-fits-all solutions, diversifying who gets to shape the curriculum and policy, and making discomfort part of the work. As Crenshaw (2016) argues “If we aren’t intersectional, some of us, the most vulnerable, are going to fall through the cracks.” Bibliography Bhopal, K. and Pitkin, C. (2020) ‘Racialized minority women’s experiences of the “triple burden” of oppression resulting from their classed, gendered, and ethnic identities’, Gender and Education, 32(6), pp. 709–726. Bradbury, A. (2020) ‘A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England’, Race Ethnicity and Education, 23(2), pp. 241–260. Available at: [Reading_Blog Task 3 Folder] (Accessed: 5 June 2025). Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167. Crenshaw, K. (2016) The Urgency of Intersectionality [Video]. TED Conferences. Available at: https://www.ted.com/talks/kimberle_crenshaw_the_urgency_of_intersectionality (Accessed: 11 June 2025). Garrett, R. (2024) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, pp. 1–15. Available at: [Reading_Blog Task 3 Folder] (Accessed: 7 June 2025). Lander, V. and Santoro, N. (2017) ‘The hypervisibility and invisibility of racialized academics in higher education’, Race Ethnicity and Education, 20(3), pp. 300–314. Office for Students (no date) National Student Survey data [Online]. Available at: https://www.officeforstudents.org.uk/data-and-analysis/national-student-survey-data/ (Accessed: 11 June 2025). Orr, J. (2022) ‘Revealed: The charity turning UK universities woke’, The Telegraph [Online]. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (Accessed: 3 June 2025). Sadiq, A. (2023) ‘Diversity, Equity & Inclusion. Learning how to get it right’, TEDx [Online]. YouTube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed: 6 June 2025). The School That Tried to End Racism (2020) Channel 4 documentary [Online]. Available at: https://www.youtube.com/watch?v […] “Understanding Racism in Education Through Intersectional Perspectives”

Andrada Bodea wrote a new post on the site EduArts

Tue, 27 May 2025 10:50:44 +0000

Visual Glossary for Inclusive Digital Learning As an Associate Lecturer and digital support technician, I frequently assist students working in Adobe Creative Cloud and CLO3D. Many of these learners are international students or speak English as an additional language. They often struggle with specific digital terminology, which can lead to confusion and hesitation in practical tasks. To improve inclusivity in my teaching, I propose developing a Visual Glossary for Digital Fashion Technical Drawing. This would present essential digital design terms with simplified English definitions and clear visual examples in video format/animations and as well as non-moving image form from software interfaces. It would be accessible in PDF format which is a universal file type. Where relevant, visual examples will feature different cultures in order to provide diverse points of view and inclusivity. Later, the glossary can also include translations in key student languages (e.g. Mandarin, Arabic, Spanish). This intervention is grounded in three educational theories: Bruner’s Constructivist Theory (Scaffolding and Spiral Curriculum) – By providing linguistic scaffolding through translations and visuals, learners can gradually build knowledge over time and gain independence in using technical vocabulary. Piaget’s Cognitive Development Theory – Students assimilate new information by linking it with existing knowledge. The glossary supports this by connecting familiar linguistic or visual cues to unfamiliar digital terms. Universal Design for Learning (UDL) – The glossary presents content through multiple means: written text, images, and language options. This helps ensure that students with different learning preferences and language backgrounds can all access the material. The Universal Design for Learning Guidelines This is a low-cost, scalable resource that could start with 20–30 core terms. Over time, it could expand or be integrated into induction materials. The aim is to improve comprehension, reduce language-based anxiety as well as inclusivity for neurodivergent learners, and promote equitable access to digital creative education. Bibliography Bruner, J.S., 1960. The process of education. Cambridge, MA: Harvard University Press. CAST, 2018. Universal Design for Learning Guidelines Version 2.2. [online] Available at: https://udlguidelines.cast.org/ [Accessed 27 May 2025]. Piaget, J., 1952. The origins of intelligence in children. New York: International Universities Press. Images CAST (2024). Universal Design for Learning Guidelines version 3.0. Retrieved from https://udlgu […] “Visual Glossary for Inclusive Digital Learning “

Andrada Bodea posted a new activity comment

Fri, 23 May 2025 15:16:09 +0000

It’s fascinating how much we can learn when confronted with diversity, about how we are treated, how we treat others, and how people treat one another. These moments often reveal unspoken norms, biases, and assumptions we may not have noticed before and the lived experience takes it to another level.

I also found Wong et al.’s categories hel…Read more

In reply to - Yui Yamamoto wrote a new post on the site PgCert Reflection on Faith, religion, and beliefWhen I first encountered the terms faith, religion, and personal belief, I found them quite alienating. These concepts had […]

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Fri, 16 May 2025 18:31:00 +0000

This is such a thoughtful post!. I also found Ade Adepitan’s words really striking, especially the idea that disability is created by society rather than the individual. It’s such an important shift in perspective. Your reflections on invisible disabilities were really eye-opening too, especially how diagnosis and recognition can depend so muc…Read more

In reply to - Yui Yamamoto wrote a new post on the site PgCert Reflection on DisabilityAfter watching the four videos, I was inspired by how the individuals used their disabilities to inspire others, redefining their […]

Andrada Bodea wrote a new post on the site EduArts

Thu, 15 May 2025 16:00:52 +0000

Faith and Intersectionality K […] “Faith and Intersectionality”

Andrada Bodea wrote a new post on the site EduArts

Wed, 23 Apr 2025 17:23:18 +0000

Disability and Intersectionality – Unpacking Layered Inequalities Kimberlé Crenshaw’s theory of intersectionality helps us understand how identities like race, gender, and disability interact to create unique and intensified forms of oppression. Crenshaw (1990) explains that individuals at the intersection of multiple marginalized identities don’t just face additive discrimination, but distinct forms that often go unseen. Crenshaw (1990) mentions that existing frameworks fail to recognize the experiences of those who are multiply marginalized. The lived experiences of people like Ade Adepitan, Christine Sun Kim, and Chay Brown illustrate intersectional invisibility very well. Ade, as a Black paralympic athlete, experiences structural barriers that are shaped by both racism and ableism. He highlights how it’s not disability that limits people, but the inaccessible world around them. This idea is also echoed by the Social Model of Disability (UAL, 2024) and Crenshaw’s idea of “political intersectionality”, where individuals are often overlooked within both racial justice and disability movements. Political intersectionality, as Crenshaw (1990) explains, refers to how individuals who belong to more than one marginalized group can be excluded from political movements that focus on only one aspect of identity. Ade offers a compelling hypothetical example: he describes a situation where an individual, who is part of multiple marginalized groups, struggles to secure employment either due to an employer’s prejudice based on skin color or because the employer perceives accommodating a disability as too challenging. For such individuals, the risk of facing multiple layers of discrimination is imminent. Cases like these are incredibly difficult to prove. However, meaningful change can occur if society recognizes such actions as unacceptable and unethical. A shift in collective attitudes can lead to a more inclusive and progressive society. Christine Sun Kim, a Deaf artist, exposes how public and artistic spaces often ignore Deaf culture. Her project Captioning the City (2021) challenges hearing-centered design, showing how Deaf people are excluded not just physically but culturally. Her work illustrates how people with multiple marginalized identities are made invisible by systems that only address one axis of identity, reinforcing Crenshaw’s point that movements become ineffective or incomplete if they ignore how different forms of discrimination combine in the lives of real people. Christine Sun Kim: Captioning The City (2021). Photo: Lee Baxter. Chay Brown, a trans gay man who is also “not neurotypical”, draws attention to how even LGBTQ+ spaces can exclude and how ‘ignoring difference within groups contributes to tension among group’ (Crenshaw, 1990, p. 1242). Lack of sensory-friendly environments and step-free access highlight how some people are left behind when accessibility is seen in narrow terms. He calls for an inclusive design that reflects all aspects of identity, reinforcing Crenshaw’s point that social movements falter when they fail to address complexity (Crenshaw, 1990). A recurring theme across these narratives is how compounded identities often go unseen and how individuals must carry the emotional burden of advocating for their inclusion in systems not designed for them. This aligns with Crenshaw’s framing of compound discrimination, where intersecting oppressions do not simply add up, but interact in complex ways. Ade, Christine, and Chay each describe how they are forced to educate others, push for basic access, and persist in spaces that fail to recognize their full identities. Their discrimination is not just layered, but interwoven as Crenshaw (1990, p. 1245) mentions, forming unique experiences that are often invisible to those designing systems, spaces, or movements. Tapestry of Intersectionality Color chips of Intersectionality The need for intersectional analysis is essential in understanding the limitations of UAL’s data. The data, as it stands, presents disability and ethnicity as separate categories, which doesn’t allow for a full understanding of the compounded challenges faced by students with intersecting marginalized identities. For example, according to UAL’s attainment profiles, while students with disabilities have a higher attainment rate than non-disabled students (84% vs. 80% in 2023/2024), this data overlooks the experiences of students who may be both disabled and from a racial or ethnic minority background. If we fail to consider the intersection of disability and ethnicity or other aspects, we risk missing the unique forms of oppression that affect students at these intersections, resulting in a false or incomplete understanding of the issue. Positionality also plays a critical role in how we interpret and act on this data. Our positionality shapes how we interpret data, make decisions, and implement change. As Bayeck (2022, p. 7) explains, “The connection of context, space, and identity influences positionality.” This highlights how our perspectives, shaped by where we stand and who we are, directly affect the conclusions we draw. Without an intersectional lens, any analysis of attainment data becomes superficial, merely ticking boxes rather than fostering meaningful change. Analyzing these factors separately risks perpetuating inequality, as it fails to address the full complexity of students’ lived experiences. By adopting an intersectional approach, we can better understand the true barriers students face and make informed decisions that lead to real, inclusive change at UAL. Bibliography Adepitan, A., 2024. Ade Adepitan gives amazing explanation of systemic racism. [online] Available at: https://www.youtube.com/watch?time_continue=1&v=KAsxndpgagU&embeds_referring_euri=https%3A%2F%2Fmoodle.arts.ac.uk%2F&source_ve_path=MzY4NDIsMjM4NTE [Accessed 23 Apr. 2025]. Bayrer, R., 2022. Positionality: The interplay of space, context, and identity. International Journal of Qualitative Methods, [online] Available at: https://digitalcommons.usu.edu/cgi/viewcontent.cgi?article=1853&context=itls_facpub [Accessed 23 Apr. 2025]. Crenshaw, K., 1990. Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp. 1241-1299. Available at: https://blogs.law.columbia.edu/critique1313/files/2020/02/1229039.pdf [Accessed 23 Apr. 2025]. Kim, C.S., 2020. “Friends and Strangers”. [online] Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI [Accessed 23 Apr. 2025]. University of the Arts London (UAL), 2025. Attainment profiles for disability and ethnicity [online] Available at: https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=c04b6e35-6d26-4db8-9ea0-5e27d30e3402&dashcontextid=638684775887265547 [Accessed 23 Apr. 2025]. University of the Arts London (2022) The Social Model of Disability at UAL. [YouTube video] Available at: https://www.youtube.com/watch?v=mNdnjmcrzgw [Accessed 19 April 2025]. Images Baxter, L., 2021. Christine Sun Kim: Captioning The City. [Photograph] Available at: https://various-artists.com/christine-sun-kim/ [Accessed 23 Apr. 2025]. Bodea, A., 2025. Tapestry of Intersectionality [digital artwork]. London. Bodea, A., 2025. Color Chips […] “Disability and Intersectionality – Unpacking Layered Inequalities”

Andrada Bodea wrote a new post on the site EduArts

Wed, 12 Mar 2025 17:06:33 +0000

Bridging the Gap: Teaching Digital Design Tools to Non-Design Students in Fashion BusinessIntroduction 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 Ps […] “Bridging the Gap: Teaching Digital Design Tools to Non-Design Students in Fashion Business”

Andrada Bodea wrote a new post on the site EduArts

Wed, 05 Mar 2025 13:40:05 +0000

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 suppo […] “Record of Observation or Review of Teaching Practice 3/3 “

Andrada Bodea wrote a new post on the site EduArts

Wed, 05 Mar 2025 13:29:50 +0000

Record of Observation or Review of Teaching Practice 2/3Record 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 […] “Record of Observation or Review of Teaching Practice 2/3”

Andrada Bodea wrote a new post on the site EduArts

Wed, 05 Mar 2025 11:53:29 +0000

Record of Observation or Review of Teaching Practice 1/3Session/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. Cam […] “Record of Observation or Review of Teaching Practice 1/3”

Andrada Bodea wrote a new post on the site EduArts

Sun, 02 Mar 2025 19:13:21 +0000

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 Bo […] “Case Study 2: Plan for and support student learning through appropriate approaches and environments”

Andrada Bodea wrote a new post on the site EduArts

Sat, 01 Mar 2025 21:54:58 +0000

Case Study 3: Assessing and Feedback: Real-Time Reflection for Better LearningWhile 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 profes […] “Case Study 3: Assessing and Feedback: Real-Time Reflection for Better Learning”

Andrada Bodea wrote a new post on the site EduArts

Sat, 15 Feb 2025 20:50:08 +0000

Balancing Critique and CreativityReading 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– […] “Balancing Critique and Creativity”

Andrada Bodea wrote a new post on the site EduArts

Sat, 15 Feb 2025 14:14:27 +0000

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 SketchesExploring 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’, Cognitiv […] “From Paper to Pixel: How Drawing Enhances Digital Design”

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Sat, 15 Feb 2025 02:45:49 +0000

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 […] “Exploring Object-Based Learning for Digital Image Making”

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Tue, 11 Feb 2025 19:03:43 +0000

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’, Jou […] “Case Study I: Knowing & Responding to Students’ Diverse Needs in the Digital Space “

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Sat, 08 Feb 2025 14:06:05 +0000

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 Edu […] “Object-Based Learning For Graphic Design “

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Thu, 06 Feb 2025 15:23:15 +0000

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 Publi […] “Magazine Ad Layout Creative Workshop”

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Sun, 19 Jan 2025 00:02:35 +0000

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, 6 […] “Design Crits: The Negatives and Positives “

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Sat, 18 Jan 2025 20:28:36 +0000

Drawing as a Form of Encoding[…] “Drawing as a Form of Encoding”

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