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.
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. 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). 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.
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.
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.
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 (created based on Kolb, 1984)
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).
Conclusion
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.J. and Hannan, L. (eds.) (2016)Engaging the senses: object-based learning in higher education [electronic resource]. London: Routledge.
Pearce, S.M. (1994)Interpreting Objects and Collections. London: Routledge.
Kador, T. and Chatterjee, H. (eds.) (2020)Object-Based Learning and Well-Being: Exploring Material Connections. 1st edn. London: Taylor & Francis Group.
Kolb, D.A. (1984)Experiential learning: Experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall.
Hardie, K. (2015)Wow: The power of objects in object-based learning and teaching. York: Higher Education Academy.
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.
Maintaining student engagement was crucial, so I incorporated multiple interactive elements:
Verbal Interaction: Inviting students to speak via microphone
Chat Participation: Encouraging responses and discussions in the chat
Polls: Allowing students to make decisions collectively which determined the outcome of the exercise
Choice-Based Learning: Letting students pick their own object for the advert
Additionally, I included a variety of visual references, such as magazine spreads and sketches, to cater to visual learners. The emphasis on “layout is everywhere around us” sparked a eureka moment for students, helping them see design principles in everyday life.
Slide – Luxury vs Mass-Market + Poll results
Learning Outcomes
To evaluate whether students absorbed the key concepts, I observed their ability to apply design principles in their advert creations. Students sketched their advert ideas, shared them on screen, and spoke about their design choices via microphone, explaining their approach to layout. This allowed me to assess their understanding in real-time and provided an opportunity for peer learning. The feedback I received indicated that students found the structured breakdown of technical terms helpful and that even those without prior design knowledge were able to successfully complete the task.
Students work
Reflection and Areas of Improvement
The feedback was overwhelmingly positive, with students appreciating the clear explanations, step-by-step approach, and engaging visuals. Some highlights included:
Strong use of visual references and examples
Well-structured introduction to layouts and branding
Effective use of interactive elements (chat, mic, polls)
A homework option to extend learning
However, an area for improvement was the slide content. Some students noted that slides with dense information could have been more streamlined. Additionally, separating the luxury and mass-market comparisons more clearly could enhance clarity, perhaps I could have made a more succinct slide regarding the comparison of the two markets. One student also questioned whether covering all the layout tools was too ambitious within the short time frame.
In addition to this I have noticed some students did not use margins or columns in their design or added them afterwards which is the opposite of what I intended – I would have liked if I had more time to guide them a bit more through the planning phase of the layout where you choose your margins and columns and would have liked to add that element of “let’s do this part together”.
Slide set – “Step by Step Layout”
Final Thoughts
The Microteaching session reinforced the importance of interactive and visually supported learning. I was able to guide students toward a deeper understanding of branding, layout, and design principles. Moving forward, I aim to refine my slide content for better pacing and clarity while ensuring that all elements remain digestible within the given timeframe.
By incorporating object-based learning, although in a digital format, it sparked an interest in me in regard to incorporating life objects in graphic design teaching and especially in the online space as this could be a challenge. One key takeaway from this experience, especially after watching my peers’ microteaching sessions, is the value of interacting with real-life objects in design education. In digital spaces, we often rely on images and screens, but holding an object in person engages multiple senses such as texture, weight, even scent, that can only be imagined in a digital format. This physical interaction fosters a deeper connection and understanding that is sometimes lost in virtual learning. It has made me think on how I might incorporate more tangible elements into my teaching, even in an online setting, to bridge the gap between digital and physical experiences.
Bibliography
Ambrose, G., 2011. Layout: The basics of graphic design. 2nd ed. Lausanne: AVA Publishing.
Upon reading The Design Critique and the Moral Goods of Studio Pedagogy by Jason K. McDonald and Esther Michela I have come across the concept of “moral goods” in design studio pedagogy, focusing on how instructors use critiques within the studio setting. Moral goods are values or positive outcomes that people aim to achieve within a specific practice or activity. They are the qualities or benefits that make something feel worthwhile, meaningful, or “good” to those involved. In the context of studio pedagogy, moral goods help instructors and students determine what is valuable in their work and interactions. These goods are not just practical or external rewards (like money or grades) but are deeply tied to the ethics and culture of the practice itself. They shape how people judge their actions and guide their behaviors within a particular field. The paper is based on six in-depth interviews with instructors regarding critiques in the design studio environment.
THE POSTIVE
The study identifies moral goods as goals that are meaningful within the studio environment. These goods include:
For Students: Critiques develop students’ skills, confidence, and ability to think independently.
For Instructors: Critiques offer a sense of professional satisfaction and growth through unstructured, adaptive teaching and can provide self-confidence.
For Stakeholders (the professional environment or community): Critiques help maintain professional and industry standards, benefiting clients, future employers, and the design community.
THE NEGATIVE
1. Emotional Impact on Students
Public Nature: Critiques are often conducted publicly, which can create an atmosphere of fear, defensiveness, and anxiety.
Tone and Balance: Harsh critiques can make students feel judged or attacked, rather than supported, leading to stress and discouragement. If critiques are delivered insensitively, they can demotivate students or even cause them to disengage from the learning process. Instructors face difficulties balancing their feedback. Being overly harsh can discourage students, while being too lenient might fail to push students toward growth.
Unpredictability: The open-ended nature of critiques can make it hard for instructors to anticipate how students will react or what outcomes will emerge.
Example: An instructor described a situation where a student became frustrated and unmotivated after a critique, prompting the instructor to back off to avoid damaging the student’s enthusiasm.
Example: An instructor admitted struggling to strike the right balance, sometimes focusing too much on making students feel valued at the expense of pushing their work forward. Pushing a student too hard might harm their motivation, while being too lenient might not help them grow.
2. Power Dynamics
Authority Issues: Critiques sometimes reflect the instructor’s personal preferences or biases, rather than the student’s goals or broader design standards when presented as “absolute truths”. This can mislead students about the nature of the expertise and industry standards. Issues as such can discourage students from developing their own design identity or questioning authority.
Example: The paper mentions that some critiques might impose the instructor’s views, which could suppress students’ creative independence.
3. Misjudgment and misinterpretation
Misguided Feedback: Instructors might not fully grasp or understand the student’s idea and shut it down prematurely. If instructors misjudge what is “good” for students, their critiques can be counterproductive. Some instructors acknowledge that critiques can “do damage” if they misinterpret a student’s needs or focus too narrowly on one aspect of development.
Example: An instructor assumed a student was lazy and pushed them to redo a project. It later turned out the student didn’t understand the technique, and the extra pressure only increased their frustration.
4. Potential Overemphasis on Standards
Conflict with Creativity: Some instructors prioritize professional or academic standards during critiques, which might hinder their creativity.
Example: One instructor noted that their technical critiques were sometimes too complex for students to grasp, leaving them confused rather than inspired.
CONCLUSION
While critiques can be powerful tools for learning and growth, they also carry risks. Poorly conducted critiques may harm students emotionally, reinforce power imbalances, or fail to achieve their educational goals. Additionally, universities should take a more active role in overseeing how critique sessions are conducted, ensuring that they are structured and aligned with established learning outcomes and industry standards. Allowing instructors unrestricted freedom to critique without structure can lead to unfounded, subjective, and uncontrolled feedback, which may undermine the learning experience. Critiques should be guided by clear, measurable objectives and limited to a reasonable portion of studio time, ideally no more than 20%, to maintain a balanced and effective teaching environment.
Bibliography
McDonald, J.K. and Michela, E., 2019. The design critique and the moral goods of studio pedagogy. Design Studies, 62, pp.1–35.
The paper “Drawing Lab” by Michelle Salamon explores the association between drawing and human memory through a series of 5 workshops. The purpose of drawing is seen as a learning and encoding tool. Encoding is the process through which we modify information in order to make it storable, this could be either visual, semantic or auditory. Through a series of workshops, drawing is observed to help encoding, storage and retrieval of memories.
An interesting aspect of drawing explored in the paper is it can be seen as a physical activity for learning as we observe, memorize and transform information through a physical act. Kinesthetic learning is a style of development, understanding and retaining information through physical activity and hands-on experience (Oxford University Press, n.d.). Visual learning and visual communication help with meaning and memory and provide an extra or alternative method of understanding information. For example, infographics are an excellent tool for transforming large datasets into accessible, visually appealing formats. They simplify information by using visuals and hierarchies, making it easier to grasp key points at a glance. Infographics not only enhance comprehension but also make retaining information much more manageable, especially when dealing with overwhelming data. Adding visuals aspects, we make our work more accessible to a wider audience.
Another aspect of drawing is its transformative nature, it brings into consideration the aspect that drawing is not merely about reproducing what is seen but about engaging deeply with an experience, uncovering layers of meaning, and forging connections between observation and interpretation. Drawing is seen as ‘an autobiographical record of one’s discovery of an event- seen, remembered or imagined’ (Berger, 2012) which emphasises the personal and intimate nature of drawing.
Drawing is an unpredictable and exploratory process, allowing designers to innovate by embracing the unexpected. The lack of complete control often leads to surprising results, opening the door to new ideas and creative breakthroughs. This process of breaking down and reassembling information reflects how drawing fosters “constructive perception” (Tversky, 2011). The ambiguity of drawing, which involves analysis and transformation of information, can help designers innovate by embracing the personal and interpretive nature of the process. Even when an object or scene is clear to the eye, the act of drawing can alter it significantly, as the artist’s perception, focus, and emotional engagement shape the outcome. Similarly, drawing from memory often results in interpretations that differ from reality, as the ingestion and recall of information are deeply personal. This transformation can lead to unexpected and innovative results, as the final drawing reflects not just the subject but also the unique perspective and creative reinterpretation of the artist as Berger states “For the artist drawing is discovery” (Berger, 2012 p3).
In essence drawing is a form of memory training, it allows for processing information with a personal and emotional viewpoint which makes it an essential tool for personal evolution and cognitive growth.
Bibliography
Berger, J. (2012) Berger on Drawing. Edited by J. Savage. Aghabullogue, Ireland: Occasional Press.
Oxford University Press, n.d.Kinesthetic learning. In: Oxford English Dictionary Online. Available at: https://www.oed.com [Accessed 6 January 2025].
Salamon, M. (2018) ‘Drawing Laboratory: Research Workshops and Outcomes’, Spark: UAL Creative Teaching and Learning Journal, 3(2), pp. 131–141
Tversky, B. (2011) ‘Visualising thought’, Cognitive Science, 3(3), pp. 499–535
