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.
(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.