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Reflective post

Object-Based Learning For Graphic Design 

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.

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Reflective post

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, 62, pp.1–35.

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Reflective post

Drawing as a Form of Encoding

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