PgCert Blog

As a digital skills tutor for BA Illustration & Visual Media (IVM), I teach students how to use creative software to produce visual content across various formats. This includes guiding them through technical tasks in programs such as Adobe Photoshop, Illustrator, InDesign, and Premiere Pro, as well as helping them apply these tools within design processes and workflows.

Through my teaching, I’ve observed that many students feel overwhelmed by the volume and complexity of information presented in lessons. From navigating software interfaces to creating and refining visual outcomes, the learning curve can be steep; especially for neurodivergent students or those with language barriers, who may struggle with fast-paced delivery or technical jargon.

A core aim of my teaching is to create an inclusive and supportive environment where no student feels left out. As an intervention, I would like to develop a Visual Glossary Index, a reference document that clearly explains technical terms, tools, and software processes using annotated visuals, simplified language, and step-by-step guides. No document like this exists in our course, so this will initially represent IVM and will support IVM students.

I already record and create bespoke tutorial videos for the different programs I teach, which will be integrated into this glossary. The completed resource will form part of a broader digital care package for students, which may also include downloadable templates, process maps, and printable guides to support independent learning and revision.

Students already have access to Moodle, the virtual learning environment where they can find course information, workshop schedules, and shared resources. This intervention will encourage students to engage more actively with Moodle by integrating the glossary and related materials directly into the platform, helping them make better use of available support.

Overall, this intervention aims for students to reduce cognitive load, reinforce learning, and empower all students to engage confidently and independently with digital design tools.

‘What makes people disabled is not their disability… its society, it’s society what holds us back’ (ParalympicsGB, 2021) 

This particular phrase stuck with me for a while after watching Ade Adepitan interview on disability and race. It resonated with me because, in many ways, it’s true, disability is often made more difficult by the barriers society creates. These barriers limit individuals not because of their impairments, but because spaces, systems, and attitudes fail to accommodate and include them. Society, with all its complexity, offers both advantages and significant flaws. One of its most pressing shortcomings is the way it excludes those who don’t fit into its narrow definitions of identity, or “normalcy.”

Reflecting on the three short interviews with individuals who identify as disabled, it becomes apparent: the world is not built with them in mind. From physical inaccessibility to social exclusion, the challenges they face are often not due to their conditions, but due to a lack of understanding and inclusivity. These difficulties are only intensified when disability intersects with other aspects of identity such as race, gender, or class. As Oliver (1990) argues, the real issues surrounding disability are not about individual limitations, but about systemic oppression, discrimination, inequality, and poverty; barriers that are socially constructed and deeply established.

Kimberlé Crenshaw’s concept of intersectionality was coined to explain how multiple aspects of a person’s identity, like race, gender, and class, intersect to create different experiences of discrimination and privilege (Crenshaw, 1989). Originally used to highlight violence against women of colour, intersectionality has since been applied more broadly to understand layered forms of oppression (Crenshaw, 1991).

The second interview with Christine Sun Kim discusses the challenges of having a non-visible disability while also being a woman of colour (Art21, 2018). Her experience brings attention to how invisible disabilities often go unnoticed, requiring individuals to declare them, a process that can be deeply uncomfortable and emotionally taxing. This adds another layer of complexity to her identity and the way she navigates the world.

As a tutor of illustration these reflections are quite important to my own practice. I have a responsibility to create inclusive and safe spaces for students, where they feel seen, respected, and able to participate fully in class. Allowing students to share their needs in their own time and on their own terms, without pressure or judgement. 

The third interview, with Chay Brown – a trans, gay, white man with a non-visible disability and possibly neurodivergent- further reinforces the importance of awareness and accountability (ParaPride, 2022). Brown openly acknowledges his own intersections, advantages, and disadvantages, and speaks to the ongoing work required to be inclusive of others, particularly those from marginalised communities.

Power and privilege are central to my role as an educator. I guide students toward becoming capable professionals in the arts. These interviews have strengthened my commitment to fostering an inclusive environment, to being present, open, and responsive—and to acknowledging when I may fall short. Being aware of intersectionality isn’t just about understanding others; it’s about continually reflecting on my own position and using that awareness to do better.

Bibliography 

Art21, 2018. Christine Sun Kim in “Friends & Strangers” – Season 11 | Art21. YouTube, 5 September. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 22 May 2025).

Crenshaw, K. (1989) ‘Demarginalizing the intersection of race and sex’, University of Chicago Legal Forum, 1989(1), pp. 139–167.

Crenshaw, K. (1991) ‘Mapping the margins: Intersectionality, identity politics, and violence against women of color’, Stanford Law Review, 43(6), pp. 1241–1299.

Oliver, M. (1990) The individual and social models of disability. Paper presented at: Joint Workshop of the Living Options Group and the Research Unit of the Royal College of Physicians on People with Established Locomotor Disabilities in Hospitals, London, 23 July 1990.

ParalympicsGB, 2021. Ade Adepitan gives amazing explanation of systemic racism. YouTube, 1 October. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 22 May 2025).

ParaPride, 2022. Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023. YouTube, 3 March. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc (Accessed: 22 May 2025).

Contextual Background (c.50 words): 

I am the personal tutor to a study abroad group from the Singaporean art institute, Nanyang Academy of Fine Arts (NAFA). We meet every Friday and discuss their ideas which will then be finalised in a group exhibition.

Evaluation (c.100 words):

As NAFA’s coaching tutor my approach is dynamic and varied. I incorporate presentations, recap key teaching materials that they have done in other classes, and conduct one-on-one tutorials to provide personalised guidance.

A key challenge has been that NAFA students are unfamiliar with UAL’s assessment criteria and come from a completely different academic background, which can affect how they receive feedback and assess their work. Additionally, while they are not formally assessed by UAL’s marking criteria, they must still  work within the courses guidelines. 

Despite this, I have introduced NAFA students to UAL’s assessment criteria, ensuring they understand its meaning and how to approach it both practically and theoretically. The NAFA Study Abroad initiative introduces foreign students to diverse learning opportunities and alternative assessment methods. Through this experience, I have become increasingly mindful of ensuring that learning outcomes are met effectively and that critical engagement is progressing well.

Moving forwards (c.350 words) 

Informal peer to peer assessment/feedback 

From what I have been told NAFA students have not yet had peer to peer reviews of their work. I see this as a valuable opportunity to introduce them to this model of assessment and feedback, which can significantly enhance their learning experience.

As Race (2001, pg. 6) highlights, peer assessment allows students to gain insights into their own practice by evaluating the work of others. This process fosters a ‘deeper learning experience in itself than just reading or observing the assessment artefacts.’ (cite). Engaging in peer reviews encourages critical thinking, self-reflection, and a more active role in the learning process.

By using UAL’s assessment criteria as a framework, NAFA students can develop a clearer understanding of each criterion while also acknowledging alternative assessment methods. This approach not only familiarises them with different evaluation standards but also promotes a more independent and self-sufficient learning environment. I believe that shifting some responsibility away from tutors and empowering students to assess and critique each other’s work will create a more holistic, creative, and critically engaged learning space – ultimately leading to stronger academic and artistic outcomes.

However, I will not implement peer-to-peer assessment through formal means, such as summative evaluation methods. Instead, I will keep the process informal, allowing for a more flexible and organic exchange of feedback.

Danvers (2007, p. 3) states that “perspectivism involves a belief that knowledge is always partial, incomplete, and contingent. There can be no absolute, objective, or complete view on any subject.” Using perspectivism as a framework, I aim to encourage students to engage with diverse viewpoints and develop an adaptable, evolving approach to their work. Facilitating this through an informal peer review process will help students refine their intentions and expectations, fostering a more reflective and open-ended engagement with their creative and academic development.

References (additional to word count) 

Race, P. (2001). A Briefing on Self, Peer and Group Assessment. LTSN Generic Centre, Assessment Series No. 9.

Danvers, J. (2007) ‘Qualitative rather than Quantitative: the assessment of arts education’, Networks, 1, pp. 14-19. Available at: http://arts.brighton.ac.uk/__data/assets/pdf_file/0010/59419/John-Danvers-article-Networks-1.pdf (Accessed: 18 March 2025).

Contextual Background (c.50 words): 

In this case study, I will focus on my role as the Digital Skills tutor for year three, Illustration and Visual Media Students. The sessions are designed as one-to-one tutorials/meetings aimed at addressing technical challenges and guiding students in creating visual assts using a variety of creative software tools. 

Evaluation (c.100 words):

In planning these tutorial sessions, I adopt a student-centred approach (Jones & Smith, 2011), meeting individually with students to discuss their projects and identify the support needed to effectively utilise creative software. For instance, a session might involve helping a student navigate Adobe Premiere Pro to optimise its features for their project. Unlike the first-year digital skills workshops, these tutorials are brief (20 minutes), not recorded, and do not include presentation slides. Recognising that some students may require supplementary resources or references to better understand the software and creative process, my goal is to adapt my teaching strategies to their needs, ensuring clear communication and effective learning outcomes.

Moving forwards (c.350 words) 

Building on tutor-student relationship – I actively try to build a good professional relationship with as many students I can, using this concept I can approach these tutorials similarly. It is apparent that Teacher-student relationship (TSR) ‘increases student motivation, effort, engagement, satisfaction, learning, and achievement (Hagenauer & Volet’s, 2014, cited in Kahu & Picton, 2019). According to a study done by Kahu and Picton (2019, p. 25), there are four sub-themed qualities associated with good tutors: helpful, caring, approachable, and hands-on.

Helpful – The most commonly mentioned characteristic of a good tutor is being helpful, with one student saying that tutors who clearly explain content, provide support when needed, and respond to emails promptly fit within this category (Kahu & Picton, 2019).

Caring – This involved being compassionate and supportive when students’ personal circumstances affected their studies, encouraging student input during classroom discussions, and genuinely wanting to see students succeed (Kahu & Picton, 2019).

Approachable – While certain traits, like enthusiasm and approachability, are generally appreciated, different students prioritise different qualities. For example, a student highlighted that having a sense of humour was important to him (Kahu & Picton, 2019).

Hands-On – Many students compared the interactive nature of tutorials with the more passive experience of large lectures, noting that the scale of lectures made it unlikely for individual connections to form. As one student mentions, “I don’t expect the lecturers to know me because I’m just one face in a crowd of a thousand. But with tutors, it’s different because it’s a smaller learning environment, and I do expect them to know me.”(Kahu & Picton, 2019).

Embracing, understanding and expanding these qualities can foster a more holistic and creative environment for students who engage with me one-to-one.

References (additional to word count) 

Kahu, E.R., & Picton, C. (2019). The benefits of good tutor-student relationships in the first year. Student Success, 10(2). 23-33. doi: 10.5204/ssj.v10i2.1293.

Jones, A. & Smith, B. (2011) ‘The impact of student engagement on academic success’, Journal of Educational Research, 34(2), pp. 45-57. Available at: https://files.eric.ed.gov/fulltext/EJ938583.pdf

Contextual Background (c.50 words): 

Within this case study I will be focusing on my position as the Digital Skills tutor year one, Illustration and Visual Media Students. This workshop is designed to teach and enhance students knowledge of creating visual assets using a variety of creative software.

Evaluation (c.100 words):

As a digital skills tutor my approach to workshops combines verbal and visual presentation, with hands on task that students complete using a technical device. For example – a workshop could consist of working on Adobe Illustrator and having the students familiarise themselves with the fundamentals tools and principles of the program. All session are recorded and the presentation slides are made available on the their dedicated Moodle page. 

I have noticed that some students struggle navigating certain programs, possibly due to neurodiverse issues or general lack of confidence. While, others may lack access to the necessary devices or software. These challenges have occasionally impacted the workshops. In hindsight, I should recognise the importance of being more attentive to students who face technological barriers, ensuring they can fully engage in the session.

Moving forwards (c.350 words) 

Using technology for diverse learners – Wahl and Duffield (2005) examine research on adapting and differentiating tasks and instructions to meet the needs of diverse students. They highlight research on ‘differentiating instruction as giving students multiple options for taking in information, for making sense of ideas, and for expressing what they learn.’ (Wahl, L & Duffield, J. 2005). For example, in a workshop on adobe Illustrator,  I could offer alternative instructions, slides, handouts, and create bespoke video content to ensure there is clear communication for all type of students. They all recommend strengthening teaching through training sessions, to give teachers adequate time to explore existing software features. Possibly allocating an inclusion specialist as some form of mentor that can reframe content given to students or vary the content.

Adopting student equity in education – Ensuring that the potential of all students is realised through equitable teaching practices is essential. According to Husbands and Pearce (2012), one needs to understand interdependence between teaching and learning, meaning one can not live without the other. It is unjustifiable to predict a learners ability or capacity to learn, for if we do we create boundaries and hinder the education a learner might need. They emphasise that learning is fostered through connections within communities built on the principles of co-agency, trust and everybody. By promoting fairness and providing the necessary support, educators can create an environment where every student has the opportunity to succeed and thrive.

References (additional to word count) 

Bucholz, J. L., & Sheffler, J. L. (2009). Creating a Warm and Inclusive Classroom Environment: Planning for All Children to Feel Welcome, Electronic Journal for Inclusive Education, 2 (4)

Husbands, C. and Pearce, J. (2012) What Makes Great Pedagogy? Nine Claims From Research, National College for School Leadership <https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/329746/what-makes-great-pedagogy-nine-claims-from-research.pdf > Accessed March 2025

Wahl, L & Duffield, J (2005). Using Flexible Technology to Meet the Needs of Diverse Learners: What Teachers Can Do. Knowledge Brief. Available at: https://files.eric.ed.gov/fulltext/ED484743.pdf

Session/artefact to be observed/reviewed: Digital Skills Class Year 1

Size of student group: 15 – 25

Observer: Victor Guillen

Observee: Omar-Andres Hernandez del Canto

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?

The Digital Skills class is part of the Illustration & Visual Media BA course and is designed to teach and enhance students knowledge of creating visual assets using creative software. Each session focuses on a specific tool or technique, such as How to Use the Pen Tool in Adobe Illustrator. Sessions run every Wednesday for first-year students and are divided into tutoring groups. From 10:00 AM to 1:00 PM, I conduct the workshop three times, each with a different group.

How long have you been working with this group and in what capacity?

Since the start of the 2024/25 academic year, I have been working as a Digital Skills Tutor for the Year 1 cohort. In this role, I teach and support students through workshops, one-on-one tutoring, and technical skill development, helping them explore the many facets of visual media.

What are the intended or expected learning outcomes?

The initial learning outcomes for the students are: 

• Introduce specialised technical skills related to creative visual software. 
• Reinforce specialised technical skills related to creative visual software.
• Understand the importance of software capability and potential..
• Create a line of enquiry or expand on knowledge for their assignment learning outcomes. 

What are the anticipated outputs (anything students will make/do)?

The students will usually make rough/concept digital art work that is related to whatever topic is being taught. Due to 1 hour time restraint this class will give the students the opportunity to create and make mistakes and figure out technological jargon. They will upload their work onto a Padlet board and receive informal feedback. I will facilitate and monitor the Padlet so that the student feel confident it is a safe space to upload their work.

Are there potential difficulties or specific areas of concern?

Unfortunately Digital Skills Class is in a standard classroom with no dedicated computers. I request that the students bring in their own laptops or tablets for the session. If some students aren’t able to bring in any equipment I will then request for them to rent out a laptop from the Library. However, there have been a couple of incidents where some students are not able to log into the laptop or the laptop does not have the necessary creative programs installed on it.

How will students be informed of the observation/review?

I will introduce my observer to the class ideally before the session starts, with their name, our professional relationship and the intention of their visit. 

What would you particularly like feedback on?

I would like to know if I am:

• Clearly communicating the important factors or elements of session. 
• Highlighting the session is easy to digest and not too intense for any sort of memory retention. 
• Is the workshop engaging and interesting, even if the subject is essentially boring.
• If I have taught a subject effectively and my approach to enhancing technical development was good.

How will feedback be exchanged?

I will like to have a discussion straight after the class if possible and get some realtime feedback. I will naturally start reflecting on what went well and what didn’t and an observer will give me additional or better perspective in that moment. I this isn’t possible a small document emailed to me with my feedback on it would also be appreciated 

Part Two

Observer (Victor) to note down observations, suggestions and questions:

Hi Omar 

Thank you again for inviting me to observe your Digital Skills session delivered as part of the Illustration & Visual Media BA course. You suggested I should focus on the clarity of communication, session ‘digestibility’, engagement, and effectiveness in enhancing technical development, so I’ve done that below but added a couple of things that I thought was worth mentioning

Communication and engagement

You created a positive friendly yet focused atmosphere that helps to foster open communication and engagement. It started with how you managed the environment, for example, asking students to sit in clusters to encourage interaction as opposed to letting them be scattered around the room. You also checked on their wellbeing (How are you today?), allowing time for some informal interactions and for students to settle in. You were supportive of late arrivals acknowledging their arrival without too much disruption (e.g. Hi, I’ll be with you soon). Then you explained key elements of the session effectively through a structured multimodal approach that combined verbal explanations, slides, and handouts. You set specific tasks with instructions on the slides and complemented by a verbal explanation. You also set times and manage expectations for the tasks (e.g. only 10 mins so don’t worry if you don’t finish it all, just get started), helping to reduce anxiety as the focus is on progress rather than completion.

You also encouraged active participation and interaction by asking questions and then acknowledging and expanding on students’ answers (e.g. What’s an infographic? What am I missing here?). This strategy reinforced key concepts while encouraging student engagement. You linked content to real-world applications, providing relatable examples including a brief reference to your own dog when discussing the infographic on dog breeds, which personalises the experience and often helps keep students interested.  You asked students to work in pairs, present their work and comment on each other’s, which worked quite well, encouraging an exchange of ideas and reflection.

You regularly checked for understanding by asking, “Does that make sense?” and pausing for questions. However, more explicit recap moments could reinforce learning further. For example, a quick verbal recap after each major task would help consolidate key takeaways.

One thing you may want to work on is ensuring that all students remain engaged during demonstrations.  In this session, a large proportion of the students seemed distracted looking at their own screens instead on focusing on your technical demonstration which may have resulted in gaps in understanding. A brief attention check before you demonstrate (e.g. Everyone, eyes on my screen or eyes to the front)  may be a good idea to ensure all students follow along.

Session Digestibility/Cognitive Load

I though the bit about how to use the Pen Tool in Adobe Illustrator, which I thought would be the main part of the session, was a bit rushed; however, I felt the way you structured the session still made content manageable for students without being overwhelming. You balanced explanations with hands-on tasks, ensuring that concepts were introduced progressively. You monitored actively and engaged students while working on their tasks, supporting as needed. You provided clear time warnings (e.g. 5 minutes left) to help them manage their workflow. The session concluded effectively with signposting to additional resources, reinforcing independent learning.

I liked the fact that you encouraged an iterative learning approach (e.g. You should be playing around, making mistakes, and learning from them.) and the idea that they didn’t have to ‘understand everything’ and ‘get it right’ first time. 

Overall, an enjoyable and interactive session where you communicated key elements through a multimodal approach, maintained student engagement most of the time, and supported technical skill development with a combination of explanations, demonstrations and hands-on tasks.

Part Three

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

Thank you Victor for your constructive feedback in regards to my Digital Skills Infographic workshop. 

This is the second time I have had a tutor observe and give me feedback, so I have been anticipating your observation enthusiastically so that I can reflect and improve my teaching practice. I also very much appreciate you speaking to me straight after the workshop and highlighting key moments and key issues that I can reflect on immediately.

Engagement during demonstrations

I agree that I should be a little be firmer with student in regards to them engaging with what is being demonstrated on screen. I try my best to be approachable and have a calm demeanour, so that I don’t highlight my position of power as a tutor. However I have noticed that this sometimes allows student to not completely engage with what is being taught but rather engage with me on a informal/jokey level. I have now implemented more proactive approach to making sure students pay attention to demonstrations or key information on the screen.

Pen Tool activity

I thought this would be a fun activity and unfortunately I overestimated the majority of the students capability to grasp the very basics of the pen tool. I did come across quite messy, managing students problems with understand the pen tool game. On reflection, this activity has highlighted that I need to deliver a serperate workshop regarding the pentool.

Mulimodal appraoch – not bad at it – can get messy

This has been very insightful and again I appreciate you taking the time to higlight these key moments for me to relefct on. I will be refining my approach to 

Session/artefact to be observed/reviewed: Photo Documentation Workshop 

Size of student group: 6

Observer: Omar-Andres Hernandez Del Canto

Observee: Blythe Cheung

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 photo documentation session is integrated into the Sculpture curriculum and is open to all year groups, with a particular focus on final year students as they prepare for the grad show. It aims to equip students with the skills to capture high-quality images of their work in exhibition and studio settings. This session supports their ability to present and document their artistic practice professionally, which is crucial for building portfolios and applying for future opportunities. It aligns with the curriculum’s objective to enhance students’ visual communication skills and prepare them for professional practice.

How long have you been working with this group and in what capacity?

I have been working with this group since the last September, when my role as a technical staff commenced. It involves supporting their studio practice, conducting workshops, and providing one-on-one mentorship. I contribute to their learning experience by guiding technical skill development and supporting interdisciplinary practice within the Sculpture discipline.

What are the intended or expected learning outcomes?

The intended learning outcomes for this session are for students to:

• Understand the importance of high-quality photo documentation for artistic practice, exhibitions, and professional portfolios.
• Learn and apply techniques for photographing artworks in both exhibition and studio settings, considering lighting, composition, and background choices.
• Operate photographic equipment confidently, including cameras, tripods, and lighting setups.
• Edit and enhance photos using basic post-processing tools to ensure their work is presented at a professional standard.

What are the anticipated outputs (anything students will make/do)?

Students are expected to produce a series of photographs of their sculptures, effectively documenting their work in a makeshift studio context. These images will serve as professional portfolio pieces and promotional materials. Students will receive individualized feedback on their photographs, focusing on composition, and technical quality.

Are there potential difficulties or specific areas of concern?
Potential challenges may include:

• Technical complexities related to camera settings, lighting adjustments, or post-processing.
• Variations in students’ prior knowledge and skill levels, which may impact their confidence or ability to fully engage with the session.
• Time constraints, particularly if multiple students need to photograph their work using shared equipment.
• Space limitations, as setting up effective lighting and composition may require significant studio space.

How will students be informed of the observation/review?

Students will be informed about the observation and review process through pre-session announcements and in-class briefings. They will be made aware that the session is focused on skill development and professional practice, not formal assessment. Feedback will be provided throughout the workshop in a constructive and supportive manner, emphasizing learning and improvement.

What would you particularly like feedback on?

I am particularly interested in feedback on:

• The effectiveness of my teaching approach in enhancing students’ technical skills and creative decision-making in photo documentation.
• Student engagement and participation, particularly how effectively they apply the tips and techniques shared during the session.
• The clarity and impact of my guidance, ensuring students feel confident and supported in photographing their work.
• The relevance and usefulness of the session for final year students as they prepare for the grad show.

How will feedback be exchanged?

I would like feedback on my session to be exchanged through written reports or one-on-one tutorials, allowing for detailed, constructive feedback that informs my teaching practice and supports continuous improvement.

Part Two

Observer (Omar) to note down observations, suggestions and questions:

Hi Blythe, 

It was a pleasure observing you teach the principles of documenting work with a professional digital camera. I have structured my feedback into three categories, keeping it simple while highlighting key moments as reference points. If you would like me to elaborate on anything, I’m happy to discuss it in person or provide additional written feedback. 

Session Highlights  

Generally, I want to express how impressed I was with how knowledgeable you are in regard to this topic. Your knowledge and enthusiasm naturally engage the students and from what I saw it created confidence and trust to what was being taught.  

Your presentation was very well put together with fun and clear infographics. This is something I feel is important because it keeps students engaged and is also something that they can refer to visually.  

You encouraged hands-on learning with the equipment and provided support when needed. For example, when they began taking photos of their work, you gave them the freedom to experiment while remaining attentive and offering guidance when necessary.  

Despite the logistical challenges of the small workshop space, you managed both the students, equipment and the space effectively.  

At both the beginning and end of class you highlighted the importance of documenting work – not only as a creative academic skill but a necessary practice in the professional creative industry, which is highly valuable and sometimes overlooked.  

Areas of improvement  

When explaining certain principles such as the ‘exposure triangle’, it can sometimes become overwhelming due to the multiple elements that make up that principle. To ensure students are following along, consider pausing to ask if they have any questions. With a small class size, this is a great opportunity to encourage engagement.  

I noticed the door was open in the studio and on occasion some people were outside talking and making noise. If you find this disruptive or see students losing focus, you might consider closing the door or politely asking those outside to lower their voices.  

When demonstrating equipment in a confined space, a brief health and safety reminder would be beneficial – for example, advising students not to look directly into LED lights when switching them on (Although you did say this at one point). 

One instance a student was being very difficult and didn’t want to sit down. You acknowledged this and carried on the session masterfully however this student proceeded to fiddle with their tripod while you were talking. This in my opinion was highly distracting and overall disrespectful – In such cases, it may be helpful to be more firm in asking the student to take a seat and avoid handling equipment while you are speaking. 

Conclusion  

Overall, no workshop isn’t without it issues, but I felt as though you delivered a successful class that will benefit the students in the long term. Your theoretical and practical knowledge was a delight to observe, and your clear use of language greatly reinforced the values and importance of the subject matter. Observing your teaching method has also inspired me to deliver a workshop for illustration students and how they could document their work professionally. 

Session/artefact to be observed/reviewed: Digital Skills Class Year 1

Size of student group: 15 – 25

Observer: Blythe Cheung

Observee: Omar-Andres Hernandez del Canto

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?

The Digital Skills class is part of the Illustration & Visual Media BA course and is designed to teach and enhance students knowledge of creating visual assets using creative software. Each session focuses on a specific tool or technique, such as How to Use the Pen Tool in Adobe Illustrator. Sessions run every Wednesday for first-year students and are divided into tutoring groups. From 10:00 AM to 1:00 PM, I conduct the workshop three times, each with a different group.

How long have you been working with this group and in what capacity?

Since the start of the 2024/25 academic year, I have been working as a Digital Skills Tutor for the Year 1 cohort. In this role, I teach and support students through workshops, one-on-one tutoring, and technical skill development, helping them explore the many facets of visual media.

What are the intended or expected learning outcomes?

The initial learning outcomes for the students are: 

• Introduce specialised technical skills related to creative visual software. 
• Reinforce specialised technical skills related to creative visual software.
• Understand the importance of software capability and potential..
• Create a line of enquiry or expand on knowledge for their assignment learning outcomes. 

What are the anticipated outputs (anything students will make/do)?

The students will usually make rough/concept digital art work that is related to whatever topic is being taught. Due to 1 hour time restraint this class will give the students the opportunity to create and make mistakes and figure out technological jargon. They will upload their work onto a Padlet board and receive informal feedback. I will facilitate and monitor the Padlet so that the student feel confident it is a safe space to upload their work.

Are there potential difficulties or specific areas of concern?

Unfortunately Digital Skills Class is in a standard classroom with no dedicated computers. I request that the students bring in their own laptops or tablets for the session. If some students aren’t able to bring in any equipment I will then request for them to rent out a laptop from the Library. However, there have been a couple of incidents where some students are not able to log into the laptop or the laptop does not have the necessary creative programs installed on it.

How will students be informed of the observation/review?

I will introduce my observer to the class ideally before the session starts, with their name, our professional relationship and the intention of their visit. 

What would you particularly like feedback on?

I would like to know if I am:

• Clearly communicating the important factors or elements of session. 
• Highlighting the session is easy to digest and not too intense for any sort of memory retention. 
• Is the workshop engaging and interesting, even if the subject is essentially boring.
• If I have taught a subject effectively and my approach to enhancing technical development was good.

How will feedback be exchanged?

I will like to have a discussion straight after the class if possible and get some realtime feedback. I will naturally start reflecting on what went well and what didn’t and an observer will give me additional or better perspective in that moment. I this isn’t possible a small document emailed to me with my feedback on it would also be appreciated 

Part Two

Observer (Blythe) to note down observations, suggestions and questions:

Introduction

Omar delivered a well-structured and engaging session on infographics, focusing on how to extract and present dense textual information in a visually appealing manner. The session was compulsory for students and included a mix of theoretical insights, hands-on activities, and interactive discussions to enhance learning.

Engagement and Delivery

• Omar started the session by asking a question to gauge students’ prior knowledge, effectively setting the stage for learning.
• His vocal projection and varied tone kept the class engaged, making the session lively and easy to follow.
• He distributed both softcopy and hardcopy handouts, ensuring students could follow along and revisit the material later.

Interactive Activities

• A 10-minute drawing activity allowed students to immediately apply their learning. Omar provided blank paper to facilitate brainstorming and supported students with clarifications as they worked.
• He incorporated research-backed insights, such as MIT’s study on visual information processing and engagement statistics for image-based content, reinforcing the importance of infographics.
• Omar actively checked student progress, frequently asking, “Any questions?” to ensure comprehension.
• When a latecomer arrived at 12:18 PM, he accommodated them by directing them straight into the task but could consider offering a bit more context and materials for a smoother transition.

Classroom Atmosphere and Student Interaction

• Omar maintained a calm, encouraging, and approachable demeanour, fostering a positive learning environment.
• During the 5-minute review of the drawing task, he encouraged students to provide constructive peer feedback and introduce themselves, effectively breaking the ice and promoting collaboration.
• He reinforced the concept of retention, emphasizing the importance of retaining peer feedback for future improvement.

Digital Tools and Skill Development

• Introduced the Pen Tool mini-game (https://bezier.method.ac) to make mastering Illustrator’s Pen Tool engaging. Given that the optimal setup requires a keyboard, informing students in advance about necessary equipment could enhance the experience.
• Highlighted essential design tools (Pen, Type, and Shape tools) and encouraged continued practice beyond the session.

Final Activity and Wrap-Up

• The final 15-minute task required students to finalize their infographics and upload them to Padlet. Omar encouraged the use of familiar tools and regularly checked in with, “Any questions?” and “How are we doing?” to provide guidance.
• Played calming instrumental ambient music to boost creativity and maintained a well-paced session.
• Provided reference materials within the slides (books and websites) for further exploration.
• Concluded by encouraging students to upload their work to Padlet—not mandatory but beneficial for receiving additional support and reinforcing their skills.

Recommendations for Enhancement

• When handling latecomers, consider briefly summarizing key points or providing handouts to help them catch up efficiently.
• For digital tool-based activities, informing students beforehand about required equipment could optimize participation.
• Continue leveraging interactive activities and well-timed discussions, as they were highly effective in engaging students.

Part Three

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

Thank you Blythe for your detailed and insightful feedback in regards to my Digital Skills Infographic workshop. This is the first time I have had a tutor observe and give me feedback, and it was lovely speaking to you after the session and reflecting on moments and points of improvement.

In regards to late comers while a demonstration is happening; I have had this issue of how can I manage a late comer effectively without it disrupting the class. I will need to practice briefly summarising what the session is about or alternatively I will give clear instruction that its ok to come in late and that I will brief them individually after the demonstration. 

On reflection the pen tool activity was a bit messy, due not considering time management and equipment management for students. I have decided that I will have to run a separate workshop dedicated to the understanding pen tool. 

These 1 hour session classes have a lot of information packed into them and it has helped me plan out. I will keep managing my time so activity and discusion is part of the class

This has been very insightful and again I appreciate you taking the time to higlight these key moments for me to relefct on. I will be refining my approach to 

Plan 

To explore the concept of perspectives through a cube; how does a cube have more than one perspective and how does it challenge the way we see things. I will achieve this through a small drawing exercise and some form didactic teaching method. This idea came from reading Perspective on Perspectives (Pettersson, 1996) a short paper on the many ways one can interpret perspective.

Set up 

I will use the cube as my object to learn from, as Wright (1983, p. 27) expresses the cube is ‘One of the simplest solid models one can choose for a drawing lesson’. I will break up the session up in two main halves, which will run about 10 minutes each. Each section will ask the student how they interpret the object, which will create discussion and ‘potential reframing’ of the object (2015, pg. 7)

Perception of Depth – Explore how our eye perceives an object by understanding the concept of depth and distance. I will also demonstrate 1 point perspective and 2 point perspective to help convey this idea.

Illusions of Perspectives – Explore the two illusionary aspect of perspective through the cube, referencing Louis Albert Neckers, Necker Cube, and M.C Escher, Impossible Cube (Ernst, B. 2006).

The Session

I introduced myself through my name and my occupation as an Illustrator and educator in UAL. Emily set up the chairs and tables for her previous microteach and consequently was perfect for me to place my object – the cube – in the middle of the table.

I had each student sit down on each side of the object, with paper and pen in front of them also. I ask them to draw the cube for around 1-2 minutes each. After I asked them to signed it and pass their drawing to their left. I elaborated on the unique properties of this task by ‘reflecting upon their perceptions and those of others’ (Hardie, K, 2015), in regards to the cube.

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This introduced my first thought on perspective – depth and distance. I drew on the board and explained how one can understand perspective through 1 point perspective and 2 point perspective. Using Horizon lines, converging lines and vanishing points. I explain this is one way to see the cube through a logical and somewhat mathematical perspective.

This lead me to talk about artist M.C Escher and the concept of impossible objects. I drew the impossible cube on the board, highlighting a new perspective to the object and according to Ernst (2006, p. 6) can not exist in the real world but only through art.

I then ask the students to a copy and draw the Necker cube I drew on the board. Which then gave me the opportunity to ask the students which side of the cube was the front or back. Exploring the cubes illusionary properties and discussing the challenges their minds where having viewing the Necker cube. The final minutes of my session I had a Q and A and then general feedback afterwards.

Feedback/reflection

Overall my feedback was positive, I had created engagement through analysing the many ways we can perceive the cube, and generally talking about the importance of perspective. This was the first time I tried something quite ambitious in regards to drawing in front of students without using a presentation while simultaneously explaining a complex idea. 

I was made aware that having a visual reference to artist like M.C Escher and his exploration of impossible objects would have made the session better. I must not assume students know about this artist and his work.

Also, when I asked students to pass around their drawings there might be a possibility it can create anxiety or fear sharing work. For future reference I need to elaborate before hand that this session will have collaborative aspects to it and that the drawings made shouldn’t be perfect or held to a high standard. 

Also, I should engage more with students and ask them questions related to the topic, not just ‘Do you understand?’ but something more thought-provoking, such as, ‘How do you see the object?’ or ‘Do you feel influenced by observing someone else’s drawing of a cube?

Personally even with the positive feedback and the highlighted points of improvement, I wasn’t too happy with how I delivered the session. For a 20 minute microteach I feel as that I put too much in and felt a bit messy delivering it. On reflection having handouts, cutting out some content and having more of engagement with the students and helping them explore this concept of perception would achieve a better personal result. 

References

Ernst, B. (2006). Impossible Worlds: 2 in 1: Adventures with Impossible Objects: Optical Illustions. 1st Edition. Köln: Taschen  

Hardie, K. (2015). Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. 1st edition. Higher Education Academy

Pettersson, R (1996). Perspective on perspective. Conference: 28th Annual Conference of the International Visual Literacy AssociationAt: Cheyenne, Wyoming, USA

Wright, L. (1983). Perspective in Perspective. 1st Edition. London: Routledge & Kegan Paul. 

In class, we were given quotes to reflect on, without knowing the authors, and asked to understand their meaning and personal significance. One quote in particular stood out to me:

‘The Classroom remains the most radical space of possibility in the academy’

This made me think about my own schooling experiences – the students who spoke out against injustice, demanding change, or even the so called “naughty’ kids who were simply seeking attention but struggled to express themselves in a more articulate way. In my opinion an early onset of radical thinking against schooling and authoritarian structures. The classroom is a powerful space where student engage with challenging concepts, develop critical thinking, and (when guided by a thoughtful tutor) can even challenge the status quo. 

The mystery quote was unveiled to be the writings of author and academic, bell hooks from her book Teaching to Transgress: Education as the Practice of Freedom (hooks, 1994). I had heard of her before, but honestly speaking I wasn’t too familiar with her writing or practice. Reading her paper, Talking Art as the Spirit Moves Us (hook, 1995) was both eye-opening and refreshing. In it, she explores how artists and writers can, and should, challenge power structures in the west that uphold inequality. Her insights also unpack the complexities of representation, white supremacy and power structures within the art world. Not only that but this text has reminded me to reflect on my own patriarchal positions, something I recognise and must remain mindful of, especially as a male tutor. 

‘Critical writing must be valued by artist and audiences of color if we are to create a cultural context where more critical thinkers will choose to do that writing.’ (hooks, 1995)

As someone of Chilean descent, and son of a father who came to the UK as a political refugee, activism has always been a part of my life. I have stood alongside my family in protests against the crimes committed by the Chilean dictator Pinochet; an experience that has shaped my awareness of systemic injustices – particularly within Western establishments. 

My practice has also been shaped by activism, using visual forms of expression to raise social awareness and address a variety of pressing issues. Chilean street artist such as Alejandro ‘El Mono’ Gonzalez embodies the spirit of Latin-American protest and resistance against oppressive agents, using the streets of Chile as his canvas to communicate powerful messages. An article by the Guardian gives a brief insight to who he is – link here 

Bell hooks reminds me of who I am, my struggles and also to not waver in the face of oppressive systems. I hope to instil some of these values into students, empowering them to think critically, radically and creatively, while also encouraging them to approach their ideas with thoughtfulness and empathy.

Reference

Hook, b (1994). Teaching to Transgress: Education as the Practice of Freedom. First edition. New York, NY: Routledge

Hook, b (1995). Art on my mind : visual politics. First edition. New York, NY: The New Press