PgCert Blog

Reflecting on my discussion with my peers about online learning and Object-based Learning (OBL) in my previous post (insert link), honestly, I felt as though my knowledge was quite limited when understanding the complexities pedagogy.

When I first came across the term Object-Based Learning (OBL), I honestly found it confusing. It seemed straightforward, learning through objects, but academic terminology can sometimes mean something entirely different. However, exploring this term, I realised OBL is exactly what it sounds like: using objects as tools for learning.

Having gone back to my reading list in search of understanding OBL better, I was introduced to Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching (Hardie, K, 2015). This paper broadened my perspective on how objects can create meaningful learning opportunities. 

‘Design objects can provide unique and effective learning experiences when placed physically in the hands of learners in the context of the university studio that is away from the confines of the traditional museum.’ (Hardie, K, 2015)

Reflecting on my own schooling experiences, I now recognise how tutors often used objects as a gateway to explore a broader concept. Embarrassingly, I also have been unconsciously teaching classes with objects not realising there is whole form of practice with articles and essays written about this type of learning. 

Another key reading on our list Sara Ahmed paper, What the use? On the Uses of Use, which further deepened my understanding on objects. Her philosophical exploration of objects and their use reveals a deeper layer to what objects mean. Ahmed pushes the idea that the term use having strange temporalities (Ahmed ) meaning that use can have many iteration, which ultimately can redefining and reframe the purpose of an object.

She lays out her chapters describing a varied iteration of use:

1. Use
2. In use
3. Out of use
4. Used
5. Unused
6. Overused
7. Used up
8. Usable/unusable

I can get quite lost reading in this paper and fixate on a philosophical understanding of one of these terms. However, what I find ultimately interesting is that these terms, redefining the purpose of an object, can now offer the learner a variety of narratives to explore.

‘Use offers a way of telling stories about things’ (Ahmed, 2019)

This idea resonated with me because I have always been drawn to storytelling. I frequently use relics and historical artefacts to craft narratives, to teach stories, but why limit myself to those? Why not use everyday objects—the mundane and the overlooked—to tell a story? What hidden stories do these objects hold? OBL can use these stories as a deeper analysis of a subject.

Reference

Ahmed, Sara. What’s the Use? : On the Uses of Use, Duke University Press, 2019. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=5969504.

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

As an illustrator with a fine art background, I have always been fascinated by all the complexities of creating an image. Teaching has become an essential part of my practice, and through it, I have learned to deconstruct artist technique (both my own and other artists) so that I can develop a clear step by step process to making art. One fundamental skill that continually stands out in creative practice is drawing. 

But what is drawing? And why do I feel I don’t see enough of it in the classroom? 

While reading, Drawing Laboratory: Research workshops and outcomes (Salamon, A, 2018), I gained valuable insight into how drawing functions as a cognitive tool, training the brain to retain information. One thing stood out to me the most was, despite its importance, drawing is not widely recognised as an essential skill in art education. The author highlights a significant issue, ‘In contemporary art and design education the role of drawing has become viewed as less essential.’ (Salamon, 2018) To me, this is significant issue. I strongly believe that art universities should incorporate dedicated drawing workshops and lectures into their programs. This paper highlights the immense value of drawing in an enriching experience.Five workshops were designed to use drawing as a mnemonic tool to enhance problem-solving, concentration, and memory retention. These workshops were titled and describes as:

. Muscle Memory – Draw an object from different angles, then after draw them blindly.

. Remote Viewing – Remembering what a life model look like behind a wall

. Suggestibility – Draw an environment within a group, then draw the environment again away from the group and environment 

. Recall (parts 1) – Draw personal episodic information, specifically childhood objects  

. Recall (part 2) – Draw a portrait observing model, redraw model without observing them.

The paper explores how memory functions in relation to practical tasks, reinforcing the idea that drawing helps artists develop a mental visual library that they can refer to when they are creating. When workshops are well structured and thoughtfully designed, they can yield outstanding results.

This approach to drawing aligns with discussions from industry professionals like concept artist Karl Kopinski, who has spoken about the lack of fundamental skills being taught in art education. Many professional artists share this concern, emphasising that drawing is the foundation of visual storytelling. Here is a YouTube video of Karl Kopinski (Proko, 2023) discussing his approach and experience to drawing:

Karl Kopinski Sketching from Imagination

Drawing serves as both a crude and refined method of constructing ideas—it is the building block of visualising concepts and thoughts. However, I recognise that not all creatives feel comfortable drawing. Some may lack confidence, while others may avoid it altogether due to fear of judgment. In my teaching practice, I strive to design drawing workshops that alleviate this anxiety and make the process enjoyable. Encouraging students to visualise ideas in any way, without pressure, to help build confidence and creativity.

References

Salamon, A. (2018) SPARK: Drawing Laboratory: Research workshops and outcomes. Available at: https://ualresearchonline.arts.ac.uk/id/eprint/20200/3/SPARK_Salamon_laidout.pdf

Proko (2023) How to Draw Gesture – Step by Step. Available at: https://www.youtube.com/watch?v=XF_shGImfbc (Accessed: 18 March 2025).

Cold.. That is how I felt coming into my first class of the PgCert, I use this description literally and metaphorically. Let me explain. 

The weather has become very difficult to manage, with the drop in the temperature and rising winds, making everyday life a little bit more challenging. I love the sun and warmth. So, I wasn’t in the most enthusiastic mood when I stepped into the classroom for the first time. However as the day unfolded, I got to know some of my peers, and I engaged with class content. Conversations with my peers sparked discussions on teaching, social activism, teachers rights, student rights, historical events, reflective methodologies and ultimately the purpose of the PgCert itself. How could this course help us tutors? and could it benefit students? 

One of the highlights of the day was discussing our reading list. Over the winter break, we were given a variety of pedagogical texts, with the task of familiarising ourselves with two or more and share our thoughts in a group discussion. One paper that stood out and managed to discuss with my peers was The potential of online-based learning activities to support the teaching of intersectional environmentalism in art and design higher education (Willcocks, J & Mahon K, 2023). A mouthful of a title, but fundamentally it discusses whether online learning is good tool for teaching complex subjects within art and design. This was a fascinating read not only was it insightful, informative and valuable in regards to approaching online learning but I also compared it to my very early teaching experience when Covid19 had affected the world. Academics were thrown into a world of online teaching, navigating the challenges of teaching through a screen. It was a very strange time. 

In our groups we discussed and reflected and a few key insights emerged:

. Object-Based Learning (OBL) can exist in an online environment. It does not always have to be physical or tangible to be effective.

. Complex subjects can be successfully taught online – provided that the class includes a diverse range of accessible, engaging, and well-structured digital resources.

. Our own biases toward online learning needed to shift. Many of us had initially resisted the idea, but reflecting on our experiences made us realise that when designed properly, online education can work.

OBL is about engaging multiple senses and facilitating non-verbal or embodied knowledge (Willcocks, J & Mahon K, 2023, p. 190). If an online class can effectively incorporate visual and auditory resources, then this type of learning can be realised in a digital space just as it would in a physical one. Ultimately, my classmates and I agreed that OBL, whether online or in person, is a valuable framework for generating ideas and tackling complex subjects. Funnily enough we discussed more the concept of online learning rather than OBL existing in a digital space.

What started as a cold, uncertain beginning gradually transformed into a warm and engaging experience. One that challenged my assumptions and broadened my perspective on online education.

References

Willcocks, J & Mahon K. (2023) The potential of online-based learning activities to support the teaching of intersectional environmentalism in art and design higher education, Art, Design & communication in higher education, 22 (2), pp. 187-207. Available at: https://doi.org/10.1386/adch_00074_1 (accessed 18th March 2025)

Hi my name is Omar. I’m a practicing artist and illustrator based in South London. Alongside my creative practice, I teach on the Illustration and Visual Media BA course at London College of Communication and work as an Outreach Programme Tutor.

I have recently embarked on a PgCert to deepen my understanding of teaching and expand my skills as an educator. I hope this experience will not only enhance my knowledge but also challenge and refine my existing perspectives on teaching as a practice.

Why is teaching important?