Observation of my teaching practice by my tutor

(Part Two & Three: Feedback & Reflection)

Kwame’s feedback was a thoughtful and encouraging reflection on my teaching practice, highlighting both strengths and areas for further development. His observations reassured me that my approach is supporting students in meaningful ways, particularly in developing their portfolios and encouraging deeper engagement with their creative direction.

It was great to hear that my teaching not only provides technical support but also encourages students to critically evaluate the structure of their work. Kwame’s appreciation for how I balance technical considerations — such as colour theory, print formats, and sequencing — with creative intentions was particularly gratifying. I find his suggestion to develop a separate lesson on colour theory for photographers very valuable and will definitely explore further, as it would provide students with a more solid foundation in industry-relevant presentation techniques.

I also appreciate Kwame’s comments on my ability to create a supportive and empathetic learning environment. He noted that my approach encourages students to move confidently in different directions, which emphasises my commitment to student-led instruction. His comments on my calm manner and ability to adapt to students’ perspectives confirmed that my approach helps to build their confidence in their creative choices.

His feedback on accessibility and adaptability was also valuable. He acknowledged how I adapted my approach to ensure all students were included and highlighted the one-to-one support I provided to a student without a laptop as an example of inclusive pedagogy. This reinforced my belief that flexibility is essential in practical, skills-based teaching.

Thank you very much, Kwame! 

Observation of my teaching practice by a peer (Part Three: Reflection)

Ian’s feedback provided a valuable perspective on my teaching approach, highlighting both strengths and areas for further development. It was reassuring to hear that the session felt structured and effective, that students were actively engaging and producing work that met industry standards. Dealing with lateness was a challenge that I had anticipated, and I am glad that my approach helped to keep disruption to a minimum. His comments on the balance between the workshop and the concurrent one-to-one tutorials were also encouraging — it can be difficult to balance both, but it was great to have the workshop ran smoothly.

One of the key takeaways from Ian’s notes was the importance of prompting more student responses before offering explanations. Ian pointed out moments where I could have encouraged students to analyse visual elements on their own instead of immediately giving answers. More active participation in these situations could help students engage more deeply with the material and build their confidence in discussing visual concepts.

His feedback on cultural considerations in composition techniques was particularly insightful. The observation that reading direction influences composition and design, and that this varies from culture to culture is something I to consider more in future discussions during the workshop. His comment about L2 speakers and pronunciation difficulties was also useful — I had not previously considered how emphasising certain words can improve engagement and communication.

The structure of the lesson seemed to work well, and the use of previous student work to demonstrate real-life applications was effective in reinforcing key concepts. In the future, I will continue to refine my approach and ensure that students are more actively involved in the discussions while maintaining a structured and professional learning environment. This is also part of my ongoing case study research where I am investigating how different teaching methods impact on student engagement and learning outcomes.

Overall, Ian’s feedback was very helpful, and I will take these points into consideration when developing workshops.

Case Study 2: Planning and Teaching for Effective Learning

Bridging Theory and Practice in Student Learning

Contextual Background

As a Specialist Technician in Photography at London College of Fashion, I design and deliver technical workshops that support BA and MA students in developing both conceptual understanding and technical proficiency. A key challenge in my teaching practice is ensuring that students effectively integrate technical skills with creative decision-making. Some students excel in hands-on tasks but struggle to articulate their choices conceptually, while others grasp theoretical concepts but lack confidence in executing practical work. To address this, I am refining my workshop structure, feedback mechanisms, and reflective exercises to create a more balanced learning experience and improve student outcomes.

I currently deliver technical workshops as part of the course units and unit learning outcomes, but there is often a disconnect between practical learning and the wider course objectives, limiting students’ ability to develop transferable skills. While I have already introduced reflective discussions and project-based learning, I plan to refine these methods to ensure deeper engagement and better professional preparation.

Moving Forward

Refining teaching practices for impactful learning 

To improve student learning outcomes, I am further exploring the following strategies:

Integrated workshop design – Working closely with academic staff, I will improve workshops to better align with course learning outcomes and allow students to immediately apply technical knowledge in meaningful ways. This will strengthen the link between technical skills development and creative intentions.

Structured reflection and critical evaluation – I will further integrate structured journaling and guided peer critiques to help students articulate their technical decisions and reflect on their creative processes. Drawing from the creative process model (Bremmer, Heijnen & Haanstra, 2024), this approach emphasises reflection at every stageof orientation, research, execution and evaluation, supporting iterative learning.

Project-based and inquiry-led learning – Revising project assignments with explicit problem-solving elements will encourage students to consider how technical skills support artistic and industry-specific outcomes. This refinement fosters deeper engagement by mirroring professional workflows and encouraging students to take ownership of their learning.

Collaborative and peer-led learning –Refining peer review sessions with structured prompts will help students engage more critically with their own work and that of others. This fosters a more inclusive learning environment where students build confidence in their technical and conceptual skills (Ross & Leewis, 2022).

Real World Contextualisation –– Integrating live case studies and professional project deconstructions into workshops will expose students to industry-level decision-making processes. By analysing professional works step-by-step—examining the conceptual development, technical choices, and problem-solving strategies—students can gain a deeper understanding of how technical skills translate into creative and professional outcomes. 

References

Bremmer, M., Heijnen, E. & Haanstra, F. (2024) ‘Wicked Arts Education—Designing Creative Programmes‘. Amsterdam: Valiz.


Ross, S. L. & Leewis, L. (2022) ‘Home Sweet Home: Achieving Belonging and Engagement in Online Learning Spaces’, Spark: UAL Creative Teaching and Learning Journal, 5(1), pp. 71-79.

Additional Reading

Sams, C. (2016) ‘How Do Art and Design Technicians Conceive of Their Role in Higher Education?’, Spark: UAL Creative Teaching and Learning Journal, 1(2), pp. 62-69.

Boud, D., Keogh, R. and Walker, D. (2013) Reflection: Turning Experience into Learning, pp. 91-99

Reflection – The Self in Higher Education: Narrative as Pedagogic Practice

In developing my teaching practice at UAL, I am drawn to these ideas of self-reflexivity and narrative as research. The pedagogic challenge lies in fostering spaces where students can construct meaning through both individual introspection and communal exchange. As arts educators, we navigate the balance between structured knowledge and creative exploration, shaping learning environments that honour both accuracy and the generative potential of storytelling.

A key theme in the text is self as subject-matter, where the educator’s personal and professional identities merge through storytelling. Trish Osler reflects on the fragmented roles of artist, researcher, and teacher, noting how they merge in fleeting moments: “If the symbiosis we hope for can be felt in moments…” This tension between roles is a familiar challenge in higher education, where time and institutional structures often limit personal creative practice. Isabelle Guillard extends this idea, situating pedagogy within an ecological awareness: “I am constantly reflecting upon my actions at the personal and super personal level.” This suggests that teaching is not static but an evolving process of self-examination and relational learning.

Arianna Garcia-Fialdini’s research validates artistic inquiry as a method for exploring immigrant identity. Her work highlights how storytelling can be a means of reclaiming agency and forming connections within a community. This aligns with the workshop’s emphasis on understanding students’ diverse needs, particularly in institutions like UAL, where international and diasporic perspectives shape the student body. Sandrine Côté’s narrative, which explores generational storytelling, resonated deeply. Her reflections on inherited narratives and objects forming parts of identity highlight how material culture can serve as an anchor for memory and belonging.

A recurring question in the text is the balance between accuracy and storytelling in education. Sandrine’s work raises questions about embellishment—how much artistic license is permissible in shaping pedagogic narratives? This tension is relevant in higher education, where conventional research methods prioritise factual precision, often at the expense of emotional or cultural truth. The text suggests that narrative-based research operates in the intermezzo—a space between personal history and collective meaning-making. This aligns with heuristic phenomenology, where knowledge emerges through lived experience rather than objective observation.

The fifth narrative in the text emerges through threadscape, where individual stories intertwine to create a broader shared experience. This reflects the role of observation in teaching: learning does not happen in isolation but through entangled dialogues between self, community, and context. Teaching becomes an act of echolocation—a way of positioning oneself in relation to others through storytelling and shared inquiry.

Reading Reference:

Osler, A., Sibley, J., Canning, C., and McDonald, A., 2019. Storying the self as pedagogic practice. Journal of Writing in Creative Practice, 12(1-2), pp.109-124