Community Kitchen
Introduction
In addition to my teaching role at UAL I accrued 10 years experience as educator at the Design Museum, London; devising and delivering innovative teaching and learning activities and programmes for diverse audiences. The museum product handling collections and exhibition programmes provided a wealth of content which informed my pedagogic practice and inspired my passion for Object-Based Learning and I drew on this knowledge and experience when planning this session. I welcome the opportunity to explore connections and reflect on past, present and future teaching experience at UAL and beyond, as part of my PgCert learning journey.
Planning
For the Microteach session I selected a mix of international food packaging examples (Fig.1) which were representative of a range of graphic design styles and genres in acknowledgement, and by way of relating to the diverse student group; with the aim of raising levels of inclusivity and participation.
The desired learning outcomes were:
- Observation drawing – looking to learn and visualising findings
- Drawing from memory – visualising mental images
- Design awareness – analysis of key graphic design concepts
- Visual literacy – ‘reading’ objects to find meaning
- Exploration of wider concepts – culture, context and ethics
- Self-reflection and evaluation – what, why and how
- Communication and discussion – shared group feedback
The session included 3 tasks: observation drawing, memory drawing and written reflection and evaluation, with planned timings as below:
- Welcome and introduction – 3 mins
- Task 1 Observation drawing – 3 mins
- Task 2 Memory drawing – 3 mins
- Task 3 Reflection and evaluation – 5 mins
The materials used in the session were: food packaging examples, blank A6 white postcards, colour pencils and black fine liner pens.
Activity
To start the session, I welcomed the participants and introduced the collection of food packaging and the observation and memory drawing activity. I adopted empathetic teaching methods to create a positive and inclusive learning environment; aware that not all people are confident at drawing I reassured the group that we would use the process of drawing as a means of gathering and recording visual data, rather than a meritocratic exercise in demonstrating drawing skills.
Participants were invited to choose a piece of packaging which they were attracted to, and to create an observation drawing detailing; shape, form, colour and graphic detailing (Fig.2).
When the allocated drawing time slot had ended (3 mins), I removed the packaging samples from the table and putting them out of sight, then participants created a second memory drawing of the packaging on the reverse of the postcard – this time using visual recall, instead of observation methods (Fig.3).
While participants were completing the memory drawings, I talked through suggested key points for their consideration as part of the reflection and evaluation task, including:
- What did you do?
- Why did you do it?
- How did you do it?
- Explain your choice of packaging – food contents, style, design?
- Describe design detailing – typography, images, colour, materials, form?
- Wider contextual considerations – culture, heritage, values, associations, nostalgia, memories and feelings?
When the allocated drawing time slot had ended (3 mins), participants then annotated their memory drawings in response to the prompts ready for group feedback and in conclusion of the session.
Feedback
Overall, I was very pleased with the levels of participation, outcomes and positive feedback received from the group.
Participants described the objects as ‘engaging, relatable, appealing, accessible, and interesting’ and raised the points that ‘drawing can instil nervousness and fear because not everyone is good at it’, and that the choice of small drawing format (A6 postcard) was ‘less intimidating as opposed to a huge blank white sheet of paper.’ I include this feedback as evidence of inclusive and empathetic pedagogic practice in the session.
Participants commented that Task 3 (reflection and evaluation) ‘Worked really well at this point, it really hit home and helped focus the group and understand why we’re doing this and what we’re learning’. This highlighted and evidenced the importance of reflective learning, and I will make a point to build this into my practice going forwards.
Participants highlighted the positive experience of using drawing as an opportunity to explore connections between ‘graphic design principles and branding identity vs. culture, community and shared storytelling’.
Quotes included
‘Made me consider the way packaging and graphic design is part of our collective meme.’
‘I paid attention to the shapes and colours and this made me think about what makes the branding recognisable.’
‘Comfort, curing hangovers in my 20s with friends, great leveller food (Heinz Baked Beans).’
‘I am Polish and drank this milk ay my grandmother’s house. I can’t remember if red is whole or half fat. I was interested in the letter outline; neither a shadow or a full outline, so it was hard to draw.’
In light of the above, I welcomed tutor feedback as they raised the point that (with OBL) when asking about participants feelings and emotions, these could be positive or negative and that some objects could be triggering. I made a note to embed an awareness of this into my future practice.
Conclusion
Taking part in the Microteach group sessions was an immensely enjoyable and invaluable experience. It created a rich opportunity to engage in and flex the student/teacher dialogue, to learn from each other, try out new skills and approaches and explore the wider meaning of best teaching and learning practice – in a highly creative and supportive environment.
Reference
Hardie, K. (2015) Engaging the senses: object-based learning in higher education