Adding the Student Perspective to the Design of Studio-Based Courses (2008)

Designs on eLearning ConferencePenn State University — September 10, 2008© 2008 Savannah College of Art and Design

Adding the Student Perspective to the Design of Studio-Based Courses

Scott DinhoCoordinator of Educational TechnologySavannah College of Art and Design


Presentation Overview

• SCAD-eLearning• ILLU 714: Drawing for Illustrators• Problem• Intervention• Results• Lessons Learned• Questions


SCAD-eLearning Overview


Vice President– administrates eLearning and interacts with

college administrators

Instructional Design– ensures instructional quality– creates master courses

Educational Technology– trains and supports faculty– manages and maintains live courses

eCampus– student support and services

Organization


Summer 2003:– ARTH 764: Rock Art: Legacy of

Lascaux

Fall 2003: – 5 courses– 26 seats

SCAD-eLearning—Then


Spring 2008 Quarter– 1,241 seats total– 940 individual students– 549 Savannah students– 141 Atlanta students– 247 Fully online students– 3 Lacoste students

One of three SCAD campuses:– Savannah– Atlanta– eLearning

SCAD-eLearning—Now


Degree Programs– Bachelor of Arts– Master of Arts– Master of Fine Arts– Certificate– Graduate Certificate

SCAD-eLearning—Now


A SCAD-eLearning “course”:– represents 10-weeks (50 hours) of

instruction– operates “asynchronously”– consists of “lecture,” discussion,

assessment, and hands-on project work– meets accreditation requirements for

student/student and student/professor interaction

– uses rich media to support a variety of learning styles.

SCAD-eLearning Courses


Live CourseSection 1

Master CourseLive Course

Section 2

Live CourseSection 3


Course DescriptionThis course explores drawing as the key mode of expression for the illustrator. The course begins with refreshing and strengthening observation skills, mark-making technique and interpretation abilities. Other areas addressed include creative expression, gesture, attitude, movement, embellishment and exaggeration. Students are encouraged to develop individual and personal approaches to drawing within the context of illustration. The course reviews fundamental issues of value, mood, composition, proportion and perspective.


Faculty Developer

Amie Jacobsen– practicing freelance illustrator

with 13 years of experience– began her career as a wildlife,

landscape and portrait artist – published her first children's

book, "The Quest for Elloshidii," in 2004.

– releases her third illustrated children's book, "Spenser Goes to Portland,” this fall


Problem


The Downside of Online

Making Suggestions and Clarifications– In class—instant– Online—wait


Emphasis on Materials

Minimize misunderstandings– Clearly written instructions– Grading rubrics– Worked examples


Limited Resources

Lack of existing student samples and assignment instructions– Faculty Developer had not taught class

before– Each On-campus Professor creates own

assignments


Intervention


Creating Materials

Creating Assignment Instructions and Rubrics– Faculty Developer and Instructional

Designer– Normal part of Course Development

Process


Creating Materials

Student Samples– Utilized Graduate Student (Sequential Art)

• Professional Illustrator• Had taken previous course with faculty developer• Had taken several SCAD-eLearning courses

– Tasked to create model examples of course projects


Results


Improved Materials

Instructions and rubrics clarified based on feedback

“Helped me realized what he was getting out of what was written in the instructions and rubrics…This is what he thinks I mean by what I wrote.”


(Non-) Model Examples

Student samples did not meet model expectations.

“He produced good work, but not super great work. The work was good for his style of illustrating (painterly), but this course has a heavy focus on drawing.”


Sample Assessments

Strategy change:– Treat examples as work of above average

student.– Present examples with sample critique and

grade based on provided rubric.– Supplement over time with actual

examples and non-examples for students.


Samples Assessments—Impact

“Students like them (sample assessments) because they clarify many student questions without needing to send me a message. They help me because it reminds me of how the assignments are to be graded. They also help point out flaws and limitations of the rubrics so we can revise them.


Lessons Learned


Lessons Learned

• Creating new assignments doesn’t mean you have to lack work samples.

• Involving a student during the design process can greatly enhance the effectiveness of course materials (even if it is not in the intended manner).

• Be willing to try low-tech solutions to problems that exist in a high tech world.


Questions, Comments, and/or Suggestions?

Scott DinhoCoordinator of Educational TechnologySavannah College of Art and [email protected]

Adding the Student Perspective to the Design of Studio-Based Courses (2008)

Education

Transcript of Adding the Student Perspective to the Design of Studio-Based Courses (2008)