Making Feedback Matter: Helping Students Engage, Reflect, and Take Action

Contextual Background:

I initiated 1-to-1 support sessions in the Learning Technology department to provide personalised guidance and feedback based on students’ specific needs. These sessions cover Adobe Suite, CLO3D, and portfolio reviews, helping students develop their technical and visual communication skills.

A common scenario in these sessions is a portfolio review for unit submissions. Students book a session, and we go through their work together, addressing their questions and concerns. The diagnostic assessment I use is an informal but structured way of evaluating their work. I typically start by asking students to present their projects, explaining their concepts and creative decisions. It helps me assess their understanding of their own work and encourages students to self-assess, often leading them to identify gaps or areas needing clarification before I even give feedback.

Evaluation – Evidence:

The first 10 minutes of presenting their work is valuable, this process aligns with Nicol and Macfarlane-Dick’s (2006) seven principles of good feedback practice, particularly their argument that learning should be seen as an active construction process rather than just passive knowledge acquisition.DeCorte (1996) also supports this idea, stating that students do not passively absorb knowledge but rather actively construct meaning through engagement with content and interactions with others. Instead of simply receiving information from a tutor, students should actively reflect on it, and use it as a tool of learning.

During these sessions, I provide informal, conversational feedback based on how students present their work. My focus is not just on the technical execution but also on whether their visual communication aligns with their intended message. Often, through dialogue, students gain new perspectives on their projects, which helps refine their work.

However, I’ve noticed a recurring issue: students tend to passively receive feedback rather than actively engage with it. They sometimes appear uncertain about how their work aligns with assessment criteria, or they misunderstand their assessment brief. This reflects what Brooks (2008) highlights—the problem isn’t just about receiving feedback, but about knowing how to use it effectively.

Nicol and Macfarlane-Dick (2006) also address this issue, stating that students must take ownership of their learning by actively constructing their understanding of feedback, rather than just passively receiving it. If feedback is delivered as a one-way exchange, students may struggle to process and apply it in meaningful ways.

Moving Forward:

To make feedback more engaging and actionable, I plan to shift my approach in the following ways:

1. Encourage Active Reflection:

Instead of ending sessions with generic questions like “Do you have any questions?” or “Do you understand?”, I will prompt students to summarise the key points from our discussion. Questions like:

“What’s your next step?”

“How do you plan to apply this feedback?”

“What are the main takeaways from today’s session?”

This approach will help me assess whether students truly understand the feedback and if they are able to take action on it. It also reinforces self-regulated learning, as outlined by Sadler (1989), who argues that students can only achieve learning goals if they understand those goals, assume ownership of them, and assess their progress.

2. Provide a Written Recap Note

To ensure students remember feedback after our discussion, I will introduce written recap notes summarising key points from each session. This will act as a reference guide for students when they continue working on their projects independently.

3. Introduce Peer Review for Portfolio Sessions

A future step I’d like to explore is organising small group portfolio review sessions where students give and receive peer feedback. Engaging in peer review offers several benefits:

Students learn to articulate constructive feedback, understand how to receive feedback, and develop the ability to give meaningful feedback to others. These skills are essential not just for academic growth, but also for professional development in creative industry. Secondly, students can gain a deeper understanding of assessment criteria, by analysing and critiquing others’ work, they can better recognise strengths and weakness in their own projects.

This encourages self-reflection and improves their ability to meet assessment expectations more effectively. Finally, the small group peer-to-peer feedback session helps to generate a sense of community and emotional support. Peer review helps foster a collaborative learning environment where students learn from each other’s research, approach, and mistakes, eventually, applying them to their individual practice. Building a safe conversational study space can be emotionally supportive, and feeling emotionally supported in the learning process can increase confidence, engagement, and motivation, contributing to more efficient and meaningful learning experiences.

This aligns with Nicol and Macfarlane-Dick’s (2006) argument that effective feedback is not just about tutor-to-student exchanges but also about encouraging dialogue and peer learning. By participating in constructive critique sessions, students not only gain technical and conceptual insights but also develop essential communication and problem-solving skills that are crucial for their creative and professional growth.

Conclusion:

By implementing these changes, I hope to move beyond just delivering feedback to guiding students in making sense of it. The goal is to help students become more independent, reflective, and engaged learners who take ownership of their creative and technical growth.

Reference:

Brooks, K. (2008) ‘Could do better? Students’ critique of written feedback’, Networks, 1(1), pp. 5–8.

DeCorte, E. (1996) ‘New perspectives on learning and teaching in higher education’, in Burgen, A. (ed.) Goals and purposes of higher education in the 21st century. London: Jessica Kingsley.

Nicol, D.J. and Macfarlane-Dick, D. (2006) ‘Formative assessment and self-regulated learning: a model and seven principles of good feedback practice’, Studies in Higher Education, 31(2), pp. 199–218.

Sadler, D.R. (1989) ‘Formative assessment and the design of instructional systems’, Instructional Science, 18, pp. 119–144.

Implementing Peer-to-Peer Feedback for Effective Learning

Contextual Background: 

One of the modules I’m currently teaching in Womenswear Y1 is Digital Communication, which runs throughout the first three units of the First Year. It forms a core component of the Visual Communication and Digital Skills strand for Fashion Design Womenswear students. The sessions aim to equip students with essential technical skills to visually communicate their design ideas using industry-standard digital tools, including Photoshop, InDesign, Illustrator, and Premiere Pro. 

Evaluation: 

The majority of the time, I use step-by-step demonstrations to explain the functionality of each tool and how to create visuals relevant to students’ projects. While demonstrations provide clear visual guidance and detailed explanations, I often struggle to track students’ progress effectively. The limitations of this passive learning approach become apparent when students begin creating technical drawings independently—many forget key tools and best practices for digital workflows. As a result, I frequently have to repeat instructions and reinforce essential software knowledge.

A similar issue arises with late arrivals. Although I provide handouts, some technical aspects require additional explanation, and students often have specific questions about tools that demand individual attention. This results in spending extra time repeating content or assisting latecomers to keep them on track with the rest of the group. While this approach ensures students receive the support they need, it sometimes leads to overcompensation, placing excessive pressure on the instructor.

Moving forward: 

To create a more engaging and proactive learning environment, I plan to introduce a structured peer review process in my Digital Communication sessions. Research suggests that structured peer feedback not only improves academic performance but also enhances students’ self-regulation and confidence in their abilities. According to Simonsmeler et al. (2020), engaging in peer review encourages students to develop critical evaluation skills, justify their feedback, and reinforce the knowledge they have acquired. 

This shift aligns with my goal of fostering a self-led, reflective learning environment, where students actively participate in peer-supported learning cycles. By giving and receiving feedback on their technical work, students will reinforce their understanding of Adobe Suite applications while developing greater independence in their technical skills. 

Furthermore, peer feedback fosters critical thinking by integrating authentic learning contexts, learner dialogue, and mentorship, which are recognized as effective teaching strategies for developing higher-order thinking skills (Abrami et al., 2015, as cited in Zeng & Ravindran, 2023). A meta-analysis of 341 studies across disciplines found that teaching strategies incorporating peer interaction significantly enhance students’ ability to analyse, evaluate, and reflect on their learning. 

To facilitate this approach, I will develop a workflow framework to guide students through technical drawing creation and help them troubleshoot common Illustrator issues. The session will be structured as follows: 

1. 30 minutes of demonstration and deliver new techniques. 

2. 30 minutes of practical work, where students apply learned techniques. 

3. 10 minutes of peer review or peer support, allowing students to either critique each other’s work or assist with Illustrator-related challenges. 

Repeating this structured cycle at regular intervals with 10 minutes breaks in between will enhance student engagement and promote independent problem-solving. Additionally, by asking and answering questions, students will reinforce their Illustrator knowledge, leading to greater technical fluency. After the peer discussion phase, I will provide demonstration guidance and address specific challenges that require deeper explanation.

Conclusion: Strengthening Learning Through Peer Review 

In my future teaching practice, integrating peer-to-peer feedback will not only reinforce technical skills but also foster critical thinking and reflective learning. By assessing and discussing each other’s work, students develop a deeper understanding of their technical approach, encouraging active learning and greater autonomy in their digital workflow. 

Reference:

Bianca A. Simonsmeler et al. (2020) Peer Feedback Improves Student’ Academic Self-Concept in Higher Education. Available at: https://link.springer.com/article/10.1007/s11162-020-09591-y?utm_source=chatgpt.com#Sec12 (Accessed: 17 February 2025).

Xiaomeng, Z. and Ravindran, L. (2024) ‘Design, implementation, and evaluation of peer feedback to develop students’ critical thinking: A systematic review from 2010 to 2023’, Thinking Skills and Creativity, (55), p. 14. Available at: https://www.sciencedirect.com/science/article/pii/S1871187124002293#abs0001 (Accessed: 18 February 2025).

Record of Observation or Review of Teaching Practice

Session/artefact to be observed/reviewed: Digital Communication Module -Technical-practical workshop with a focus on CAD drawings and spec sheets in Adobe Illustrator

Size of student group: 6

Observer: Victor Guillen

Observee: Rebekah Guo

Part One

• What is the context of this session/artefact within the curriculum?

This session is part of the Digital Communication module, which runs throughout the first three units of the First Year. It forms a core component of the Visual Communication and Digital Skills strand for Fashion Design Womenswear students. The sessions aim to equip students with essential technical skills to visually communicate their design ideas using industry-standard digital tools, including Photoshop, InDesign, Illustrator, and Premiere Pro.

This session specifically focuses on completing their existing technical CAD drawings and spec sheets in Adobe Illustrator, which are critical for their upcoming assessment. These skills will ensure students can professionally articulate garment details, supporting their overall portfolio development and aligning with both assessment and industry standards.

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

I have been working with this group for 4 months, started in October 2024. The group is composed of approximately 15 students, although attendance is often a challenge, with fewer than 10 students typically present in each session. I’m trying to focus on tailoring the sessions to meet their individual needs while ensuring the overall curriculum goals are met.

• What are the intended or expected learning outcomes?

By the end of this session, students are expected to complete at least one page of their spec sheet.

For those who have not yet finished their CAD drawing required for the spec sheet, I will encourage them to focus on completing or refining their technical drawing in Illustrator. The aim is to ensure all students make significant progress on their portfolio components and are better prepared for their upcoming assessment.

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

In this session, students are expected to produce:

1. At least one completed page of their spec sheet, including a front and back CAD drawing with annotation lines.

2. If they are not yet finished their CAD drawing, they are expecting to have progress on their technical drawings, to ensure they are ready for their spec sheets.

3. Practical application of Illustrator skills for creating technical drawings, such as using annotation tools, Create forms, adding directional lines.

• Are there potential difficulties or specific areas of concern?

One potential difficulty is students arriving late to the session, which can disrupt the flow of the lesson and affect their ability to fully engage with the content.

Latecomers often miss key demonstrations or instructions, I noticed this would discourage them to continue participating in the session.

To address this, I’m planning to provide recap tools, e.g. Handout, and encouraging students to catch up independently while others doing activities or with peer support. However, consistent lateness remains a concern, and it could limit the students’ ability to achieve the intended learning outcomes.

• How will students be informed of the observation/review?

Students will be informed in advance by email, that an observation will take place during the session. I will explain the observer is present to review my teaching practice rather than assessing them. I will reassure them that they should continue their work as usual, and the observation will not affect their learning or assessment.

• What would you particularly like feedback on?

1. Managing late arrivals: How is my performance of handling students who turn up late without it throwing off the flow for everyone else? Are there additional strategies I could use to get them up to speed without disrupting the rest of the group?

2. Student engagement: Do you think the students seem interested and involved, both during the demo and when they’re working on their own? Are there moments where they seem to zone out, or anything I could tweak to keep them more engaged?

I’m also totally open to any other feedback or advice you have—whether it’s about my teaching style, classroom management, or anything else you notice during the session.

• How will feedback be exchanged?

I would like to receive feedback via a written summary on the Observation Record by email. If time permits, I’d also be happy to have a in-person debrief after the session to discuss your observations and suggestions.

Part Two

Hi Rebekah

Thanks again for inviting me to observe your technical-practical workshop at LCF, part of the Digital Communication Module. You suggested I should focus on two elements of the session: managing late arrivals, and student engagement. You were also open to other feedback.

Managing late arrivals:

Only one student arrived late. You acknowledged their arrival and said you’d be with them soon, maintaining the flow of your technical demonstration, great! I noticed that you spent more time (proportionally) with the late arrival than with any of the other students. I wondered if could be overcompensating to help the student catch up or if there was another reason (e.g. specific needs, complexity of what they were trying to do). Managing your time equitably during these sessions is hard, but it’s important that all students, including those that appear to be doing well, get development opportunities and see the value in attending.

You could, as you suggested, have a handout with key instructions or check list to help later arrivals catch up; ask for a volunteer to pair up with the late arrival to help them catch up during the session; get students to recap your instructions in pairs while you bring the late arrival up to speed. You could also have a relevant ‘warm-up’ task to engage students as they arrive so they also see the value in arriving early (e.g. note down questions or what they want to achieve during the session, recap of key concepts/tools, getting them to watch a short video about the tool(s) they’ll use during the session.

Student engagement:

I thought you created a good atmosphere where they feel comfortable asking you questions and interacting with each other. They all seem engaged and on task. I thought it was a good idea to move them into a cluster close to each other as opposed to having them scattered around the room, which encouraged peer interaction and made it easier for you to monitor. After about 40 mins, a couple of them started stretching in their seats. I wonder how often you encourage them to save their work and take a short break, stretch or walk around the room. You could also get them to explain their work to each other and this could be a learing opportunity (e.g. recap, share tips, ask questions, build a sense of community).

Other aspects of the session

I really liked the way that you actively monitored your students’ work, asking questions, prompting and explaining as needed. You use a range of relevant language in a supportive way (demonstrative, directive, exploratory, evaluative, affirmative): that looks really good, you can also ….//Try to keep the lines….// Is this what you want? OK, then you’ll have to…// The problem here is that… but maybe you can…//

You accompanied your spoken instructions with on screen demonstrations, great!. Additionally, you could pause at more regular intervals during your demonstrations/explanations to check students are following (e.g. look at their screens, ask for a volunteer to repeat your instructions, or get them in pairs to check to recap).

If you want to try something new/different, using analogies to simplify complex/technical concepts can work well and encourage creativity (e.g. Compare layers to transparent sheets of paper stacked on top of each other—each layer holding a specific element of the design).

In short, lots of positive things that the students -and I- can take away from your practice (thanks). I hope my notes are useful.

Part Three

Thank you so much for your time and insightful feedback, Victor!

As the nature of the session is to support and provide extended resources for students’ existing work, I spent more time with a particular student due to the complexity of what she was trying to do. If the session were introducing new content, I would typically remind students of the location of handouts on Moodle. Peer recap is something I would like to develop and encourage, especially by having students with a more advanced understanding of the software demonstrate processes to their peers. This approach would benefit both students and myself—it would reduce the pressure on me to repeatedly explain the same content while reinforcing knowledge for all students.

I currently check on their progress verbally, asking questions such as: Any questions? Are we all good? Let me know if you need me to repeat the steps. However, I would like to explore student-led check-ins in the future to make my teaching more dynamic and inclusive.

I see myself as both a facilitator and a technical instructor. I aim to create a learning environment that is inspiring and encourages students to think creatively while equipping them with essential skills to visualize their ideas digitally. I usually schedule a break halfway through the session, and I think incorporating a short peer-to-peer feedback session before the break could be beneficial. This would allow students to reflect on their work, exchange insights, and engage in active learning.

Record of Observation or Review of Teaching Practice

Session/artefact to be observed/reviewed: Digital Communication: Edit Portfolio

Size of student group: 10

Observer: Georgia Provatidou

Observee :Rebekah Guo

Part One

• What is the context of this session/artefact within the curriculum?

The session is part of the Digital Communication module, which develops students’ ability to present their creative projects in a professional and concise manner. Specifically, this session focuses on: Creating and organising a 10-page digital portfolio. Experimenting with various portfolio layouts to develop a cohesive and visually appealing presentation. Completing at least 3-4 pages of content within the session. This session is to ensure students are prepared to meet the submission requirements for their 10 pages digital portfolio.

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

4 months, 10 people

• What are the intended or expected learning outcomes?

By the end of the session, students will:

1. Set up a 10-page template for their portfolio using appropriate layout designs.
2. Complete 3-4 pages of their portfolio with clear content organisation.
3. Understand the strengths and purposes of different layout styles (e.g., centred, linear, organic).
4. Avoid common design pitfalls and create visually cohesive work.

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

1. Students will have an organised portfolio template ready to build on after the session.
2. At least 3-4 pages of their portfolio will be complete, demonstrating experimentation with different layouts.
3. Students will gain confidence in their ability to structure and refine their digital portfolio.

• Are there potential difficulties or specific areas of concern?

One potential difficulty is students arriving late to the session, which can disrupt the flow of the lesson and affect their ability to fully engage with the content.

Latecomers often miss key demonstrations or instructions, I noticed this would discourage them to continue participating in the session.

• How will students be informed of the observation/review?

By Email

• What would you particularly like feedback on?

How effectively I manage time during the session to balance instruction, individual feedback, and student output.

My ability to engage students and maintain their focus throughout the session.

Whether my explanation of layout styles and their benefits is clear and accessible to all students.

Suggestions for improving the structure or delivery of a hands-on session like this.

• How will feedback be exchanged?

I would like to receive feedback via a written summary on the Observation Record by email.

Part Two

• Rebekah actively engaged with students by moving around the room, listening first, observing, and then assisting by demonstrating solutions on the students’ screen. 

• She used appropriate digital design terminology, ensuring clarity and relevance to the session. 

• Her calm and helpful approach created a positive learning environment. 

• The handouts provided at the beginning served as an effective checklist for students, helping them track their progress. 

• She responded to all my questions, providing both context for the session and technical clarifications where needed. 

• Rebekah encouraged students to be more detailed in their garment descriptions, such as specifying how a pocket is structured or adding key details like the wire support for the hoodie in the back view. 

• Instructions were clear, positive, and encouraging, making it easier for students to follow along. 

• She promoted practice-based learning by guiding students step by step: she provided verbal instructions while the student executed the task, reinforcing their understanding. 

• When necessary, Rebekah also provided practical, hands-on assistance to support students throughout the process. 

Suggestions: 

• Consider incorporating more visual examples or reference images on the Big Screen in the room or open area.  I don’t feel that I am in a position to offer further suggestions as I feel that for a session of this nature you were very good / excellent on everything.  

Questions: 

• How do you ensure that all students receive equal support, particularly in larger sessions? It was easier as you had just a few students in this session but how do you manage larger numbers on your own? 

• Have you considered integrating peer feedback moments where students can review each other’s work before seeking assistance? 

• Would adding a quick recap at the end of the session help consolidate student learning and address any remaining questions? I did not stay till the end so please ignore if you have already done that or asked them to refer back to the handouts that you distributed at the beginning of the session.  

Part Three

Thank you so much for your insightful feedback, JoJo!

Visual example:

Since this session tale place just before project submission, the focus is on finalizing technical drawings rather than learning new techniques. Most of the required skills have already been covered in the previous sessions. However, putting the objectives, and relevant visual reference on the screen while they are working on their own design can be helpful.

Time Distribution:

Providing one to one support to every student can be overwhelming, especially in a larger attendance. So far, I haven’t used peer feedback or discussion in digital based session. But I would like to explore this approach in the future..

Session recap:

We began the session with a recap of the key requirements for their technical drawings. In addition to this, we also reviewed the fundamental principles of building a portfolio using appropriate layout designs. I demonstrated examples of both effective and ineffective approaches, helping students understand best practices.

I provided a checklist to encourage critical thinking, allowing them to assess and refine their 10-page portfolio effectively. By the end of the session, we did 10 minutes recap on the workflow of technical drawing, and went though the checklist with them, ensured they understood how to use the checklist for their work.   

Checklist:

Workshop 1B Reading Activity: Teaching at UAL

TPP

Spark: UAL Creative Teaching and Learning Journal
Drawing laboratory: Research workshops and outcomes
Michelle Salamon, Associate Lecturer, BA (Hons) Graphic Communication Design,
Central Saint Martins

Thoughts

My Reflections on Drawing Lab

The reason I chose this article is that it closely connects to my experience as a lecturer. I work with Year 1 fashion design students during digital communication sessions, where the main goal is to help them build the digital skills they need to meet industry standards. Most of our time is spent working with tools like Adobe Suite and CLO3D, as these are essential for navigating today’s professional environments.

Salamon (2018) points out that “drawing appears to have become an undervalued tool in the art school curriculum, yet it plays a valuable role in encoding and distilling visual experience and transforming it into a concrete and substantive form” (p. 140). This really resonates with my own experience—I’ve noticed something interesting: when I introduce analogue drawing at the beginning of these sessions, the students’ focus and creativity increase noticeably. There’s a different kind of connection that happens when they create by hand, something that digital methods don’t always capture. For example, I’ll ask them to use markers or coloured pens to visually explore ideas from their research. This might mean turning a concept into a pattern, drawing shapes inspired by their research pages, or creating something abstract to represent a feeling. These short exercises have a powerful impact—students become more engaged and take greater interest in their work.

Reading the Drawing Lab article really brought this into focus for me. The project’s aim to explore the connection between drawing and memory resonated with my observations. But I also find myself straggling with a challenge: how to integrate analogue exploration into a curriculum that prioritizes digital skills. The sessions I teach are tightly structured around industry-relevant tools and workflows, which doesn’t leave much room for analogue methods. Reflecting on when I was a student, I remember how much of my process was rooted in drawing by hand. There’s something emotional and deeply personal about creating with pen and paper—it fosters a kind of connection to your work that digital methods don’t always recreate. Even a simple line drawing can be inspirational.

Although digital tools are fast and essential in today’s creative industries, I feel that something valuable is lost when the tactile joy of making by hand is massively reduced. I believe it’s worth finding ways to keep analogue methods alive in my sessions, even in small ways. Not only do they ignite creativity, but they also encourage students to think more deeply about their work and connect with it on a meaningful level.

Thinking deeper:

How can we effectively balance the need for digital skills with preserving the tactile and creative processes of analogue methods?

Reference:

Michelle Salamon, (2018) ‘Drawing laboratory: Research workshops and outcomes’, Spark: UAL Creative Teaching and Learning Journal, 3(2), pp. 131–141.

Workshop 1A Reading Activity: Arts Pedagogy

TTP

‘The New Life’: Mozambican Art Students in the USSR, and the Aesthetic Epistemologies of Anti-Colonial Solidarity – Polly Savage

Thoughts

My Reflections on Soviet Support and Ideological Influence

I think the Soviet Union genuinely intended to support anti-colonial movements, but their approach carried with political purpose. While they offered educational opportunities to African students, these efforts aligned closely with their own political ideologies. It was a strategic move on, they appeared to support liberation, but at the same time, they actively promoted their communist values. This had the intention of overshadowing local African aesthetics and cultural identities.

When I think about the environment the students were in, it must have been extremely challenging for them to express their own cultures without limitations. Even if they tried to involve elements of their own heritage, it could still be seen as fitting into the Soviet ideological framework. While the Soviet Union provided African students with educational opportunities, these came with ideological expectations. As Savage (2023) explains, “Presupposing superior knowledge and technology, Soviet narratives framed the USSR as the noble benefactor, the teacher, and Africa as the grateful recipient.” (p. 1080). This reflects how Soviet institutions subtly reinforced their own ideological and artistic values, sometimes at the expense of students’ individual or cultural expression. If they openly acknowledged their cultural influences, it might be interpreted as agreement with the Soviet perspective.
However, if they chose not to highlight their culture, it might be seen as lacking confidence in their own identity.

In some ways, this could be seen as a form of ideological colonization. Instead of encouraging African students to fully embrace and develop their own traditions.

Reference

Polly Savage (2023) ‘The New Life’: Mozambican Art Students in the USSR, and the Aesthetic Epistemologies of Anti-Colonial Solidarity.’, Art History, 45(5), pp. 1076–1097. Available at: https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12692 (Accessed: 11 March 2025).