Daphne Bikker PG Cert

Assessment and Feedback

Assessment and feedback form part of my key responsibilities as a design lecturer. I approach these as opportunities to nurture growth, encourage reflection, and support each student’s creative and professional development. I deliver both formative and summative assessments across all year groups, accompanied by constructive verbal and/or written feedback.

UAL Assessment Criteria

UAL (2019). New Assessment Criteria. [online] UAL. Available at: https://www.arts.ac.uk/students/stories/new-assessment-criteria3. (Accessed on 13 March 2026)

My feedback is closely aligned with UAL’s assessment criteria and the unit learning outcomes (UAL, 2022). This helps students to understand how their work relates to the required standards and enables them to work strategically towards achieving the highest possible grade in their summative assessment. At the same time, I aim to ensure that feedback reflects professional standards, practical scenarios, and workplace practices. In doing so, the knowledge and experience students gain are not only academically relevant but also professionally applicable.

Formative Feedback

Formative feedback is delivered through both one-to-one tutorials and group sessions. In group settings, I encourage students to provide constructive feedback to one another, emphasising that peer contributions hold equal value to my own and that “there is no hierarchy in the exchange of ideas” (Higgs et al., 2012). As Ken Robinson and Lou Aronica (2009, p. 238) note, “Children learn best when they learn from each other and when their teachers are learning with them.” Although this example refers to primary education, the underlying principle of collaborative learning can be applied equally to higher education.

While some students participate confidently in peer feedback, others require guidance, prompts, and encouragement. Factors such as social anxiety or shyness may act as barriers to contributing to group discussions. Additionally, some students may feel reluctant to contribute if they are uncertain whether their feedback will be meaningful or valuable. This uncertainty can limit participation and reduce the potential learning benefits of peer feedback activities.

It may be necessary to provide alternative forms of participation that reduce the pressure of speaking publicly. As discussed in my Reflective Blogpost 1, incorporating multiple modes of engagement, such as written comments, small-group discussions, or anonymous digital/analog responses, may help create a more inclusive environment for feedback exchange. Providing scaffolding for peer feedback can support students in developing confidence and evaluative judgement over time.

Tutorial Record Sheet

Bikker, D. (2026) Tutorial Record Sheet [Photograph]

Alternative Forms of Peer Feedback

During a recent formative assessment, one alternative form of student participation was trialled. Students were asked to complete a tutorial record sheet alongside one filled in by the tutors. The aim was for students to document their responses to their classmates’ projects. This approach had some positive impact, as it helped to visualise the feedback being given. However, it did not fully succeed in encouraging participation from all students. On reflection, the process may have felt too formal, which could have added too much pressure and discouraged some students from engaging actively in giving feedback.

To address this, a more informal and interactive feedback method could be introduced, such as the one exercised during our micro-teaching session where participants wrote down their feedback, anonymously, on sticky notes. This approach could lower the barrier to participation, encourage quicker responses, and can make the feedback process feel more conversational and less formal.

Such strategies align with the concept of dialogic feedback, which emphasises feedback as an interactive process that supports student engagement and learning rather than a one-directional transmission of evaluation (David Carless & David Boud, 2018). Encouraging students to actively participate in feedback processes can help them develop evaluative judgement and a deeper understanding of quality in their own work.

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References

Carless, D., & Boud, D. (2018). The development of student feedback literacy: enabling uptake of feedback. Assessment & Evaluation in Higher Education, 43(8), 1315–1325.

Higgs, J. et al. (2012). Practice-Based Education: Perspectives and Strategies. Sense Publishers

Robinson, K. and Aronica, L. (2009). The Element: how finding your passion changes everything. Penguin.

UAL (2022). Assessment and marking criteria. [online] Available at: https://www.arts.ac.uk/study-at-ual/course-regulations/assessment [Accessed: 13 March 2026]

Practice-Based Education

As part of my commitment to preparing students for successful professional lives after graduation, I place a strong emphasis on practice-based learning that places students in real-world (or closely simulated) occupational contexts. Higgs (2011, cited in Higgs et al. 2012, p. 4) list the following key theoretical foundations suggesting that as an educational strategy, PBE [Practice Based Education]:

• is situated within practice-relevant contexts
• involves reflexivity, participation and dialogue
• occurs in many communities of practice (including workplace, academic, multidisciplinary communities)
• involves a process of socialisation into professional/occupational worlds, roles, identities and career paths
• involves engagement, through industry partnerships, in practice-based teaching and learning activities
• develops capabilities and behaviours that will enable graduates to contribute to local communities and society as responsible citizens and professionals who display ethical conduct and duty of care

Aliens and Avatars

Camper, (2018). Aliens and Avatars. Available at: https://www.camper.com/en_GB/content/history (Accessed 11 March, 2026)

Camper Workshop

One of the learning activities I have organised in collaboration with an Industry partner is an extracurricular intensive 5-day workshop together with Spanish Footwear brand Camper, for selected final year students, recent graduates and alumni of the BA (Hons) Cordwainers Footwear course. The brief was to reimagine a new feminine direction for the brand through research, experimentation, and prototyping. The objective was to give students the experience of working for a current, operating (and rather successful!) brand. For Camper the workshop served as an opportunity to identify and connect with emerging design talent for potential recruitment.

Workshop Poster

Camper, (2024). Workshop Poster [Poster]

The designers from Camper and I worked together in delivering tutorials for the students. We also worked together with a footwear technician, specialised in pattern cutting, who supported the students with the experimentation and prototyping process. At the end of the workshop, students presented their development and final outcome, and one candidate was invited to attend a 5-day workshop hosted by Camper at their headquarters in Mallorca.

Camper Presentation

Bikker, D. (2024) Camper Presentation [Photograph]

An important focus was maintaining a pace that reflects real-world industry standards. In contrast to academic settings, where students are often given extended timelines, this project emphasized working efficiently and meeting tighter, industry-relevant deadlines.

Considering this, one key feedback I received from the Camper team was that the participants strived for perfection, aiming to produce mock-ups or prototypes that appear polished and meticulous. I assume that this tendency is somewhat driven by academic assessment criteria, which place strong emphasis on the appearance of the final outcome. The criterion of ‘Realisation’ is described on the UAL website as followed:

‘Realisation: the work you create and how this reveals what you’ve learned. It’s taking a look back and evaluating the work you’ve produced.’ (UAL, 2022)

However, in professional practice, the visual perfection of a mock-up or prototype is often secondary to its ability to effectively communicate the core design concept. Functionality, clarity of intent, and speed of iteration are typically prioritised over flawless presentation.

Reflecting on this, I have recognised the importance of helping students shift their mindset from perfectionism to purposeful communication. Going forward, I will be more intentional in reinforcing that prototypes are tools for exploration and dialogue, rather than finished products. This shift will not only align more closely with industry expectations but will also encourage students to work more fluidly, take creative risks, and build confidence in communicating ideas at all stages of development.

Work by Eva Hau

Camper, (2024) Work by Eva Hau [Photograph]

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References

Higgs, J. et al. (2012). Practice-Based Education: Perspectives and Strategies. Sense Publishers

UAL (2022). Assessment and marking criteria. [online] Available at: https://www.arts.ac.uk/study-at-ual/course-regulations/assessment [Accessed: 10 March 2026]

Drawing Workshop

During the first weeks at college, first year students are introduced to sketching footwear through a series of four 3-hour workshops. I have designed and delivered these sessions to give students a foundational understanding of how to communicate their ideas visually, regardless of their prior experience or skill level. The focus is on building confidence and equipping them with the basic tools and techniques, such as proportion, perspective, shading, colour, and material representation. I also share practical tips and shortcuts to help them more easily and efficiently translate their ideas into effective 2D sketches.

Sunday Sketches

Bailey, D. (2015) Sunday Sketches [Digital Design] Available at: https://www.behance.net/gallery/24118995/Sunday-Sketches

Each session combines short lectures, supported by illustrative digital presentations. I am aware that most of my students, if not all of them, are visual learners and I make sure to include visual examples of the material that I am teaching to help promote understanding (Dewey, 1938). Each lecture is followed by hands-on exercises that allow students to immediately apply and test their knowledge. I apply an active learning method that ‘provides the environment and opportunities for students to build knowledge and understanding of a subject for themselves’ (University College London, 2016, p. 2).

Air Max 1

Hatfield, T. (1986) Air Max 1 [Drawing] Available at: https://www.nike.com/gb/a/air-max-1-history

For the past three years, I have delivered these workshops, continuously refining and improving them each year based on student feedback, personal observations, and ongoing professional development. One such improvement involved efforts to decolonise the curriculum, a concept I explored more deeply through UAL’s Anti-Racism eLearning Module. In one of my presentations, I introduce students to different sketching styles by well-known footwear designers: Manolo Blahnik, Sophia Webster, Tinker Hatfield to name a few. The Anti-Racism module prompted me to critically reflect on the content I present, ensuring it meaningfully represents a broad spectrum of voices, perspectives, and design practices. Through this process, I realized that the examples I had used highlight a narrow and largely homogeneous group of designers, one that does not reflect the diversity of my students or the wider design community. In curating the content, adding work by Salehe Bembury for example, I have made a conscious effort to include a diverse range of designers across gender, race, age, and background as part of my commitment following UAL’s Anti-Racism Action Plan (UAL, 2021, p.11).

Salehe x Crocs

Bembury, S. (2021) Salehe x Crocs [Drawing] Available at: https://x.com/andscape/status/1438607120551710736?lang=ar

I am mindful to keep each section of the sessions brief and keep to a maximum of 30 minutes for each exercise. I also include a short 20 min break in the middle for the students to recharge, maintain focus and avoid information overload. This approach is particularly beneficial for neurodiverse students, who may find it challenging to concentrate for extended periods of time. I have found that breaking the content into manageable segments helps sustain engagement and supports more effective learning for all students. Occasionally, students are unable to complete the practical exercise within the allocated class time. In these cases, I offer them the opportunity to finish the work at home and present it during the following session. For students who feel uncomfortable presenting in front of the class, I offer the option of a one-to-one discussion where we review their progress and final outcomes together. Students have expressed appreciation for this alternative, particularly during the early weeks of the course when they are still adjusting to a new environment and getting to know classmates. With this flexibility I help to create a supportive and inclusive learning environment, while still maintaining individual accountability and encouraging reflection.

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References

Dewey, J. (1938). Experience and education. New York, NY: Macmillan.

UAL (2021). Anti-Racism Action Plan. [online] Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0032/296537/UAL-Anti-racism-action-plan-summary-2021.pdf [Accessed: 28 Feb. 2026]

University College London (2016). Active Learning. [online] Available at: https://www.ucl.ac.uk/teaching-learning/sites/teaching-learning/files/20161207-ucl-active-learning-v4.pdf [Accessed 28 Feb. 2026]

Dutch Clogs

Bikker, D. (2026) Dutch Clogs [Photograph]

Designing the session

Designing my microteaching session coincided with planning a session for my students on ‘Object-Based Learning’ (OBL). I decided to use the microteaching session as a pilot to test the method and identify any adjustments that might be needed. The subject I had chosen for my OBL session was Dutch Clogs. This topic was arguably cliché, given my specialism in footwear and my Dutch heritage; however, rather than shy away from the subject, I deliberately leaned into it. In my teaching practice, I often draw on my own cultural background to foster a more open and authentic learning environment, and to reduce hierarchical distance between myself and my students. In pedagogical terms, this approach aligns closely with Geneva Gay’s concept of Culturally Responsive Teaching (Gay, 2018), which emphasises the importance of integrating cultural knowledge and lived experience into the learning process.

Session Plan

I had organised the OBL exercise in my microteach session into three sections, according to the method by Jules Prown, as explained in the guest lecture by Dayna Tohidi (n.d.): Description, Deduction and Hypothesis. Having two pairs of Dutch clogs in the middle of the table, one adult size and new, and one kid’s size and worn, I encouraged my peer group to observe, hold and smell the objects and even trying them on.

Trying on Clogs

Harris, T. (2026) Trying on Clogs [Photograph]

This started energetic description and discussion amongst my peers whilst passing around the 4 clogs.

Clog Discussion

Miller, S. (2026) Clog Discussion [Photograph]

During the following Deduction section, more of the context of the Dutch Clog was discovered and the Hypothesis section prompted many scenarios regarding the historical, social and geographical context of the clog. After this session, I showed visuals on screen that illustrated and grounded these hypotheses. 

Peasants Planting Potatoes

Van Gogh, V. (1884) Peasants Planting Potatoes [Painting] Available at: krollermoller.nl

The concluding slide prompted discussion about the current state of the clog (see below image) and its potential evolution beyond its reputation as ‘old-fashioned’ footwear.

Klompen

Welkoop (2026), Klompen. Available at: https://www.welkoop.nl/kleding/schoenen/klompen (Accessed: 31 January 2026)

Learning Outcomes

The two main learning outcomes that I was aiming for with this session were: 

• To critically engage with the materiality, function, and cultural significance of an object.
• To foster a deeper understanding of how objects reflect historical narratives, social values and cultural identities.

As an exercise for footwear design students, these learning outcomes aim to develop their critical and analytical thinking, enabling them to design thoughtfully and responsibly for the future.

“Reverse engineering the learning”

The feedback I received from my peers was positive and encouraging. One comment that particularly resonated with me was the observation that I had been “reverse engineering the learning”. I had not consciously framed my approach in this way; however, upon reflection, this description surprisingly captures my process quite accurately. Although my approach was intuitive, the feedback helped me recognise that my planning was more intentional than I had assumed.

Microteaching Feedback

Bikker, D. (2026) Microteaching Feedback [Photograph]

Reflection

In practice, the Description and Deduction section blended together, which resulted in a more natural form of discussion. Whilst having conversations with each other, we could analyse each other’s findings at the same time. 

I was most apprehensive about how the observation and dialogue would unfold. I worried that there might not be enough participation to generate meaningful observations and subsequent analysis. Fortunately, during the session, my peers were highly engaged and eager to discuss their findings. I anticipate that in a session with students, I may need to provide more prompting to help unpack observations and guide analysis. I will plan for this in my student session.

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References

Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice (3rd ed.). Teachers College Press.

Tohidi, D. (n.d.) Introduction to Object-based Learning. UAL PG CERT Object-based Learning Slide deck. Available at: https://ual-moodle-sitedata.s3.eu-west-2.amazonaws.com/e7/ca/e7ca102a17330b6e25da9503fc1083d57fb6da62?response-content-disposition=inline%3B%20filename%3D%22Introduction%20to%20Object-based%20Learning%20-%20slide%20deck.pdf%22&response-content-type=application%2Fpdf&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA2PCH3OG65JHUZNKL%2F20260207%2Feu-west-2%2Fs3%2Faws4_request&X-Amz-Date=20260207T114854Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21546&X-Amz-Signature=dafe92eea9bd7da52cfa43e7dfdb32efcfd40f1e7cf10aef81ac6b6f49857499 (Accessed at: 07 February 2026)

As part of the PG Cert ‘Theories, Policies and Practices’ unit, we are tasked with delivering a short microteach session using ‘Object Based Learning’. I had come across the term ‘Object Based Learning’ earlier through a colleague who was very enthusiastic about it. This colleague had finalised the PG Cert program earlier and wanted to integrate it into our course curriculum. I had started reading into it and discovered that “Interaction with artefacts deepens students’ learning” (Schultz 2012, p.185).

For this reason, I was looking forward to the guest lecture by Dayna Tohidi on Object-based Learning. Dayna introduced Object Based Learning as “an active and experiential pedagogy that supports the student experience of learning through objects” (n.d.). She also introduced several frameworks, most notably, for me, the framework by Jules Prown. I was drawn to Prown’s method because of the simplicity of its three stages: Description, Deduction, and Hypothesis. As object-based learning is still relatively new to me as an educator, having a clear and accessible structure made me feel more confident experimenting with this approach in my teaching. 

Description

The framework starts with describing the object. I can imagine this being an accessible starting point for all students, allowing all learners to begin engaging with the activity regardless of their academic level or prior knowledge. By simply following their senses, students can gather a rich amount of information through careful observation.

Deduction

This is where the exercise starts to become less descriptive, and more interpretive, where students can draw their own conclusions based on their own observations. Rather than aiming for “correct” answers, emphasis could be placed on reasoning and justification, allowing room for different personal interpretations.

Hypothesis

At this stage, speculation can give way to imaginative thinking and creativity, where students can explore broader meaning and contexts surrounding the object. Particularly as an exercise for design inspiration, this approach could lead to meaningful outcomes.

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References

Schultz, D. (2012) Three-dimensional learning: exploring responses to learning and interacting with artefacts. In: Jandl, S.S. and Gold M.S. (eds.) A handbook for academic museums, exhibitions and educators. Edinburgh: MuseumsEtc

Tohidi, D. (n.d.) Introduction to Object-based Learning. UAL PG CERT Object-based Learning Slide deck. Available at: https://ual-moodle-sitedata.s3.eu-west-2.amazonaws.com/e7/ca/e7ca102a17330b6e25da9503fc1083d57fb6da62?response-content-disposition=inline%3B%20filename%3D%22Introduction%20to%20Object-based%20Learning%20-%20slide%20deck.pdf%22&response-content-type=application%2Fpdf&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA2PCH3OG65JHUZNKL%2F20260207%2Feu-west-2%2Fs3%2Faws4_request&X-Amz-Date=20260207T114854Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21546&X-Amz-Signature=dafe92eea9bd7da52cfa43e7dfdb32efcfd40f1e7cf10aef81ac6b6f49857499 (Accessed at: 07 February 2026)

During the first workshop of my PG Cert program, I came across the article by Harris (2022), Embracing the silence: introverted learning and the online classroom. I chose to read this text because I could identify with this category myself. Harris argues that “[the online classroom] presents immense transformational opportunities, which may lead to a more reflective and less pressured classroom pedagogy: one which is sympathetic to the (historically underacknowledged) needs of introverted learners” (Harris, 2022, pp. 101–104).

The offline classroom

This subsequently made me consider what this might mean for introverted learning in the offline classroom. After Covid, during which online teaching allowed students to turn off cameras and microphones, how can introverted learners be supported in face-to-face teaching?

When reflecting on my own teaching practice, I noticed that I enthusiastically try to encourage participation from all students. My main motivation is that such participation is also expected of future designers in industry, particularly when working in team-based environments. However, this expectation does not change the fact that active spoken responses can remain difficult for some students. This raises the question whether there are alternative ways in which students can meaningfully contribute, both in the classroom and in professional practice.

Forms of participation and contributions

An important aspect to consider is the need to broaden my understanding of what participation can look like. Active and immediate verbal responses represent only one form of engagement. In Universal Design for Learning, Meyer et al (2014) argue that meaningful participation can take multiple forms when learners are offered different ways to engage and express understanding. For example, encouraging asynchronous contributions, not only directed towards the teacher but also peer-to-peer, may create additional opportunities for reflection and deeper learning. Follow-up discussions outside scheduled class time may allow students to engage in their own time. This mirrors professional design practice, where collaboration does not occur exclusively in meetings and ideas are often developed individually before being shared.

Universal Design for Learning

Meyer, A., Rose, D.H. and Gordon, D. (2014). Universal Design for Learning: Theory and Practice. Cast Professional Publishing

Contribution could also take alternative forms, such as sketch-based exercises or visual responses. Removing the requirement to speak may lower the threshold for participation for some learners. Similarly, the use of multiple-choice questions or other structured prompts may make engagement more accessible by reducing the cognitive load associated with formulating an original verbal response on the spot. Such approaches align with Universal Design for Learning’s emphasis on providing multiple means of action and expression, recognising learner variability as a normal and expected aspect of the learning environment (Meyer et al., 2014).

Trust the Process

In my own practice, as a direct course of action, I could place less emphasis on verbal participation by all students and instead trust that participation can, and will, occur in alternative forms. This shift would allow me to better support diverse learning preferences while still preparing students for collaborative professional practice.

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References

Harris,K. (2022) Embracing the Silence: Introverted Learning and the Online Classroom. Spark: UAL Creative Teaching and Learning Journal / Vol 5 / Issue 1. Available at: https://sparkjournal.arts.ac.uk/index.php/spark/article/view/161 (Accessed: 7 January 2026)

Meyer, A., Rose, D.H. and Gordon, D. (2014). Universal Design for Learning: Theory and Practice. Cast Professional Publishing

Welcome to my PG Cert blog. My name is Daphne and I am a footwear design lecturer on the BA (Hons) Cordwainers Footwear course at the London College of Fashion. I have been connected to shoes for most of my life, studying, working and now teaching. I am also an alumni of the MA Footwear course at LCF.

I am undertaking the PG Cert course to further develop my professional knowledge, refine my teaching practice, and strengthen my pedagogical skills in order to become a more effective and reflective educator.