By integrating Analogue drawing into my Adobe/Illustrator sessions, my research addresses Social Justice principles, making digital learning more inclusive, equitable, and accessible.
I run the Layout and Adobe section for the ‘Introduction To’ unit across 4 courses, which is the first unit that Year 1 students take, at the beginning of their BA courses. There are over 100 students involved, so I have a lot of experience with this unit. I fully support the UAL policy regarding Inclusivity that students should not need to own a computer to complete their BA or MA course. However I have found that students want advice at this early stage about whether they need to have their own computer. I initiate an open discussion about this, starting with what devices the students currently use, and then promote a peer to peer discussion about how and what computers they use. It is a very reassuring way for students to feel comfortable about whether to own a computer, as they can see practical examples and advice from students who already own a computer. I want students to come to their own decision about owning a laptop, with information carefully unfolding that iPads don’t work with Adobe fully, that Industry uses Adobe, and that almost all students find it more convenient to be able to work outside college even though there are lots of Open Access computers in college.
I have found that most students either have an iPad or Apple laptop, with I guess around 5 percent having PC laptops. However there are always 4 or 5 students who don’t have either, and I am extremely careful not to make any students feel uncomfortable about owning a computer, emphasising that the Open Access computers are available, and that any financial outlay would be worth it for the whole of the course and beyond. I always offer my help to suggest ways to purchase computers, and I always mention the Student Hardship Fund; I am very careful to say that I am not addressing any particular student when I discuss these options, and I purposely look at the floor when discussing the Student Hardship Fund so no student feels I am looking at them in particular. Last time I had the discussion the students told me I had looked at the floor for long enough, they got the message and it was time to look at them again!
I am aware that it is an extremely sensitive subject, and I find promoting a peer to peer discussion about what and how students use computers is a very reassuring way for students to feel comfortable about whether to own a computer.
In the future I think it would be very worthwhile to explore this further, by objectively measuring anonymously what devices students start with, and what they finish with by the end of the BA course. My experiental guess is that almost all students have an Apple Macbook Pro at the end of their courses.
So I try to address the Social Justice aspect of Digital Equity by enabling all students to find a way to own a computer if they want.
Apart from Graphic Layout, the other part of my work in this unit is teaching basic Adobe skills, and this is where I hope Analogue Drawing is relevant for Inclusivity, to show that being creative does not depend on spending money on computers. I want my sessions to involve more than software mastery, to include confidence building and creative engagement with digital tools. By starting with Analogue drawing as a scaffold, I hope that students gain the foundational skills and confidence to engage effectively with technology, ultimately fostering greater participation, equity, and inclusion in digital learning environments.
- Student Inclusion
Student inclusion ensures that all students feel valued, especially those who may feel excluded due to background, experience, or language barriers. Analogue drawing offers a ‘low-barrier entry point’, allowing students of varying digital skills to engage in a shared, collaborative activity that values ‘process over perfection’, creating an environment where everyone can participate confidently. This approach fosters equitable participation in the session, including the Digital activities. - Digital Equity
Digital equity is the fair access to technology and digital skills for full participation in University life. I draw on Fraser and Honneth’s dialogue in ‘Redistribution or Recognition?’, which explores the interplay between ‘economic justice’ (redistribution) and ‘cultural justice’ (recognition). As they argue, “Justice requires both the fair distribution of material resources and the recognition of cultural identities” (Fraser and Honneth, 2003). Fraser’s concept of redistribution focuses on addressing material inequalities like ‘affordable access to technology’ and ‘digital literacy’, while Honneth highlights the need for ‘cultural inclusion’ in digital spaces. This dual approach aligns with ‘digital equity’, addressing both ‘structural inequalities’ in access and ‘social injustices’ in digital representation. By providing ‘equal access to digital resources’ and recognising diverse ‘digital identities’, we aim for ‘inclusive participation’ and ‘cultural recognition’ in digital spaces.
In my research, ‘digital equity’ involves bridging gaps in digital experience, offering ‘Analogue drawing’ as a starting point. This allows students to build confidence before engaging with digital tasks. I’ve observed that while talented students often excel in design and layout, they may lack digital skills. By teaching them to transition from Analogue sketchbooks to simple digital PDF submissions, I help them build the foundational skills necessary for more advanced digital work.
- Digital Literacy
Digital literacy encompasses more than just technical skills; it includes the confidence and ability to navigate digital environments. Vygotsky’s concept of ‘scaffolding’ (1978) is useful, emphasising structured support to help students build new skills within their zone of proximal development (ZPD). In my sessions, Analogue drawing serves as a scaffold for digital skills, allowing students to practice design concepts before using Adobe Illustrator. As Vygotsky states, “What a child can do with assistance today, she will be able to do by herself tomorrow” (Vygotsky, 1978). This allows students to develop foundational skills in drawing, which they can later transfer to digital tools with initial support. Over time, as students become more confident, the scaffolding is gradually removed, fostering independence. As Vygotsky also notes, “The teacher must provide a support system that gradually helps the learner acquire the skill” (Vygotsky, 1978). This gradual reduction of support allows students to move beyond their current skills and develop new abilities. - Sustainability
Incorporating sustainability into the project, I use discarded 3 metre wide rolls of background paper from the BA Illustration department and photographic studio for drawing activities. This practice supports both environmental sustainability and collaborative learning, reinforcing the value of creative, resourceful approaches in design education.
Fraser, N. and Honneth, A., 2003. Redistribution or Recognition? A Political-Philosophical Exchange. Verso.
Vygtsky, L. S. 1978. ‘Mind in Society: The Development of Higher Psychological Processes’ Cambridge, MA: Harvard University Press.