Portfolio Project:

Sheltered History of Graphic Design

Trends and Issues in Instructional Design / Jill Ballard

PROJECT PROPOSAL
Project Title
Sheltered Graduate History of Graphic Design, for Intermediate to High-intermediate
English Language Learners
Sponsoring Organization
Art and Design University / MFA Graphic Design
Fully accredited, the Art and Design University offers no-barrier admissions to
students worldwide, both through traditional classroom and online degree
programs, taught by industry professionals. The MFA Graphic Design program seeks
to prepare students in communication strategy and aesthetics for a solid entry to
the competitive field.
Project Description
Studying the history of graphic design at the graduate level is often challenging for
international students who also are taking English language classes concurrently.
The Art and Design University offers a unique opportunity for students at the
intermediate to high-intermediate English language level to take one to two
graduate classes per semester in addition to their English course. This is usually
possible in the form of art studio courses depending on the graduate major.
However, for the MFA Graphic Design, this single course option is the History of
Graphic Design, a mainstream course whose expectations are beyond the students
linguistic capacity. In addition to language, due to the large percentage of Asians
students, the additional challenge of teaching some western historical context to
support the design artifacts also exists. To address this specific need onsite, a
special course has been developed for these ESL students, which offers the same
core content as the mainstream class, using an adaptation of the SIOP method to
make the content more accessible. Such adaptations include parsing out writing
assignments into smaller deliverables (not long research papers), reiteration of
content points, summarizing points to help students more easily compare and
contrast, and focusing on language learning as an integrated learning outcome,
such as it is employed in ESP contexts. With the success of this onsite class,
developing an online sheltered course is also needed for this specific student group
who are matriculating as hybrid online/onsite students or solely online.
Based on these goals, the opportunities of creating this online class include:
More accessible history of graphic design content for English language
learners at the graduate level.
Writing and speaking tasks appropriate to this language level while holding
high standards of intellectual involvement and critical thinking.
Better, more authentic opportunities for English language use and language
development.

Aim
Promote the academic success of hybrid and online only graduate ESL students in
graphic design by offering the sheltered History of Graphic Design course within the
online program.
Target Audience
Graduate ESL students at the intermediate to high-intermediate language level in
the MFA Graphic Design program.
Delivery Options
This course will be delivered online to offer an asynchronous option for hybrid and
online only ESL students.

FRONT-END ANALYSIS: INSTRUCTIONAL NEED

Instructional Need
With the success of the onsite sheltered graduate History of Graphic Design course,
adapted from the mainstream class for this same target student population
(intermediate to high-intermediate language learners), there is evidence that these
students have benefited from instructional intervention. Prior to its development,
the mainstream course had had years of negative feedback from ESL students, and
some associated faculty, regarding its language level falling outside this student
groups abilities (academic writing expectations, level of spoken English in lectures),
a lack of western historical/cultural background to apply to the course content, and
a resulting lack of confidence developed when struggling through the mainstream
material. The onsite, sheltered course was developed to address these issues, while
at the same time maintaining a graduate level of critical engagement. This course is
at the end of its second year running, with eight full sections taught to date. From
these sections, evidence of success addressing this problem has come in the form
of student evaluations, teacher observations, course oversight via the universitys
Faculty Development department, as well as feedback from subsequent MFA graphic
design course instructors whose later courses rely on students having solid
understanding of graphic design history. However, the need for an online version of
this onsite class certainly existsthere are often hybrid students who qualify for the
onsite sheltered course section, but end up taking it online due to the onsite
section(s) reaching capacity. Also, as the online university continues to increase its
international student population, there will be a clear need for this class exclusively
online students in MFA graphic design.

FRONT-END ANALYSIS: LEARNER CHARACTERISTICS

Learner Analysis
Primary Audience (this class is mandatory for students at this level)
Intermediate English language learners, ESL603 level, at the beginning of
their graduate graphic design MFA program.
Secondary Audience (this class is recommended, but not required, for students at
this level)
High-intermediate English language learners, ESL604 level, at the
beginning of their graduate graphic design MFA program.
High-intermediate English language learners, ESL604 level, at the
beginning of their graduate MFA programs in another major, taking the
class as an elective.
General Learner Characteristics
Age: 2230
Gender: 60% women, 40% men, on average. Each semesters courses will
have specific different ratio depending incoming students.
Education: bachelors degree from a college or university in their countries
of origin.
Countries of origin: 67% Chinese, 14% Taiwanese, 9% Asian other (Thai,
Korean, Vietnamese), 8% Indian, 2% other (including Brazilian, Saudi,
Italian, Armenian, etc.) on average.
English language level: Intermediate to high-intermediate level using
TESOL English Language Proficiency Standards.
Work experience: 0 weeks to 3 years.
Physical strength: all are capable of lifting 20lb (except those with a
physical disability)
Entry Characteristics
All students taking this course must have taken and passed EAP602, lowintermediated English for Art Purposes, and have current standing within
the MFA Graphic Design program.
Most are somewhat familiar with undergraduate class expectations, in
writing and speaking production.
Most have some understanding of English language use expectations for
MFA content courses, including reading and listening, and writing and
speaking production.
Most have some level of understanding about western (US) academic
university expectations, including classroom discussion, note-taking,
group work, and independent research and critical thinking.
Attitudinal and motivational characteristics:
All recognize that this class is a required foundational course for their MFA
degree, and will want to succeed to receive academic credit.
Many students are highly motivated to participate in their first MFA credit
course, after having taken many ESL classes to develop their English
Language skills.

Some students may perceive this class as somewhat easier than the
mainstream GL615 History of Graphic Design course.

Prior experience:
Most students have some level of graphic design history exposure prior to
taking this class.
Most students have written academic papers, engaged in research, and
have had experience studying an art history subject in a higher ed
context.
Contextual Analysis
Orienting context
Student goals:
All students must pass this course to satisfy a core requirement in their MFA
graphic design program, which is a primary goal for taking the class.
Student perceptions of utility of instruction:
Many students perceive this course content to be foundational to their study
of graphic design at the graduate level.
Some students recognize the need to reference historical styles, designers,
and time periods as a context for their own studio work.
Student perceptions of accountability:
All students recognize the need to do sufficient work to pass this class
successfully.
Some students with a background in the graphic design field, with either an
undergraduate degree or work experience in the industry, may not recognize
the importance of the course content to their MFAand may not give it the
requisite focus and attention it requires.
Some students may not recognize the rigor of the course and its academic
expectations due to differences in university academic expectations between
the US and other (primarily Asian and Indian) academic contextsand may
not perceive it to be as important as their studio course work.
Instructional context
As an online course, this class will be asynchronous with each module
launching on Saturday morning and completing Friday night, 11:59 pm, PST.
The course will begin and continue for 15 weeks, offered in fall and spring
semesters, and in summer, for 7.5 weeks in condensed form.
Lighting should be variable to the students preference, but must be sufficient
to allow reading, writing and computer navigation within the home or other
offsite context.
Ambient noise must be kept to a minimum to allow interaction with the online
module, including presented readings and videos, as well as allowing for
independent writing and research for assignments outside the online module
context.
Temperature is variable to the students preference, but must not interfere
with the students interaction with the online module or their independent
assignment work.

Seating should be comfortable, to the each students preference, to allow the

student to access the class modules via the online environment.
Any physical accommodations for student access to the online course and/or
associated assignment work should be made by the student; the course will
be accessible off-site only.
For equipment, students will need a working computer, reliable Internet
access and a comfortable place to work, presumably including a surface or
table area and chair. Students will need to have access to a web browser and
word processing and PDF reader applications.
Students will not need to arrange transportation for this course; it is offered
offsite only.

Technology inventory
Beyond the equipment expectations stated earlier, students must have
general computer literacy, including:
a working knowledge of the web, the ability to use a web browser
a working knowledge of word processing, email and PDF reader
applications
the ability distinguish and use different file formats, including document,
PDF, image, video, and audio files.
It is not required, but access to a printer would be helpful for printing longer
readings published online.
Transfer context
The course offers students an historical basis of their industry from an
academic perspective to serve as a foundation for subsequent work in their
MFA program. The course also offers consistent opportunities to relate its
material to their MFA course work to come, as well as broadly, to the
professional graphic design industry.

INSTRUCTIONAL IMPACT BASED UPON LEARNER CHARACTERISTICS

Application of Learning Theories
Overall, most learning theories Ive studied to this point have had some useful
application to my proposed course. For academic learners, I expect to use a
combination of behavioral, social and cognitive learning theories, since these fit this
audience and work together in a complementary fashion. Social learning theories in
particular are a clear choice due not only to research underpinning the theories, but
also from my experience with my projects target audience, program-start graduate
ESL students. This set of learners fit the adult learner category, but also is often
immature in regard to US higher educational norms coupled with their English
language development level. To this point, since this proposed course may most
learners first academic course within a US university context, constructivist
discovery learning theory could play a useful role for the proposed courses primary
objective, graphic design history as well as language learning, a secondary
objective, in terms of moving forward in ambiguity, referencing their own
background and understandings to find solutions to academic (and language-based
issues) challenges.
Application of Motivational Theories
As much as possible in classes Ive taught, I endeavor to develop intrinsic
motivation with all learners, yet I know most learners arent deep learners in
regard to learning styles. Often, this has required relating the course material to
concerns beyond its scope, where I know students have strong interest or goals. For
example, within the graduate ESL composition classes Ive taught, Ive related the
academic writing forms (response and essay forms) theyre learning to later
authentic writing forms that theyll encounter within their MFA program and the
broader communication design field. For my proposed course, this student audience
will most often fall into the surface learner category, more often motivated by
worry about passing the class (extrinsic fear of failure) than engaging whole
heartedly with the material. However, with this in mind, I plan to incorporate an
intrinsic motivation model to facilitate learners to engage with the material itself,
for its importance to their own success professionally, by using activities that
stimulate and give students some level of personal control. Although these are
graduate students, for many reasons this particular group of students often dont
have the graduate level of motivation they need to take hold of the material from
personally driven perspective. This may become one of the expected objectives of
the course since it seeks to develop students academic skill sets in addition to the
core topic, graphic design history.
Impact of a Diverse Audience on Instruction
The nature of this course is to reach an extraordinarily diverse group of students, in
terms of their native cultures and language bases, as well as their level of English
acquisition. Because of these variances, the mainstream History of Graphic Design
course has been determined to be overly challenging, primarily due to their
language level rather than their cultural differences. (In truth, most mainstream
onsite classes are up to 90% in international student population; mainstream online
courses have a higher domestic student population, usually the reverse of onsite, at
about 90% domestic, 10% international.) Rather than assuming a homogenized

audience, this online course assumes a diverse audience from the beginning and
seeks to reach this group by directly targeting its needs by sheltering the core class
content using the SIOP model.

TASK/GOAL/PERFORMANCE ANALYSIS
Goal Analysis
Aim restated: promote the academic success of hybrid and online only graduate ESL
students in graphic design by offering the sheltered History of Graphic Design
course within the Universitys online program.
Student goals:
Identify significant given artifacts and their designers of western graphic
design through history, 15,000 BCE though 2005 CE.
Identify design characteristics in graphic design artifacts according to style
and period.
Explain the historical context for given graphic design styles.
Research graphic design artifacts through history to find visually similar forms
between pieces.
Write from a personal perspective, analyzing individual thoughts about a
given concept or prompt relating to the current course material. (write a
response form paragraph)
Work together in small online discussion groups to explore a given concept or
prompt relating to the current course material.
Demonstrate management of their own graduate academic study process.

INSTRUCTIONAL OBJECTIVES
Project (Instructional) Goal
Students are able to identify significant given graphic design artifacts through a
broad range of history, and be able to explain style, historical context and
designers. Students are able to use critical thinking to engage academically with the
material from their own perspective.
Terminal Objectives and Enabling Objectives
Terminal Objective:
Students are able to identify significant given artifacts of western graphic design
history, from 15,000 BCE to 2005, by circling the correct answer on a multiple
choice test and/or naming individual artifacts as examples in written assignments.
(cognitive)
Enabling Objectives:
Given lists of significant graphic design artifacts for each historical module,
including the artifacts designers and specific page numbers from the textbook
Meggs History of Graphic Design, students are able to identify all listed images
from the materials. (cognitive)
Given the textbook Meggs History of Graphic Design, students are able to read
extended information related to the given artifacts historical context,
description and production. (cognitive)
Given lists of significant graphic design artifacts for each historical module,
students are able to recall all the referenced images from the lists later in both
assessments and as supporting information for class discussion and written
assignments. (cognitive)
Terminal Objective:
Given module content presentations and access to the textbook, Meggs History of
Graphic Design, students are able to identify key design characteristics in graphic
design artifacts according to style and/or historical period. (cognitive)
Enabling Objectives:
Given module content presentations and access to the textbook, students are
able to identify and describe visual characteristics for graphic design styles
within a historical period. (cognitive)

Terminal Objective:
Given visual research parameters, students are able to research and locate specific
professional graphic design artifacts through history to determine visually similar
motifs/styles. (cognitive & affective)
Enabling Objectives:
Students are able to perform visual research independently, using books,
magazines and Internet sources. (cognitive)
Students are able to recognize professional graphic design artifacts. (cognitive &
affective)
Students are able to recognize similarities in visual elements, including style,
period, composition, materials, processes, design elements and content.
(cognitive)
Terminal Objective:
Given a prompt relating to the current course material, students are able to analyze
and respond to the course content from a personal perspective in writing. (cognitive
& affective)
Enabling Objectives:
Given examples of the response writing form, students are able to write from a
personal perspective and use critical thought to analyze their perspectives about
the given concept or prompt. (cognitive & affective)
Given an intermediate level of academic English, students are able to write a
personal response paragraph. (cognitive)
Terminal Objective:
Given a prompt relating to the current course material, students are able to work
together in small online discussion groups to explore and analyze related concepts,
and relay them back to the class whole. (cognitive & affective)
Enabling Objectives:
Students are able to ask questions as needed to clarify discussion prompts as
needed. (cognitive & affective)
Students are able to develop shared perspectives in a small group related to the
given prompt. (cognitive & affective)
Students are able to summarize their group activity to share with others in the
class. (cognitive)
Terminal Objective:
Given an outline for graduate student success in the class, students are able to
demonstrate management of their own academic study process. (cognitive &
affective)
Enabling Objectives:
Students are able to interpret course assignment schedule, course assignments,
course grades and instructor feedback. (cognitive)
Students are able to develop questions about course content, expectations and
appropriate language usage for the instructor and the support instructor.
(cognitive & affective)

ENABLING OBJECTIVES MATRIX & SUPPORTING CONTENT

Title of the unit/module:
Sheltered Graduate History of Graphic Design, for Intermediate to High-intermediate
English Language Learners
Brief description of target audience:
Graduate ESL students at the intermediate to high-intermediate language level in
the MFA Graphic Design program.
Terminal objective:
Students are able to identify significant given artifacts of western graphic design
history, from 15,000 BCE to 2005, by circling the correct answer on a multiple
choice test and/or naming individual artifacts as examples in written assignments.
List pre-instructional strategy:
Behavioral Objectives

Enabling Objective
Given a list of significant
graphic design artifacts for
each historical module,
including the artifacts
style/historical periods,
designers and specific page
numbers from the textbook
Meggs History of Graphic
Design, students are able to
identify all listed artifact
images from the materials.

Level on
Blooms
Taxonomy
comprehensi
on

Learner Activity

Delivery
Method

Learners would master

this objective by
employing a group of
possible self-directed
study strategies including:

Group
presentation/
online module
presentation &
self-paced study.

Individual study.
Discussion with other
students, either one on
one or in groups to
clarify questions about
artifact information.
Bringing clarification
questions to the support
instructor and/or the
course instructor.

For each module,

in addition to the
presented
material, students
are also provided
a list of significant
graphic design
artifact titles for
that historical
context, including
designers and
page numbers
within the course
textbook, Meggs
History of Graphic
Design.

Given the textbook Meggs

History of Graphic Design,
students are able to read
and relate extended
information about the given
artifacts historical context,
description and production.

comprehensi
on

Learners would master

this objective by
employing a group of
possible self-directed
study activities including:

Self-study & small

group study.

Individual reading and

study.
Accessing outside
resources as
dictionaries, English
corpora, and research
via the Internet for
additional help with
unfamiliar vocabulary
and/or concepts.
Employing reading
strategies introduced in
the first module of
course instruction.
Discussing with other
students, either one on
one or in groups, to
clarify questions about
artifact information, and
relating its importance
to historical context,
technology or other
surrounding factors.
Bringing clarification
questions to the support
instructor and/or the
course instructor.

Given lists of significant

graphic design artifacts for
each historical module,
students are able to recall
the title, designer and style
of all the referenced artifact
images from the lists for
multiple choice
assessments.

comprehensi
on

Learners would master

this objective by:

Self-study & small

group study.

Successfully matching
artifact images with
titles, designers and
style/historical contexts
on course quizzes, in
multiple choice
questions.

(Quizzes and
midterm and final
exams presented
through online
module.)

Successfully matching
artifact images with
titles, designers and
style/historical contexts
on course assessments,
midterm and final
exams, in multiple
choice questions.

Given lists of significant

graphic design artifacts for
each historical module,
students are able to recall
the title, designer and style
of all the artifact images to
use as supporting
information for topic
analysis, in class discussion
and written assignments.

analysis

Learners would master

this objective by:

Self-study & small

group study.

Successfully noting
artifact images with
relevant information,
such as titles, designers
and style/historical
contexts, to support
personal analysis on a
given topic for a written
journal assignment.
Successfully noting
artifact images with
relevant information,
such as titles, designers
and style/historical
contexts, to support
group discussion
analysis on a given
topic.

Given lists of significant

graphic design artifacts for
each historical module,
students are able to recall
the title, designer and style
of all the referenced images
from the lists to use as
supporting information to
question prompts in class
assessments.

application

Learners would master

this objective by:

Self-study & small

group study.

Successfully recalling
knowledge about
given artifact images
with relevant
information.

(Midterm and
final exams
presented
through online
module.)

Successfully relating
and explaining
knowledge about the
given artifact images,
with relevant
information, to their
historical contexts in
written responses to
given topics in
midterm and final
examsfive to eight
sentences per topic.

This Job Aid, a checklist, a Checklist for Writing from a Personal Perspective
addresses this Instructional Objective: Given a prompt relating to the current course
material, students are able to analyze and respond to the course content from a
personal perspective in writing. (cognitive & affective)
Enabling Objectives:
Given examples of the response writing form, students are able to write from a
personal perspective and use critical thought to analyze their perspectives
about the given concept or prompt. (cognitive & affective)
Given an intermediate level of academic English, students are able to write a
personal response paragraph. (cognitive)

A Five Step Checklist for Writing from a Personal Perspective

Use this checklist to help you with writing assignments based on your perspective.
1. Confirm your understanding of the writing prompt.
Determine the context for your writingwhat historical period, style, or design
purpose is its focus?
Re-read the associated textbook chapter(s) and review your module presentation
and notes related to the prompt.
Discuss the writing prompt with other classmates for understanding.
Confirm your understanding of the writing prompt with the Support Instructor if you
are not clear.
2. Develop your thoughts about the prompt.
Explore your thoughts about the prompt broadly and make noteswhat did you
think about this topic when you first learned about it, either in the current course
materials or earlier in your experience?
Define a few specific ideas related to this prompt from your exploration and make
noteswhat is your general response to the prompts question?
Determine one point of view (opinion) about the prompt to begin writing.
3. Create a general outline for your writing.
State your single point of view in response to the prompt in either in a topic
sentence or a thesis, depending on the nature of the writing assignment.
Give your reasoning to explain your opinion in relation to the prompt.
Relate your own experience to support your opinion.
Determine a specific supporting example(s) to strengthen your opinion.
4. Write a first draft based on your development and outline.
Use the given assignment to determine the writing formis it a one paragraph
response, an essay or ?
Clarify the structure of writing form with your Support Instructor or Instructor you are
unclear about the assignment expectations.
Find examples of the writing form if needed from your Support Instructor or from
other sources.
Put your ideas on paperwrite your first draft.
Check for grammar and spelling mistakes.
Get feedback from other classmates and your Support Instructors before writing
another draft.
5. Write your final draft.
Synthesize and integrate important feedback received from your first draft, always
checking back to original
prompt question.
Discuss your ideas with others and/or the Support Instructor to clarify your point of
view in response to the prompt.

Write a second (or third, fourth) draft, which clearly states your opinion in response
to the prompt.
Check for grammar and spelling mistakes.
Submit your writing to the Instructor.

REFERENCES
Akbulut, Y. (2007). Implications of Two Well-Known Models for Instructional
Designers in Distance Education: Dick-Carey Versus Morrison-Ross-Kemp.
Turkish Online Journal of Distance Education-TOJDE, 8(2) Article 5, online.
Retrieved from http://files.eric.ed.gov/fulltext/ED496543.pdf
Clark, D.S. (2011) Bloom's Taxonomy of Learning Domains. Big Dog & Little Dogs
Performance Juxtaposition. Retrieved from
http://www.nwlink.com/~donclark/hrd/bloom.html
Clark, R., Chopeta, L. (2004). Graphics for Learning : Proven Guidelines for Planning,
Designing, and Evaluating Visuals in Training Materials. San Francisco: JosseyBass/Pfeiffer.
Culatta, R. Social Development Theory (Vygotsky). (2015). Retrieved from
http://www.instructionaldesign.org/theories/social-development.html
Culatta, R. Transformative Learning (Jack Mezirow) (2015). Retrieved from
http://www.instructionaldesign.org/theories/transformative-learning.html.
Dick and Carey Model. (2016) Retrieved from
www.instructionaldesigncentral.com/#!instructionaldesignmodels/ys2pz
Forest, E. (2016) Kemp Design Model. Instructional Technology (in Frameworks and
Theories). Retrieved from http://educationaltechnology.net/kemp-design-model/
Kemp Design Model/Instructional Design Models. (2013). Retrieved from
www.instructionaldesign.org/models/kemp_model.html
Lee, H. & Lee, S. (1996) Dick and Carey Model. Retrieved from
www.umich.edu/~ed626/Dick_Carey/dc.html
McLeod, S. (2012) Zone of Proximal Development. Retrieved from
http://www.simplypsychology.org/Zone-of-Proximal-Development.html
Social Development Theory (Vygotsky). (2005-2016) Retrieved from
http://www.learning-theories.com/vygotskys-social-learning-theory.html
Taylor. Transformative Learning Theory An Overview. (n.d.). Retrieved from
http://www.calpro-online.org/eric/docs/taylor/taylor_02.pdf

Transformative Education. (2012) Retrieved from

https://www.ius.edu/diversity/files/transformative-education.pdf.