Portfolio Project

EDUC 765: Trends and Issues in Instructional Design

By: Camille Andreacchi

Updated 10/16/2016
Project Proposal – Module 2

PROJECT TITLE: MAPPINGS; EXPLORING NEW TERRITORIES IN THE CREATIVE PROCESS

Course: New Mappings: Exploring New Territories in the Creative Process

Unit 1: Overview and Self-Inventory
Samples and Discussion
Drawing Exercise
Writing Exercise
Homework Assignment: Questions and Discussion

Unit 2: Compare/Contrast Presentations

Discussion/Questions
Final Exercise

For this portfolio project, the focus will be on Unit 1: Drawing Exercise

SPONSORING ORGANIZATION
Marin Museum of Contemporary Art, San Rafael, California
Members Outreach Program

PROJECT DESCRIPTION
What proves to be both endearing as well as provocative in all our lives is the tendency to rely on past experience, tried and
true methods, and even areas where we have found success and recognition as the basis for current decisions. Most of us rely
on tested routines and tried approaches for the execution of ideas and chores. To some extent, we all share in this love of
predictability and the semblance of safety, but artists are particularly vulnerable to the negative consequences of this type of
decision making process as it keeps them producing the same type of art year in and out. The aim for this instruction is to
provide within the specific context of an artist’s community, a set of short experiences used as scaffolding to provide
participating artists with an experience of using multiple media experimentation as a process to layer new techniques and
concepts into previous work. Participants for this instruction are self-diagnosed, desiring to “break out of the mold” with the
production of ‘new’ work, recognize the need to ‘grow’ as an artist, feel the need for increased satisfaction through their work,
and are seeking outside support for these goals. For participants, attempts to create new pathways in art practice have been
largely unsuccessful when attempted privately and in individual studio setting. Hence the need and interest in this class.
Instruction will be in the form of class practice with visual and verbal media as a catalyst for new thought.

AIM
Provide participants a path to search and apply new techniques and viewpoints to the
creation of art as compared to work produced formerly before instruction.

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TARGET AUDIENCE
 Studio artists at Hamilton Field Artist Complex
 Members of Marin Museum Contemporary Art Association
 Independent Artists
 Other experienced artists interested in exploring the topic of creativity and
mappings

DELIVERY OPTIONS
Onsite Delivery
This class will be developed for onsite participants as viewing various approaches offered
in a class setting contributes to the individual experience and maintains time requisites for
performance.

Front-End Analysis: Instructional Need – Module 3

INSTRUCTIONAL NEED
[Rossett (1999) states four aspects of determining if there is a need that can be
addressed through an instructional intervention and this project responds positively to
each of these criteria. What Rossett has termed a ‘new product’, we will view as the
final product produced by individual participants that demonstrates use of new media
and approaches to art making. The ‘existing performance problem’ is the self-identified
problem of relying on tried and true practices that have proven their worth in the past
but now are enforcing a plateau of performance that the individuals desire to advance
beyond. For example, by experimenting with the use of language or alphabet as part of
the visual, artists may experience a new level of layering and performance in their final
projects. The ‘need for development’ criterial is satisfied by the artists recognizing the
need for further development in their craft and seeking out alternate experience and
instruction to address that need. The strategy provided by this proposal instruction will
allow exploration through private and group activities to help individuals attain these
goals. The need for this type of instruction and the use of an educational environment to

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achieve it are clearly valuable for the development of the participants as practicing
artists and members of an art community. Please reference the “Instructional Need”
criteria specified in the “Final Project Rubric” at
https://www2.uwstout.edu/content/profdev/idtrends/Word_docs/Portfolio-Rubric.pdf]

[Expectation: The four opportunities described above talk to the very process that
addresses the expectation that this learning experience will be valuable and productive
for its participants. As adult learners mature, their ability to rely on past experience, their
desire for self direction in educational process and their need for hands on experience
that is goal directed rather than general all lead to the expectation that given the
opportunity to expand their own development as artists and create new forms in their
art, individuals will find satisfaction and motivation to continue in their professional lives
as creators of art and beauty for themselves and their communities. Problem
identification has been identified by the participants and aim and need for intervention
by education is now established. This class is designed to address ‘expressed need and
anticipated needs, as the artist’s desire for self expansion addresses future practice as
well as current remediation.Expand on your proposal’s Problem Identification and Aim
to prove that there is a problem and the problem can be solved via an instructional
intervention vs. a policy change or other solution. Use Rossett’s (1999) [see textbook p.
29] four opportunities to describe your situation (new product, existing performance
problem, employee growth, strategy development).]

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 Front-End Analysis: Learner Characteristics – Module 3
LEARNER ANALYSIS

Primary Audience
 Artists maintaining studios at MOCA complex[Primar Audience 1]
 [Artist Members of MOCA Association, an organization offering membership
and opportunities for showing art and participating in shows but who are not
maintaining art studios on sightPrimary Audience 2]
 [Artists in current residence at MOCA who wish to participatePrimary
Audience 3]

Secondary Audience
 [Interns for MOCA working in areas of fundraising, public relations, and
community outreachSecondary Audience 1]
 Participants from the residential areas surrounding the art complex interested
in cart classesSecondary Audience 2]
 [Participants from the city of Novato interested in participating in art classes at
the complex Secondary Audience 3]

General Learner Characteristics

 [Ages 45-70+General Characteristic 1]
 [Gender: non-specific but its assumed more women’s than men as the
general population of the residences of the studios clearly leans towards
more women than men. The split might be as high as 20% men to 80%
women General Characteristic 2]
 [Education: It is expected that all participants be able to understand and
communicate in English to a basic level enabling them to understand lecture
instructions and communicate with other participantsGeneral Characteristic 3]

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Entry Characteristics
 [Pre-Requisite Skills and Knowledge: It is expected that all participants be at
least in mid-career or further
 Experience: It is expected that knowledge of a particular media of expression
such as painting, life drawing, water color, still life, sculpture, ceramics
(among others) be available for participants to draw from. Entry Characteristic
1]
 [Attitudinal/Motivational Characterists: As voluntary participants, self identified
as desiring to explore new techniques and medium in their craft, these adult
learners are self-directed and self motivated

CONTEXTUAL ANALYSIS

Orienting Context
 [Learner Goals: Learners for this educational experience are hoping to acquire
not only new techniques of art making but new processing procedures and most
importantly new perspectives on art-making. Secondary goals may be social and
directed to participation in community and the sharing opportunities that appear
within the classroom context.( As most art is produced individually by artists in
isolating settings, this second goal is not to be forgotten in favor of the first .goals
do the learners have for taking or attending this course or instruction?]
 [The perceived utility of this class is that it will enable learners to find new
processes to work within their chosen field of production and new viewpoints to
approach the development of personal expression. What is the learners’
perceived utility of the instruction?]

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  [As this instruction takes place within a previously existing community of artists
who are situationally located in adjacent buildings and studios (for the primary
learners) and participants are voluntary and all searching for a new start on
existing work, accountability is reinforced by the final product produced by the
individual and then presented to the group participants in the final meeting. What
is the learners’ perception of accountability?]
 [Learners may confuse the stated goal of the instruction: viewing art making with
new process tools and viewpoints, with a simple exploration of new media or a
correcting of old work. Neither of these are the aim or goals for this
instruction.What are the learners’ potential misconceptions towards the subject of
the instruction?]

Instructional Context
 [Class to take place M-F beginning at either 10:00am or 1:00 depending on
availability of classroom. aScheduling]
 [Room has overhead lighting as well as ample natural lighting with large windows
and doors open to the outside for light and ventiliationLighting]
 [There is no concern for extraneous noise as the property is located in a fairly
quiet residential area with little activity during the weekNoise]
 [Fans need to be available if class is scheduled during summer
monthsTemperature]
 [Plenty of folding chairs and stools available Seating]
 [There is a small kitchen within twenty feet where food may be kept in a
refrigerator and coffee or tea made. A restroom is also within 20 feet of the
classroom and the building accommodates the disabled.Accommodations]
 [The room is equipped with flat table as well as easels for art-making.Equipment]
 [There is public transportation by bus and the complex is easily accessed by
car.Transportation]
Technology Inventory
 [All learners have cell phones and cameras, some have iPads. All have
computers at home. Using cameras during the art process will be a useful tool to

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 add to the procedures as well as showing before and after pictures if a screen
can be supplied by the management for viewing.What technologies do your
learners have access to?]

Transfer Context
 [The goal of this intervention is to provide a process of accessing information
from the vast repository of experience available to the adult learning and then
applying it to the production of new problems within their own field. As transfer
context, this instruction can be used not only for artists, but for others wishing to
jump start their own problem solving techniques. Transferability]
 [The opportunities for artists to use this method will be continuously available to
them each time they begin new projects and art pieces. Opportunities for Using
Learned Information]
 [These artists belong to a community and regularly show work collectively.
Discussion is available through weekly sessions already provided by the art
association for participation in group critique and sharing.Support]

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 Instructional Impact Based Upon Learner Characteristics

APPLICATION OF LEARNING THEORIES

[How will you apply learning theories to your project? Complete during Mod 4 but if your
target audience is adults, please specifically address adult learning theories from Mod
3.]Adults can draw on past experience, prefer to be self-directed, are self-motivated and
focused on results and specific outcomes rather than general learning. By allowing
experimentation in directed ways with directed media available to all participants, these
procedures will satisfy these objectives while advancing to the class’s own aim: the
incorporation of new viewpoints and techniques to problem solving within art process.

APPLICATION OF MOTIVATIONAL THEORIES

[How will you apply motivational theories to your target audience – mod 4]

IMPACT OF A DIVERSE AUDIENCE ON INSTRUCTION

[Instruction here is designed for adult learners of age 40+ and would need to be re-
thought for a younger group bringing less experience and expertise to the prerequisites.
It would also need re-shaping for other cultures, particularly those that prefer to ‘be
taught’ and are more comfortable with a more passive role in the classroom and/or who
are only willing to participate when they feel they have ‘the right answer’. Primary
Audience – mod 3 add to detail here]

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 Task/Goal/Performance Analysis – Module 5

[If you choose to conduct a task analysis, you will select and conduct a method or
methods of content/task analysis as described in Chapter 4 of the textbook (Topic
Analysis, Procedural Analysis, or Critical Incident. An example of one kind of Task
Analysis can be found starting on page 418.] ONLY complete ONE method of analysis.

TASK ANALYSIS METHOD

[Expectation: This section requires you to choose a method for conducting a Task
Analysis. Describe which method you chose and why.]

I have chosen to use procedural analysis here. The instruction design of my class is
more about using already established skills to inform each other. The actual enabling
objectives use tasks that are largely familiar to the experienced participants. Tasks are
used as part of a scaffolding to sequence the class aim. Example below

TASK ANALYSIS
[Expectation: Based on your method selection, use the structure for that method to
detail your task analysis here.]

[Enabling Objective: Given a selection of art postcards to choose from, artist’s will then
write three paragraphs of no less than 75 words about one picture chosen in class
within thirty minutes. Description should include narrative qualities (if present to viewer)
or formal characteristics and how they affect the artist personally. As a condition of
satisfaction, artist relates to class member a reflection from past experience evoked by
the picture.
Artists will approach a table and select from 25 art postcards.
Artists return to individual seating and without conversation view their choice for five
minutes without writing.

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Artists will then write about their interest in this picture, in other words, why this choice?
Artists must write continuously for fifteen minutes of session. If artist is unable to do this,
they must continue to write the statement, “I don’t know what to write”
Artists will write about the connection of this image to a past personal memory.
Artists will select partner to left or right of seat and describe the personal memory.

GOAL ANALYSIS
[Expectation: If you chose to complete a goal analysis instead, paste it here.]

At the completion of instruction, participating artists will be able to incorporate

visual and verbal techniques to establish multiple viewpoints for the creation of art in their
personal areas of expertise. This will be demonstrated by the final product illustrating the
use of at least one new technique/media coupled with a five- point bullet list labeling
approaches used and benefits gained (or lost).

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 Instructional Objectives – Module 5
[Goals, Terminal Objectives, and Enabling Objectives – Check Rubric & Don’t forget to
map the domains and level of Bloom’s Taxonomy with the objectives]

PROJECT (INSTRUCTIONAL) GOAL

[What is the overall statement you want learners to accomplish at the end of your
project – no more than 2 sentences.]

[According to Morrison, Ross, Kalman, and Kemp (2011), a Goal Analysis is “a process
used to identify the initial outcomes or intents of an instructional intervention.”
Information about conducting a Goal Analysis can be found in Chapter 2 of your
textbook and an example Goal Analysis can be found starting on page 416 or p. 40. Or,
you may want to use the Goal Analysis Tool provided in module 5.]

TERMINAL OBJECTIVES AND ENABLING OBJECTIVES

 [Terminal Objective 1] - Domain
o [Enabling Objective 1a]
o [Enabling Objective 1b]
o [Enabling Objective 1c]

 [Terminal Objective 2] - Domain

o [Enabling Objective 2a]
o [Enabling Objective 2b]
o [Enabling Objective 2c]

 [Terminal Objective 3] - Domain

o [Enabling Objective 3a]
o [Enabling Objective 3b]
o [Enabling Objective 3c]

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Enabling Objectives Matrix & Supporting Content – Module 6

[Paste your Enabling Objectives Matrix from Module 6 here]

Feel free to include your instructional content here or attach it as another document in
the dropbox, as appropriate. It could be a PowerPoint, Word doc, video, etc.

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 References

Reference one – Please replace this text with the text of the first reference that use
outside of our course textbook.

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 Final Project Rubric

Please see the final project rubric at: Portfolio Rubric and the reflection paper rubric at:
Portfolio Rubric Reflection

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