Are ePortfolios Still Relevant for Today’s Students?

Electronic Portfolios are no longer just a good idea, that are an expectation and a powerful element of college and career readiness for many.

Just a few years ago ePortfolios were all the rage with schools and employers. You couldn’t open an education or employment blog without reading tips for creating the best online ePortfolio so you could get into the school of your dreams and land your ideal job afterwards. But it seems the ePortfolio fad has died out or at least slowed down quite a bit as of late. So, what caused the flow of articles on ePortfolios to subside? Are ePortfolios a victim of the struggling economy or just a victim of circumstance? Do ePortfolios matter anymore?

ePortfolios Never Went Away—They Just Became Standard Practice

The easy answer to that question is, “yes!” ePortfolios are still a key component to getting into the schools you want and getting hired for the jobs you desire. In fact, it’s safe to say that they matter just as much now as they ever did, if not more. The reason we’ve stopped seeing as many articles about ePortfolios is because they’ve approached standard practice in the education and employment fields. It’s taken for granted that today’s students will know how to create one by the time they complete their college degrees and seek new employment opportunities, if they didn’t already create one as they prepared to apply to colleges.

Unfortunately, many students remain unfamiliar with the importance of an ePortfolio and the tools and techniques for creating them. This really is a shame given that such a large number of jobs nowadays are either partly or mostly performed – in some shape or form – online. From Information Technology jobs to graphic design, from business administration to teaching, having an ePortfolio is an excellent way for students in many disciplines to provide prospective employers with a glimpse of their work.

Bridging the Information Gap on ePortfolios in 2013
Today, an ePortfolio can be as simplistic as having a website, blog or online resume. Your academic ePortfolio should consist of your collected academic works and achievements that best showcase your pertinent skillsets and knowledge which you’ve attained during the course of your academic career. It should serve as a developmental record and personal reflection over that time period. The main themes you want to get across here are personal and intellectual growth and development. Look at it as your opportunity to broadcast all of your accomplishments and selling points to the world by providing a concise visual record of which others can track your progress by.

Having a strong academic ePortfolio will also help ease your transition into creating a career ePortfolio. The two are extremely similar when it comes to organizing relevant information, accomplishments, skills and qualifications employers look for in easy to find ways. Additionally, career ePortfolios may include things such as:

  • Summary of career goals
  • Professional mission statement
  • Traditional resumes
  • Lists of skills and marketable qualities
  • Work experience
  • Letters of recommendation and references

Updating Your ePortfolio for the Modern World
Now that you know what should be going into an ePortfolio in 2013, here’s a look at some of the things you should be doing to keep up with the changing times and landscapes:

  • Think hard about the organization, appearance and general layout of your ePortfolio. Create separate sections for topics such as education, experience, references and contact information.
  • Be sure all relevant documents are uploaded to their corresponding sections of the ePortfolio. You want to make the process as easy as possible for the person viewing them—of course, easy doesn’t have to mean boring.
  • Avoid bright colors and stick to the more traditional business formatting and fonts (may not be valid for those interested in design schools, etc. Use your judgment).
  • Try using WordPress. Take advantage of the themes this platform offers by connecting one with your personality and professional aspirations. For example, don’t use a free-flowing artsy theme if you’re going into corporate business law, and vice-versa.
  • Use meaningful pictures to bring some life to your ePortfolio. While the majority of people will have content-based ePortfolios (excluding professions like photographers, artists, etc.), it’s important to remember that a picture is worth a thousand words. Be sure they are well-cropped, in good taste and are connected to the most important points you’re trying to get across.
  • Write good content and keep it up-to-date. Spell check and grammar check and have a friend do the same.
  • Connect your ePortfolio with social media sites so people can find you more easily. Of course, you’ll want to make sure everything on your profiles are “work-appropriate”.

In summary, although a lack of current information seems to suggest that ePortfolios are losing relevance, this couldn’t be further from the truth. Fortunately, as the tools and resources available on the web continue to evolve, there are more and more ways to create and use ePortfolios than ever before.

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Assalamualaikum and Hi everyone,



This is a 1st MOOC for ED242 with topic Typography and Page Composition. The instructor of this course; Dr Syamsul Nor Azlan. Please register yourself and join “Introduce Yourself” before engaging with any topics.

Here is the link:

This MOOC will represent ED242 department for ENCONDEV 2017 Exhibition will be held on 15 August 2017. I do need your support to increase the number of participants in this MOOC.


Using Biggs’ Model of Constructive Alignment in Curriculum Design

The main theoretical underpinning of the outcomes-based curriculum is provided by Biggs (2003). He calls the model constructive alignment which he defines as:

…coherence between assessment, gt strategeachinies and intended learning outcomes in an educational programme. (McMahon & Thakore 2006)


As currently articulated, the model is attributed to Biggs (2003, 1999) but the essentials were formulated by Tyler (1949) some 50 years earlier – and elaborated in the 1980s by Shuell (1986). At its most basic, the model requires alignment between the three key areas of the curriculum, namely, the intended learning outcomes, what the student does in order to learn, how the student is assessed. This is expressed in Figure 1 with a concrete example given as Figure 2.

Figure 1: A Basic Model of an Aligned Curriculum.

"Figure 1: A Basic Model of an Aligned Curriculum."

Figure 2: An Example of Constructive Alignment in a Curriculum

Examples of Alignment from Different Modules

Learning Outcomes:
On completion of this module students should be able:
Assessment Methods Teaching/Learning Activities
To identify the main signs and symptoms of multiple sclerosis. Multiple Choice Questions Lecture on various signs/symptoms,In class exercises/quizzes on terminology.
To formulate end products using selected ingredients Poster Display 15%Presentation of end product 85% Lecture presenting case studies of the design history of some market leaders.Students plan own project and present as poster.

Student projects on food formulation.

To develop and identify an area for research in the discipline 1,000 word research proposal Presentation of examples of research questions,Student discussion groups on research areas.
To demonstrate effective presentational skills In-class graded presentation Practices sessions in the class,Peer-assessment, using set criteria, of others in class.
Title of Module: Evaluating and Reflecting on your Teaching.
On completion of this module you should be able to:
Critically reflective written report containing the following:
Teaching / Learning Activities
Monitor, evaluate and reflect on your teaching and the learning of your students Evidence of having completed the prescribed mentoring – observation cycleA reflective statement of personal and professional gains made from the peer observation process Introductory Group Tutorial – Revision of critical reflection theory (from previous modules).Seminar: Introduction to Peer Observation and the use of a Learning Contract.

Peer mentor sessions.

Use a range of methods to gather student feedback. Evidence of having received and responded to student feedbackA reflective statement of what has been achieved as a result of gathering feedback from students. Workshop:Methods of Gathering Student Feedback

Project: Collecting Student Feedback (using a variety of methods)

Contribute to the debate on the links between research and teaching. Formatively assessed by tutor comments in forum. (In preparation for formal assessment of this outcome in a future module.) On line forum

Biggs actually suggests that teaching and learning activities are designed second and the assessment regime third (page 30). If this sequence is adopted, it is important that activities are designed which enable students to learn how to demonstrate achievement at the highest level described by the outcomes. This can be done by focusing on the verbs within the outcomes that express “the very best understanding that could reasonably be expected” (page 28). (See Figure 3)

Appropriate verbs can be discovered or derived by relating the model to a learning taxonomy. The two most commonly used are that devised by Bloom (1956) as revised by Anderson et al (2001) and that devised by Biggs & Collis (1982). (See Figure 4)

Figure 3: Adapting the Model to Allow for Differential Levels of Achievement.

"Figure 3: Adapting the Model to Allow for Differential Levels of Achievement."

Figure 4: Relating the Constructive Alignment Model to Learning Taxonomies.

Bloom’s Taxonomy
(As revised by Anderson et al 2001)
Biggs’ Proposed Levels of Attainment Biggs & Collis’ SOLO Taxonomy
Synthesis / Creation
design, organise, formulate, propose.Evaluation
judge, appraise, evaluate, compare, assess.
A: The very best understanding Extended Abstract Thinking:
distinguish, analyse, calculate, test, inspect.Application
apply, use, demonstrate, illustrate, practice.
B: Highly Satisfactory Relational Thinking:
explain, describe, discuss, recognise.
C: Quite Satisfactory Multi-structural Thinking
comment upon
define, list, name, recall, record
D: Just a Pass Uni-structural
E: Fail Pre-structural

A better fit with what Biggs says elsewhere in his book, however, is that the assessment regime needs to be thought out before the teaching and learning activities. This is because for students, assessment defines what is important in the curriculum and they will learn what they think will be assessed.

As Biggs put it:

… students learn what they think they will be tested on. This is backwash, when the assessment determines what and how students learn more than the curriculum does. In a poorly aligned system, where the test does not reflect the objectives, this will result in inappropriate surface learning. (Biggs 2003: 140)

Biggs notes that if the assessment regime does not properly reflect curriculum objectives then the result will be inappropriate “surface” learning. He then goes on to propose that educators use the inevitability backwash to secure effective educational reform.

You can’t beat backwash, so join it. Students will always second-guess the assessment task and then learn what they think will meet those requirements. But if those assessment requirements mirror the curriculum, there is no problem. Students will be learning what they are supposed to be learning. Ibid: 210.

This concept of backwash is a key element of, and justification for, the adoption of Bigg’s Model of Constructive Alignment because it is validated by a great deal of independent research (Atkins et al 1993, Ramsden 1992, Scouller 2000).

This does not, however, in anyway diminish the importance of the other two components of the curriculum. Any review or revision of any one of the three components of an aligned curriculum requires a matching review or revision of the other two. Where a curriculum is not aligned – i.e. where there is a discontinuity between any two of the components – it is likely that there will be a mismatch between intention and product.

At a more complex level, constructive alignment requires a balance and synergy between:

  • the professional goals of the teachers
  • the wants and needs of the students
  • the curriculum
  • the teaching methods used
  • the assessment procedures used and the method or report results
  • the psychological and social climate of the classroom (learning milieu)
  • the psychological and social climate of the institution.

Each of these components needs to work towards the common goals.

Imbalance in the system will lead to poor teaching and surface learning. Non alignment is signified by inconsistencies, unmet expectations, and practices that contradict what we preach (Biggs 2003: 26)

Figure 5: Examples of Alignment from Different Modules

Learning Outcomes:
On completion of this module students should be able:
Assessment Methods Teaching/Learning Activities
To identify the main signs and symptoms of multiple sclerosis. Multiple Choice Questions Lecture on various signs/symptoms,In class exercises/quizzes on terminology.
To formulate end products using selected ingredients Poster Display 15%Presentation of end product 85% Lecture presenting case studies of the design history of some market leaders.Students plan own project and present as poster.

Student projects on food formulation.

To develop and identify an area for research in the discipline 1,000 word research proposal Presentation of examples of research questions,Student discussion groups on research areas.
To demonstrate effective presentational skills In-class graded presentation Practices sessions in the class,Peer-assessment, using set criteria, of others in class.

Webb’s Depth of Knowledge (DOK)

dok_blooms_comparison_Page_1.jpgThe Common Core Standards are the cornerstones of the Smarter Balanced and PARCC assessments, Webb’s Depth of Knowledge (scale of cognitive demand) and Blooms Revised Taxonomy (levels of intellectual ability) are the framework and the structures that will be used to evaluate students. Assessing curriculum, developing formative assessments, evaluation curriculum, and evaluation of students knowledge at the highest levels is being shared by two progressive cognitive matrices. Depth of knowledge, and complexity of knowledge is the heart of the more rigorous assessments being implemented in 2014. They share many ideas and concepts yet are different in level of cognitive demand, level of difficulty, complexity of verbs vs. depth of thinking required, and the scale of cognitive demand. Teachers need to learn how the frameworks are used to develop curriculum and how to use them to enhance instructions. Teachers and students can use Blooms Questions Stems and Webb’s DOK questions stems to create higher order thinking and improve achievement. 80% of the PARCC assessments will be based on the highest levels of blooms and the deepest levels of Webb’s DOK. Are you ready to use the DOK or Blooms daily in your class?

The links below are a great resources of Blooms Taxonomy and Webb’s Depth of Knowledge.

Sources from From

Exercise 3 – Gestalt Adoptation in Drawing

Exercise 3: 11 APRIL 201


TASK 1: Discuss about the nature of arts, what do you understand the meaning of art as form

 TASK 2: Principle Of Design: Rhythm, Repetition And Movement

  • What is rhythm
  • What is repetition
  • What is movement
  • What is balance
  • What is proportion
  • What is variety
  • What is emphasis
  • What is harmony
  • What is unity

TASK 3: Could you find the each following viewpoint has been proposed as a way to differentiate art from human activities and illuminate certain aspect of art?

  • Behavioural
  • Conceptual
  • Contextual
  • Expressive
  • Formal
  • Mimesis
  • Relative
  • Symbolic

TASK 4: PRACTICAL ASSIGNMENT :Student need to draw a technical drawing by considering Gestalt Theory. The drawing should emphasize of depth, space and texture. All tasks should be posted at individual e-Portfolio

PROJECT 1 Preparation

  1. Find examples of geometric pattern
  2. Draw the motive/pattern & study the color
  3. Study the monochromatic color that you choose for 1st project
    • Monochrome Color
    • Canvas (1 1/2 feet x 2 1/2 feet)
    • Please prepare your resources on 18 April 2017
    • Tasks should be posted at individual e-Portfolio

Art Critism – Four Levels of Formal Analysis


Four levels of formal analysis, which you can use to explain a work of art:

Description = Pure description of the object without value judgments, analysis, or interpretation.

It answers the question, “What do you see?” The various elements that constitute a description include:

  • Form of art whether architecture, sculpture, painting or one of the minor arts
  • Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
  • Size and scale of work (relationship to person and/or frame and/or context)
  • Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
  • Description of axis whether vertical, diagonal, horizontal, etc.
  • Description of line, including contour as soft, planar, jagged, etc.
  • Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
  • Relationships between shapes, e.g., large and small, overlapping, etc.
  • Description of color and color scheme = palette
  • Texture of surface or other comments about execution of work
  • Context of object: original location and date

Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.

It answers the question, “How did the artist do it?” The various elements that constitute analysis include:

  • Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
  • Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
  • Analysis of the principles of design or composition, e.g., stable, repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
  • Discussion of how elements or structural system contribute to appearance of image or function
  • Analysis of use of light and role of color, e.g., contrasty, shadowy, illogical, warm, cool, symbolic, etc.
  • Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
  • Portrayal of movement and how it is achieved
  • Effect of particular medium(s) used
  • Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
  • Reaction to object or monument

Interpretation = establishing the broader context for this type of art.

It answers the question, “Why did the artist create it and what does it mean. The various elements that constitute interpretation include:

  • Main idea, overall meaning of the work.
  • Interpretive Statement: Can I express what I think the artwork is about in one sentence?
  • Evidence: What evidence inside or outside the artwork supports my interpretation

Judgment: Judging a piece of work means giving it rank in relation to other works and of course considering a very important aspect of the visual arts; its originality.

Is it a good artwork?

  • ·Criteria: What criteria do I think are most appropriate for judging the artwork?
  • Evidence: What evidence inside or outside the artwork relates to each criterion?
  • Judgment: Based on the criteria and evidence, what is my judgment about the quality of the artwork?

Barrett’s Principles of Interpretation

  1.  Artworks have “aboutness” and demand interpretation.
  2. Interpretations are persuasive arguments.
  3. Some interpretations are better than others.
  4. Good interpretations of art tell more about the artwork than they tell about the critic.
  5. Feelings are guides to interpretations.
  6. There can be different, competing, and contradictory interpretations of the same artwork.
  7. Interpretations are often based on a worldview.
  8. Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, and informative.
  9. Interpretations can be judged by coherence, correspondence, and inclusiveness.
  10. An artwork is not necessarily about what the artist wanted it to be about.
  11. A critic ought not to be the spokesperson for the artist.
  12. Interpretations ought to present the work in its best rather than its weakest light.
  13. The objects of interpretation are artworks, not artists.
  14. All art is in part about the world in which it emerged.
  15. All art is in part about other art.
  16. No single interpretation is exhaustive of the meaning of an artwork.
  17. The meanings of an artwork may be different from its significance to the viewer. Interpretation is ultimately a communal endeavor, and the community is ultimately self- corrective.
  18. Good interpretations invite us to see for ourselves and to continue on our own


  • Barrett, Terry. (1994) Criticizing Art: Understanding the Contemporary. Mountain View, California: Mayfield Publishing Company.
  • Art Critism Activity

art I edutech I photography I scientist

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