design assignments for students

Creative Ways to Design Assignments for Student Success

There are many creative ways in which teachers can design assignments to support student success. We can do this while simultaneously not getting bogged down with the various obstructions that keep students from both completing and learning from the assignments. For me, assignments fall into two categories: those that are graded automatically, such as SmartBook® readings and quizzes in Connect®; and those that I need to grade by hand, such as writing assignments.  

For those of us teaching large, introductory classes, most of our assignments are graded automatically, which is great for our time management. But our students will ultimately deliver a plethora of colorful excuses as to why they were not completed and why extensions are warranted. How do we give them a little leeway to make the semester run more smoothly, so there are fewer worries about a reading that was missed or a quiz that went by too quickly? Here are a few tactics I use. 

Automatically graded assignments: 

Multiple assignment attempts  

• This eases the mental pressure of a timed assignment and covers computer mishaps or human error on the first attempt. 
• You can deduct points for every attempt taken if you are worried about students taking advantage. 

Automatically dropped assignments  

• Within a subset or set of assignments, automatically drop a few from grading. This can take care of all excuses for missing an assignment. 
• Additionally, you can give a little grade boost to those who complete all their assignments (over a certain grade). 

Due dates  

• Consider staggering due dates during the week instead of making them all due on Sunday night.  
• Set the due date for readings the night before you cover the material, so students are prepared.  

Requirements  

• If we want our students to read, then make a reading assignment a requirement of a quiz. 

The tactics above might be applied to written assignments, too. An easy way to bolster a student’s interest and investment in these longer assignments is to give them a choice. This could be in the topic, location of study, or presentation style. For example, if you want them to analyze the susceptibility of a beach to hurricane threat, why not let them choose the location? In this way, you will also be gaining a lot of new information for your own use. 

With a small amount of effort, we can design our classes, so students concentrate on learning the subject matter rather than the logistics of completing the assignments. 

Attending a conference?

Checkout if mcgraw hill will be in attendance:.

Explore your training options in 10 minutes Get Started

• Graduate Stories
• Partner Spotlights
• Bootcamp Prep
• Bootcamp Admissions
• University Bootcamps
• Coding Tools
• Software Engineering
• Web Development
• Data Science
• Tech Guides
• Tech Resources
• Career Advice
• Online Learning
• Internships
• Apprenticeships
• Tech Salaries
• Associate Degree
• Bachelor's Degree
• Master's Degree
• University Admissions
• Best Schools
• Certifications
• Bootcamp Financing
• Higher Ed Financing
• Scholarships
• Financial Aid
• Best Coding Bootcamps
• Best Online Bootcamps
• Best Web Design Bootcamps
• Best Data Science Bootcamps
• Best Technology Sales Bootcamps
• Best Data Analytics Bootcamps
• Best Cybersecurity Bootcamps
• Best Digital Marketing Bootcamps
• Los Angeles
• San Francisco
• Browse All Locations
• Digital Marketing
• Machine Learning
• See All Subjects
• Bootcamps 101
• Full-Stack Development
• Career Changes
• View all Career Discussions
• Mobile App Development
• Cybersecurity
• Product Management
• UX/UI Design
• What is a Coding Bootcamp?
• Are Coding Bootcamps Worth It?
• How to Choose a Coding Bootcamp
• Best Online Coding Bootcamps and Courses
• Best Free Bootcamps and Coding Training
• Coding Bootcamp vs. Community College
• Coding Bootcamp vs. Self-Learning
• Bootcamps vs. Certifications: Compared
• What Is a Coding Bootcamp Job Guarantee?
• How to Pay for Coding Bootcamp
• Ultimate Guide to Coding Bootcamp Loans
• Best Coding Bootcamp Scholarships and Grants
• Education Stipends for Coding Bootcamps
• Get Your Coding Bootcamp Sponsored by Your Employer
• GI Bill and Coding Bootcamps
• Tech Intevriews
• Our Enterprise Solution
• Connect With Us
• Publication
• Reskill America
• Partner With Us

• Resource Center
• Bachelor’s Degree
• Master’s Degree

Top Graphic Design Projects to Sharpen Your Skills and Build Your Graphic Design Portfolio

The graphic design industry continues to harness the creativity and innovative ideas of graphic designers . As a result, it is crucial to be equipped with the right skills to place you in high demand. Embarking on graphic design projects is an excellent way to develop top-tier skills and build a robust graphic design portfolio.

We’ve compiled various graphic design projects for designers with different experience levels that can help sharpen relevant skills. In addition, we’ve included some of the skills, techniques, and tips to revamp your portfolio and land high-paying jobs. No matter what kind of graphic design job or design team you want to work for, there are plenty of projects available to instill you with essential graphic design principles.

Find your bootcamp match

5 skills that graphic design projects can help you practice.

If you look around you, you will see the obvious signs of a graphic designer on virtually everything. From books to packaging wraps to software interfaces, it is evident that they subtly play an essential role in our lives. The design principles and the skills utilized define their identity and are integral to our appreciation of the world of graphic design. 

• Creativity: A creative mind is central to the development of great designs. While creativity can be subjective, it is the foundation of every design concept, no matter how haphazard that concept is in the beginning. 
• Communication: This describes the wholesome ability to listen to a client’s needs, process feedback, and effectively communicate creative ideas. It also refers to the ability to convey a message with visual materials. 
• Typography: In context, this refers to the ability to represent written text in the form of art. Every designer must know how to tell a story using various text elements like font size, style, color scheme, and layout. 
• Software Skills: Learning Adobe Illustrator , InDesign, and Photoshop is essential. These tools are a basic requirement for many job postings.
• Coding: While many think coding doesn’t have a place in the design industry, having basic experience with HTML can be very useful for designers. Knowing how a website works can help you contribute to the idea generation process and give you an edge in the marketplace.  

Best Graphic Design Project Ideas for Beginners

As a beginner, the first projects you complete should develop your creativity, typography, communication, and software skills. You want to make sure to build foundational graphic design skills and techniques before taking on big jobs from clients.

Photo Editing

• Skills Practiced: Software Skills, Creativity

This project exposes you to basic tools like Adobe Photoshop. Being able to manipulate an image will teach you everything from image cleanups to color schemes to enhancements. Also, you get to infuse some creativity with little projects like photo collages and storytelling.

• Skills Practiced: Creativity, Software Skills, Typography, and Communication

Logos are a representation of what a brand or organization stands for. They speak volumes about what companies do and subtly express their values. Professionals often follow the Keep It Simple, Stupid (KISS) approach while designing logos, focusing on minimalism and the business’ core values. This fundamental principle is suggestive of the power of simplicity in graphic design.  

Business Cards

• Skills Practiced: Creativity, Software Skills, Typography, Communication

This design challenge will allow you to practice the skills mentioned above. Every business relies on business cards as a means of introduction. They are also an expression of the company’s branding. Therefore, it is vital to capture the company’s essence through excellent typography and some ingenuity.

YouTube Thumbnails

• Skills Practiced: Creativity, Software Skills, Communication

YouTube thumbnails aim is to encourage viewers to click on a video by telling a great story in just one small image. You must have an exciting thumbnail to enhance your content marketing campaign, which requires creativity and communication skills. Given how lucrative YouTube is today, being able to create the perfect thumbnail is an incredibly valuable skill.

Instagram, Twitter, and Facebook Graphics

Social media is an integral part of our lives. While we browse through our feeds, we come across various posts that communicate different messages to us, but not all do so effectively. A good graphic is aesthetically pleasing and successfully conveys our messages and values. To create such designs, you can rely on existing templates that meet recommended standards.  

Best Intermediate Graphic Design Project Ideas

At this level, the projects are a lot more technical. They will sharpen your graphic design skills further but require a bigger time commitment. The following is a list of projects you can take on to practice your creativity as well as your software and typography skills.

Invitation Cards

• Skills Practiced: Creativity, Software Skills, Typography

This project requires a lot of creativity. After all, an invitation card is a representation of the host’s class and taste. Creating an outstanding invitation design will test your typography and software skills. The challenge you are up to is to effectively, and aesthetically, communicate the details of the event.

Posters and Fliers  

Digital posters and flyers have to be visually appealing while satisfactorily communicating a message to the public. Creating posters and fliers for public relations and marketing campaigns will expose you to scaling and proper design layouts in digital platforms.

Infographics 

Infographics employ pictures, data visualizations, typography, and statistical graphics to tell a straightforward story or present information. Working on an infographic will give you experience with important tools like Canva and Venngage and allow you to exercise your creativity as you think of ways to represent information in a way that is visually attractive, impactful, and effective.

Book Covers

The cover of a book plays a key role in sales. While it is advised not to judge a book by its cover, the truth is that a book with a sloppy design won’t sell very well. It is always best to aim for a cover design that is stylish and captures the essence of the book.

Magazines and Brochures

Designing the look and feel of a magazine or brochure is a complex project. It involves a range of elements, including advertising, visual representation, photography, art, and graphic design. Working on a magazine design will expose you to the design principles and standards used in print media. 

Advanced Graphic Design Project Ideas

At this level, graphic designers begin to carve a niche and specialize in a particular area. The skills required and practiced here cut across all the technical skills mentioned earlier. In addition, many advanced designers begin to venture into the world of coding, which tends to boost their designer credentials. 

Graphic designers are central to good branding. They define the visual identity of a company, shaping the public perception of it with elements like logos, color schemes, fonts, and slogans. Working on a company’s brand identity is a fun project that will allow you to use your technical skills to change how an organization is perceived by the media.

Mockup Designs

Mockups give you a taste of a concept or design before it is created, helping clients visualize what the final product will look like. Creating mockups involves a fair dose of creativity as well as dexterity with software like Balsamiq, Adobe XD, or InVision.

User Interface (UI) Design

• Skills Practiced: Creativity, Software Skills, Typography, Communication, Coding

The complex field of UI design will test all the technical skills discussed thus far. You will even have to dabble in coding as HTML, CSS, and JavaScript skills are required to work on the customer-facing side of an application of a website. You will get a lot of fulfillment out of this project: creating an application or website interface is critical to the consumer experience with a digital product.

Product Design

Product design can be considered an extension of branding. However, rather than focusing on the logo or values of a company, the emphasis is on a particular product, its looks, sustainability, and packaging design. To go about this project, choose an existing product that’s interesting from a design standpoint. Reverse engineer this product and then redesign it following every step of the design process.

Motion Graphics

Motion graphics is animation in which text plays a major role. They are common in ads and movie titles. To work on motion graphics, advanced designers combine their basic graphic design skills with animation and filmmaking techniques. 

Creating good-looking motion graphics requires exceptional creativity, innovation, and storytelling. Typography, communication, and software skills are also vital to developing interesting motion graphics.

Graphic Design Starter Project Templates 

A graphic template is an excellent tool for beginners and even advanced designers that can save a lot of time. Templates allow you to edit predefined graphics and adjust them to your taste. Working with templates could also help to cure a creative block. The following are recommended templates for basic starter projects.  

• Logos : These templates provided by Canva offer complete flexibility with the editing of layers, color schemes, typography, and shape to design the logo that best connects with your brand.
• Social Media Images : Social media posts have to be attractive and engaging. If you cannot come up with posters and fliers that perfectly convey your message, freepik templates can be a helpful tool. 
• Mockups : If you are having difficulty designing a mockup that accurately reflects the design concepts involved, these templates by Template.net should come in handy.
• Business Cards : Designing a business card that represents your brand and business becomes a lot easier when you can simply customize a template. Check out these business card templates by PsPrint. 
• Brochures : A brochure can be tricky to design considering the number of elements and skills involved. However, with these brochure templates by Envato Elements, you’ll have no trouble creating elegant brochures. 

Next Steps: Start Organizing Your Graphic Design Portfolio

The beauty of constantly embarking on design projects is that you’ll sharpen your skill while growing your portfolio. After a few months, you should have a solid portfolio that reflects your skills and experience and that attracts potential clients. Below, we give you a few tips on how to organize your graphic design portfolio. 

Keep It Simple

Simplicity is key when it comes to portfolios. Always go for a cleaner and straightforward portfolio look, remove distracting elements and unnecessary components. This ensures that your projects are accessible and that potential employers or clients can appreciate your creative designs. 

Keep It Updated

Never stop working on your portfolio, no matter how comfortable you get in your current position. Employers and clients won’t pay attention to your portfolio if all its projects are old. You need to be constantly working on new and exciting projects and adding them to your portfolio so that it is relevant and reflects your current skills.

Keep Your Target Audience in Mind

Strive to build your portfolio with items that resonate with your target audience and leave out anything that they wouldn’t find interesting. For example, if you are applying for jobs at a web development agency, your portfolio should be composed mostly of website designs.  

"Career Karma entered my life when I needed it most and quickly helped me match with a bootcamp. Two months after graduating, I found my dream job that aligned with my values and goals in life!"

Venus, Software Engineer at Rockbot

Include a Brief Profile

Your portfolio should contain a brief personal description in which you introduce yourself and describe your skills and aptitudes. Include information about your level of education, work experience, and notable previous collaborations.

Never lie about your skills or previous experience or exaggerate the facts. If you get a project after having lied about your capabilities, you’ll find yourself in an uncomfortable situation when you are asked to do something that you are simply not ready to handle. 

Graphic Design Projects FAQ

First, read through the brief of the project to understand the task. Conduct adequate research, come up with a creative idea, and sketch the concepts. Finally, develop your concepts thoroughly before presenting them to your client.

The number of projects you should include in your portfolio depends on several factors, including your level of experience and niche. However, we wouldn’t recommend including more than six projects.

Focus on projects that allow you to exercise your creativity and communication. You also want projects that involve typography, coding, and different software programs. Finally, consider projects that can be completed quickly or that require you to come up with inventive solutions.

No, you can work with colleagues. In fact, it is advisable to collaborate with other designers on projects because it allows you to learn from other creatives while sharing your ideas. 

About us: Career Karma is a platform designed to help job seekers find, research, and connect with job training programs to advance their careers. Learn about the CK publication .

What's Next?

Get matched with top bootcamps

Ask a question to our community, take our careers quiz.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Eberly Center

Teaching excellence & educational innovation, creating assignments.

Here are some general suggestions and questions to consider when creating assignments. There are also many other resources in print and on the web that provide examples of interesting, discipline-specific assignment ideas.

Consider your learning objectives.

What do you want students to learn in your course? What could they do that would show you that they have learned it? To determine assignments that truly serve your course objectives, it is useful to write out your objectives in this form: I want my students to be able to ____. Use active, measurable verbs as you complete that sentence (e.g., compare theories, discuss ramifications, recommend strategies), and your learning objectives will point you towards suitable assignments.

Design assignments that are interesting and challenging.

This is the fun side of assignment design. Consider how to focus students’ thinking in ways that are creative, challenging, and motivating. Think beyond the conventional assignment type! For example, one American historian requires students to write diary entries for a hypothetical Nebraska farmwoman in the 1890s. By specifying that students’ diary entries must demonstrate the breadth of their historical knowledge (e.g., gender, economics, technology, diet, family structure), the instructor gets students to exercise their imaginations while also accomplishing the learning objectives of the course (Walvoord & Anderson, 1989, p. 25).

Double-check alignment.

After creating your assignments, go back to your learning objectives and make sure there is still a good match between what you want students to learn and what you are asking them to do. If you find a mismatch, you will need to adjust either the assignments or the learning objectives. For instance, if your goal is for students to be able to analyze and evaluate texts, but your assignments only ask them to summarize texts, you would need to add an analytical and evaluative dimension to some assignments or rethink your learning objectives.

Name assignments accurately.

Students can be misled by assignments that are named inappropriately. For example, if you want students to analyze a product’s strengths and weaknesses but you call the assignment a “product description,” students may focus all their energies on the descriptive, not the critical, elements of the task. Thus, it is important to ensure that the titles of your assignments communicate their intention accurately to students.

Consider sequencing.

Think about how to order your assignments so that they build skills in a logical sequence. Ideally, assignments that require the most synthesis of skills and knowledge should come later in the semester, preceded by smaller assignments that build these skills incrementally. For example, if an instructor’s final assignment is a research project that requires students to evaluate a technological solution to an environmental problem, earlier assignments should reinforce component skills, including the ability to identify and discuss key environmental issues, apply evaluative criteria, and find appropriate research sources.

Think about scheduling.

Consider your intended assignments in relation to the academic calendar and decide how they can be reasonably spaced throughout the semester, taking into account holidays and key campus events. Consider how long it will take students to complete all parts of the assignment (e.g., planning, library research, reading, coordinating groups, writing, integrating the contributions of team members, developing a presentation), and be sure to allow sufficient time between assignments.

Check feasibility.

Is the workload you have in mind reasonable for your students? Is the grading burden manageable for you? Sometimes there are ways to reduce workload (whether for you or for students) without compromising learning objectives. For example, if a primary objective in assigning a project is for students to identify an interesting engineering problem and do some preliminary research on it, it might be reasonable to require students to submit a project proposal and annotated bibliography rather than a fully developed report. If your learning objectives are clear, you will see where corners can be cut without sacrificing educational quality.

Articulate the task description clearly.

If an assignment is vague, students may interpret it any number of ways – and not necessarily how you intended. Thus, it is critical to clearly and unambiguously identify the task students are to do (e.g., design a website to help high school students locate environmental resources, create an annotated bibliography of readings on apartheid). It can be helpful to differentiate the central task (what students are supposed to produce) from other advice and information you provide in your assignment description.

Establish clear performance criteria.

Different instructors apply different criteria when grading student work, so it’s important that you clearly articulate to students what your criteria are. To do so, think about the best student work you have seen on similar tasks and try to identify the specific characteristics that made it excellent, such as clarity of thought, originality, logical organization, or use of a wide range of sources. Then identify the characteristics of the worst student work you have seen, such as shaky evidence, weak organizational structure, or lack of focus. Identifying these characteristics can help you consciously articulate the criteria you already apply. It is important to communicate these criteria to students, whether in your assignment description or as a separate rubric or scoring guide . Clearly articulated performance criteria can prevent unnecessary confusion about your expectations while also setting a high standard for students to meet.

Specify the intended audience.

Students make assumptions about the audience they are addressing in papers and presentations, which influences how they pitch their message. For example, students may assume that, since the instructor is their primary audience, they do not need to define discipline-specific terms or concepts. These assumptions may not match the instructor’s expectations. Thus, it is important on assignments to specify the intended audience http://wac.colostate.edu/intro/pop10e.cfm (e.g., undergraduates with no biology background, a potential funder who does not know engineering).

Specify the purpose of the assignment.

If students are unclear about the goals or purpose of the assignment, they may make unnecessary mistakes. For example, if students believe an assignment is focused on summarizing research as opposed to evaluating it, they may seriously miscalculate the task and put their energies in the wrong place. The same is true they think the goal of an economics problem set is to find the correct answer, rather than demonstrate a clear chain of economic reasoning. Consequently, it is important to make your objectives for the assignment clear to students.

Specify the parameters.

If you have specific parameters in mind for the assignment (e.g., length, size, formatting, citation conventions) you should be sure to specify them in your assignment description. Otherwise, students may misapply conventions and formats they learned in other courses that are not appropriate for yours.

A Checklist for Designing Assignments

Here is a set of questions you can ask yourself when creating an assignment.

• Provided a written description of the assignment (in the syllabus or in a separate document)?
• Specified the purpose of the assignment?
• Indicated the intended audience?
• Articulated the instructions in precise and unambiguous language?
• Provided information about the appropriate format and presentation (e.g., page length, typed, cover sheet, bibliography)?  
• Indicated special instructions, such as a particular citation style or headings?  
• Specified the due date and the consequences for missing it?
• Articulated performance criteria clearly?
• Indicated the assignment’s point value or percentage of the course grade?
• Provided students (where appropriate) with models or samples?

Adapted from the WAC Clearinghouse at http://wac.colostate.edu/intro/pop10e.cfm .

CONTACT US to talk with an Eberly colleague in person!

• Faculty Support
• Graduate Student Support
• Canvas @ Carnegie Mellon
• Quick Links

• Writing Home
• Writing Advice Home

Designing Assignments and Presenting Them to Students

• Printable PDF Version
• Fair-Use Policy

Here are some ways to help students learn your subject through writing about it, while developing their writing skills at the same time. Designing your assignments with learning in mind is the single most important way you can support students’ development as writers. Research on student learning demonstrates that many problems of language use and reasoning dissipate when students are engaged with their subject matter and are aware of their purposes for writing. Plagiarism also decreases when students can see a pathway to success. (See our pages Deterring Plagiarism for more discussion of this benefit, and Effective Instructional Techniques for a list of teaching activities to back up your good assignments.) 

NOTE: The page Books and Articles on Writing in the Disciplines lists a number of books with further suggestions and examples for assignment design: see especially Bean, Walvoord and Anderson, and Wright and Herteis. The research basis for these ideas is evident in the works by Beyer et al., Light, Russell, and Thaiss and Zawacki.

Assignment Prompts: Telling Students What You Want

• Keep showing how writing is used for learning and thinking in your discipline: e.g., by commenting on the ways knowledge is produced and disseminated in your field, by analysing the style and organization of course readings, by asking invited speakers about their writing practices e.g., by mentioning your own use of writing as a way to develop ideas and discuss them with others. 
• Create assignment prompts that refer explicitly to elements in the course:    e.g., “apply what you have learned about theories of deviance,” “formulate a hypothesis as defined in Lab 4,” “locate this article’s position in the current arguments about X.”      
• Ask questions that will lead students beyond mere summary or replication of sources: e.g., “Critically evaluate which of the two levels of analysis offers the best explanation for war,” “Choose an important detail or key word and show its function in the novel,” “To what extent is statement A true?”
• Ask students for various modes of writing, not always essays and reports: e.g., microthemes (concise pieces of 150-200 words): abstract of a required reading, summary of one side of a controversy, interpretation of given set of data, solution of a quandary e.g., non-linear genres: response journals to readings or field work, diagrams, posters, cartoons, videos, blogs (NOTE: specify whether and how to document sources) e.g., real-world genres (especially of types seen in course readings): government briefing paper, environmental impact statement, museum display notes, manual for clients or the public (again, let students know whether academic documentation is needed). 
• Describe success in realistic and understandable terms: e.g., by formulating grading criteria (perhaps as a rubric with numerical values, or as a checklist of specific expectations, or as a description of good work, or a description by grade levels) e.g., by showing examples of past student writing with commentary on what exactly makes them good—or improvable.
• Define the reader (and thus a role for the writer)—not always yourself or your TA: e.g., “explain to other students in your class who have not read the work,” “write as a scientific expert to managers who do not all have your background,” “advise the foreign minister of Lower Slabovia,” “be a director before rehearsals begin.”
• Help students avoid pitfalls by anticipating their questions and assumptions (keeping in mind that conventions may differ greatly among courses they are taking): e.g., about narrowing of topic, use of sources, use and placement of thesis statement, first-person references, expectation of documentation if writing in non-academic genre, documentation system.

NOTE: Specifications like those in points 5-7 can sometimes be given in appendices or separate pages to avoid overloading the assignment instructions. Some should also be explained or demonstrated orally in class.

Presenting Assignments: Reinforcing Students’ Motivation

• Give students many chances at writing and being read, starting early in the course, and sometimes ungraded or for only a few marks:  e.g., by asking for two-minute papers or exit notes at the end of a lecture or tutorial (What was the clearest point today? the muddiest point?), then reading the set through quickly and commenting on what was said at the start of the next class.
• Demonstrate  what you mean by the logical or cognitive operations you name (discuss, analyse/synthesize, compare/contrast, criticize, evaluate, etc.); Instructional librarians and writing specialists are sometimes available to visit your class to help in these sessions.  e.g., by drawing diagrams on the board, by outlining a good answer, by citing published models, by commenting on the organizational patterns in course readings, by leading class or tutorial exercises that practice the operations e.g., by using some class time to show and practice ways of understanding and developing assignment topics (focussing broad topics, generating lists of potential questions and controversies in specific topics, using search terms to find relevant resources).
• Similarly, let students know what you expect when you name a genre of writing (essay, report, book review, peer review, journal, journal article, critical response, reflective response, blog, annotated bibliography, literature review, case study, brief, memo): e.g., by describing its function in the discipline and/or profession (including types of readers), noting differences in function and form from high school or from other courses, supplying examples and noting range of adaptations. 
• * Most importantly, ensure that students have a chance to apply your feedback and learn from trial and error:     e.g., by scaffolding a sequence of assignments (summary of one article, comparison of two, then analysis of three or more) e.g., by structuring larger assignments in two or more stages (proposal, first draft, revised draft; introduction and thesis statement, then full paper)

Coaching Through the Process: Getting Students to Take Responsibility

• Ask students to write or talk briefly in class about their progress and discoveries as they work on longer projects. Expressing anxieties can lead to discussion of possible strategies. 
• Suggest that students write focus statements periodically as they draft, for themselves or as part of class exercises: state briefly why they have included a particular point, what they want to say about it, and why that is worth saying. These exercises can help both those who are blocked and those who ramble, and they can reassure the anxious that they have something to say.
• Structure peer review sessions (in class or online) so students respond to each other as authentic readers in the discipline, not just untrained proofreaders. You can ask pairs of students to look briefly at an excerpt from each other’s work (e.g., a first paragraph or an outline), then challenge them each to summarize what they remember. Or for longer projects, ask students to look at each other’s drafts in class or online and answer simple focussed questions: “What was the most interesting idea in this piece?” “What points need clarifying?” “Did all sections of the paper relate to the stated thesis?” 
• Refuse to let students’ problems of process become your problems of grading. Encourage students to consult you in office hours—it’s easier to look at flawed drafts than mark awful final copies. Comment on cogency and coherence of reasoning, and note points where you genuinely can’t follow the argument, then ask the student to come up with solutions. Find passages you can admire, say why, and ask the student for more of the same qualities.
• Encourage all students to find and use other sources of writing instruction. The lefthand menu on this website leads to information about Writing Centres and Writing Courses at U of T. The News and Writing Plus pages outline non-credit group instruction. Direct students also to relevant handouts in the Advice section (including one on Understanding Essay Topics ). 
• Refer students to specialists when needed. Help is available at U of T for anxious students ( Academic Success Centre ), students with possible learning disabilities (e.g. showing a striking discrepancy between oral and written performance: Accessibility Services ), students facing challenges in learning English as a second or third or fourth language (our section for English Language Learners sets out the range of resources). Present your suggestion as an opportunity to improve and develop. Then follow up by commenting on specific improvements and by asking students about their learning experiences.

Designing Assignments

Designing effective writing assignments is a key component of integrating writing into your course. This page provides resources to help you learn how to design assignments that will provide your students with new and exciting avenues to learning through writing.

Also see: Integrating Writing into Your Course for general resources related to integrating writing into your (non-writing) course.

GENERAL RESOURCES

Assignment Design (Yale Poorvu Center for Teaching and Learning) “Making a few revisions to your writing assignments can make a big difference in the writing your students will produce. The most effective changes involve specifying what you would like students to do in the assignment and suggesting concrete steps students can take to achieve that goal.”

A Brief Guide to Designing Essay Assignments (Gordon Harvey, Harvard College Writing Program) (PDF) This Harvard Writing Project Brief Guide provides three quick and easy steps to designing an assignment and helping students execute it.

Designing Assignments and Presenting Them to Students (Univ. of Toronto Writing) “Here are some ways to help students learn your subject through writing about it, while developing their writing skills at the same time. Designing your assignments with learning in mind is the single most important way you can support students’ development as writers.”

Designing Writing Assignments (Traci Gardner, National Council of Teachers of English) (PDF) “Effective student writing begins with well-designed classroom assignments. In Designing Writing Assignments , veteran educator Traci Gardner offers practical ways for teachers to develop assignments that will allow students to express their creativity and grow as writers and thinkers while still addressing the many demands of resource-stretched classrooms.”

Teaching Guide: Designing Writing Assignments (Writing@CSU) “Our teaching guides are designed for writing teachers and for teachers of other subjects who want to use writing and speaking activities in their classrooms. To view our guides, click on the links below.”

• Five Principles
• Guidelines for Writing Assignments
• Resource: Checksheets
• Resource: Sample grading criteria
• Sample assignments
• Teacher Comments
• Working Backwards from Goals
• Writing Should Meet Teaching Goals

Tips for Writing an Assignment and Teaching it to Students (University of Wisconsin – Madison, Writing Across the Curriculum) “Here are some suggestions to keep in mind as you write your assignment handouts, as well as suggestions for other activities that prepare students to write.”

Search form

• About Faculty Development and Support
• Programs and Funding Opportunities

Consultations, Observations, and Services

• Strategic Resources & Digital Publications
• Canvas @ Yale Support
• Learning Environments @ Yale
• Teaching Workshops
• Teaching Consultations and Classroom Observations
• Teaching Programs
• Spring Teaching Forum
• Written and Oral Communication Workshops and Panels
• Writing Resources & Tutorials
• About the Graduate Writing Laboratory
• Writing and Public Speaking Consultations
• Writing Workshops and Panels
• Writing Peer-Review Groups
• Writing Retreats and All Writes
• Online Writing Resources for Graduate Students
• About Teaching Development for Graduate and Professional School Students
• Teaching Programs and Grants
• Teaching Forums
• Resources for Graduate Student Teachers
• About Undergraduate Writing and Tutoring
• Academic Strategies Program
• The Writing Center
• STEM Tutoring & Programs
• Humanities & Social Sciences
• Center for Language Study
• Online Course Catalog
• Antiracist Pedagogy
• NECQL 2019: NorthEast Consortium for Quantitative Literacy XXII Meeting
• STEMinar Series
• Teaching in Context: Troubling Times
• Helmsley Postdoctoral Teaching Scholars
• Pedagogical Partners
• Instructional Materials
• Evaluation & Research
• STEM Education Job Opportunities
• Yale Connect
• Online Education Legal Statements

You are here

Designing assignments.

Making a few revisions to your writing assignments can make a big difference in the writing your students will produce. The most effective changes involve specifying what you would like students to do in the assignment and suggesting concrete steps students can take to achieve that goal.

Clarify what you want your students to do…and why they’re doing it

Kerry Walk, former director of the Princeton Writing Program, offers these principles to consider when designing a writing assignment (condensed and adapted from the original): “At least one sentence on your assignment sheet should explicitly state what you want students to do. The assignment is usually signaled by a verb, such as “analyze,” “assess,” “explain,” or “discuss.” For example, in a history course, after reading a model biography, students were directed as follows: ‘Your assignment is to write your own biographical essay on Mao, using Mao’s reminiscences (as told to a Western journalist), speeches, encyclopedia articles, a medical account from Mao’s physician, and two contradictory obituaries.’ In addition, including a purpose for the assignment can provide crucial focus and guidance. Explaining to students why they’re doing a particular assignment can help them grasp the big picture—what you’re trying to teach them and why learning it is worthwhile. For example, ‘This assignment has three goals: for you to (1) see how the concepts we’ve learned thus far can be used in a different field from economics, (2) learn how to write about a model, and (3) learn to critique a model or how to defend one.’”

Link course writing goals to assignments

Students are more likely to understand what you are asking them to do if the assignment re-uses language that you’ve already introduced in class discussions, in writing activities, or in your Writing Guide. In the assignment below, Yale professor Dorlores Hayden uses writing terms that have been introduced in class:

Choose your home town or any other town or city you have lived in for at least a year. Based upon the readings on the history of transportation, discuss how well or how poorly pedestrian, horse-drawn, steam- powered, and electric transportation might have served your town or city before the gasoline automobile. (If you live in a twentieth-century automobile-oriented suburb, consider rural transportation patterns before the car and the suburban houses.) How did topography affect transportation choices? How did transportation choices affect the local economy and the built environment? Length, 1000 words (4 typed pages plus a plan of the place and/or a photograph). Be sure to argue a strong thesis and back it up with quotations from the readings as well as your own analysis of the plan or photograph.

Give students methods for approaching their work

Strong writing assignments not only identify a clear writing task, they often provide suggestions for how students might begin to accomplish the task. In order to avoid overloading students with information and suggestions, it is often useful to separate the assignment prompt and the advice for approaching the assignment. Below is an example of this strategy from one of Yale’s English 114 sections:

Assignment: In the essays we have read so far, a debate has emerged over what constitutes cosmopolitan practice , loosely defined as concrete actions motivated by a cosmopolitan philosophy or perspective. Using these readings as evidence, write a 5-6-page essay in which you make an argument for your own definition of effective cosmopolitan practice.

Method: In order to develop this essay, you must engage in a critical conversation with the essays we have read in class. In creating your definition of cosmopolitan practice, you will necessarily draw upon the ideas of these authors. You must show how you are building upon, altering, or working in opposition to their ideas and definitions through your quotation and analysis of their concepts and evidence.

Questions to consider:  These questions are designed to prompt your thinking. You do not need to address all these questions in the body of your essay; instead, refer to any of these issues only as they support your ideas.

• How would you define cosmopolitan practice? How does your definition draw upon or conflict with the definitions offered by the authors we have read so far?
• What are the strengths of your definition of cosmopolitan practice? What problems does it address? How do the essays we have read support those strengths? How do those strengths address weaknesses in other writers’ arguments?
• What are the limitations or problems with your definition? How would the authors we have read critique your definition? How would you respond to those critiques?

Case Study: A Sample Writing Assignment and Revision

A student responding to the following assignment felt totally at sea, with good reason:

Write an essay describing the various conceptions of property found in your readings and the different arguments for and against the distribution of property and the various justifications of, and attacks on, ownership. Which of these arguments has any merits? What is the role of property in the various political systems discussed? The essay should concentrate on Hobbes, Locke, and Marx.

“How am I supposed to structure the essay?” the student asked. “Address the first question, comparing the three guys? Address the second question, doing the same, etc.? … Do I talk about each author separately in terms of their conceptions of the nation, and then have a section that compares their arguments, or do I have a 4 part essay which is really 4 essays (two pages each) answering each question? What am I going to put in the intro, and the conclusion?” Given the tangle of ideas presented in the assignment, the student’s panic and confusion are understandable.

A better-formulated assignment poses significant challenges, but one of them is not wondering what the instructor secretly wants. Here’s a possible revision, which follows the guidelines suggested above:

[Course Name and Title]

[Instructor’s Name]

Due date: Thursday, February 24, at 11:10am in section

Length: 5-6pp. double-spaced

Limiting your reading to the sourcebook, write a comparative analysis of Hobbes’s, Locke’s, and Marx’s conceptions of property.

The purpose of this assignment is to help you synthesize some difficult political theory and identify the profound differences among some key theorists.

The best papers will focus on a single shared aspect of the theorists’ respective political ideologies, such as how property is distributed, whether it should be owned, or what role it serves politically. The best papers will not only focus on a specific topic, but will state a clear and arguable thesis about it (“the three authors have differing conceptions of property” is neither) and go on to describe and assess the authors’ viewpoints clearly and concisely.

Note that this revised assignment is now not only clearer than the original; it also requires less regurgitation and more sustained thought.

For more information about crafting and staging your assignments, see “ The Papers We Want to Read ” by Linda Simon, Social Studies; Jan/Feb90, Vol. 81 Issue 1, p37, 3p. (The link to Simon’s article will only work if your computer is on the Yale campus.) See also the discussion of Revising Assignments in the section of this website on Addressing Plagiarism .

YOU MAY BE INTERESTED IN

Writing Consultations

For graduate students looking for expert advice on planning, drafting, and revising their research paper, dissertation, presentation, or any other writing project.

The Poorvu Center for Teaching and Learning routinely supports members of the Yale community with individual instructional consultations and classroom observations.

Reserve a Room

The Poorvu Center for Teaching and Learning partners with departments and groups on-campus throughout the year to share its space. Please review the reservation form and submit a request.

Search form

You are here.

• Implementing Writing in Your Course

How to Design Successful Writing Assignments

As writing instructors ourselves, we are all too familiar with the many difficulties that come with assigning writing. It’s difficult to create meaningful assignments that help students learn what you want them to learn. And despite all the labor we put into it, students can still express frustration and confusion over writing assignments. It is tempting to ask, “Why bother?”

However, while thoughtful writing instruction tied to learning outcomes takes time to implement, that initial effort can lead to a huge time savings over the long run. Some writing you do not even need to grade! Once you know some of the key components of writing assignment design, you will be able to create a collection of high-value teaching materials that you can adapt for years to come. Also, your students will learn more, and will be better equipped to handle complexity. With regular writing practice and targeted feedback, over time they will become more authoritative participants and contributors in your field.

Designing successful writing assignments involves some or all of the following six strategies:

• Explicitly State Assignment Goals
• Tie Assignment Goals to Course Goals
• Create Antiracist Writing Assignments
• Offer Clear Instructions for Completion
• Clarify Expectations About Genre, Audience, and Formatting
• Provide Examples of the Kinds of Writing You Assign
• Asses Your Own Work

1. Explicitly State Assignment Goals

Are students “writing to learn” key course concepts from course materials or “learning to write” a new and specific form of communication in the class, such as a lab report or business memo? Or do you want your assignment to do some of both? Try to be as specific as possible when thinking about the assignment’s purpose. We encourage you to even jot down some of your desired outcomes. Being detailed about what you want students to gain from completing the assignment will help you create clear instructions for the assignment.

The example below is a strong example of a “writing to learn” assignment. In this assignment the instructor uses words such as "read," “explore,” “shape,” and “reflect” to clearly indicate that the act of composing in this assignment is more about attaining knowledge than it is about the creation of a final product. 

From a prompt for a personal narrative in a science writing course: 

All scientists have intellectual, cultural, and linguistic histories. For the sake of “neutrality” and “objectivity,” apprentices are often trained to separate themselves from these histories, especially when it comes to conducting and communicating research. This assignment asks you to read examples of scientists’ memoirs in various genres and then you will compose your own narrative in the mode of your choice, exploring how your identities, investments, and intellectual interests have shaped your science training and your trajectory as a scientist. This assignment serves as a form of reflection, orientation to/within a scientific field, and even as a professional credential (if desirable).

Back to top

2. Tie Assignment Goals to Course Goals

While you know why you are assigning a particular writing assignment, your students may not. Being clear about how completing the writing assignment will help your students learn can help create expectations and motivation for students. Without a clear understanding of how a writing assignment will help them learn, students may feel that they are being assigned useless "busywork."

Example 1 :

The example below is drawn from the final paper assignment for a course called “Imagining and Dreaming: Indigenous Futures,” taught by Lydia Heberling. In this assignment, the instructor not only clearly shows students how the assignment aligns with the course content, but it also reminds students how the third section of the course builds upon content learned in earlier units.

Throughout the quarter we have examined various writing practices that affirm the ongoing existence of American Indian peoples in spite of settler colonial attempts to remove, erase, and eradicate them. In our first sequence, we reflected on the relationship between place and identity and learned from Momaday that the land possesses stories from the past that can be accessed through interaction with and memories of those places.

In our second sequence, we examined a contemporary activist moment to deepen our understanding of the ongoing relational formations between Indigenous peoples and how those relations revitalize cultures from the brink of extinction. In learning about how various tribes worked together to protect a valuable natural resource by employing media and storytelling practices to garner support and attention, we learned that regardless of the outcome, activist moments like Standing Rock demonstrate a strong trans-Indigenous community that continues to survive in spite of ongoing settler colonial tactics of dispossession and erasure.

In this third, and last sequence, we are focusing on imagining, or dreaming about, vibrant Indigenous futures. Athabascan poet and scholar (and UW professor) Dian Million defines dreaming the following way [. . .]

Your task i n this next assignment is to return to the place you described in Paper 1, imagine what that place looks like 100 years from now. . .

Example 2 :

Here’s a second example of a writing assignment, created by Jen Malone for a course on writing in environmental science, which clearly demonstrates to students how the writing assignment both builds on previous course content and how it will help students cultivate research skills that they will be able to use in future writing assignments.

Thus far in this class, we’ve written an Op-Ed about ecotourism, and we will be moving into writing a short research paper on the topic of your choice later on in the quarter. But first, we’re going to do something a bit different.

Learning to research well is largely about practice—both in terms of growing accustomed to search engines (particularly scholarly ones) and library databases, and in terms of learning to plug different versions of your research terms into these search engines/databases until you find useful sources. Using research well is largely about figuring out how to analyze your sources--particularly in combination with one another, as a body of research. In order to practice both of these skills (which will totally help us to prepare for Paper #3, later on in the quarter), for Paper #2 we will. . .

3. Create Antiracist Writing Assignments

Antiracist writing instruction is usually discussed in relation to assessment, but it should be considered earlier than that, during assignment creation (just as it should be considered as key elements of curriculum and class culture). Antiracist writing assignment design can be pursued in two ways: through the subject matter, or content, of the writing assignments; and through your values around language use. Some brief suggestions for each follow.

Promoting antiracist subject matter in writing assignments:

Take a step back and discuss knowledge frameworks in your course and in your field. Every discipline has knowledge traditions and methods that can be problematic. How did these traditions come to be? Who do they serve, and who do they harm?

Avoid reductionist binaries when discussing complex questions. For example, framing a question like "What are the pros and cons of conducting medical research without subjects' knowledge or consent?" may lead students to consider both sides as having equal moral weight. A more specific (so a particular context can be considered) and open-ended (so students are not led to one or the other answer) question might work better. For example, "What are some of the ethical considerations of conducting flu vaccine clinical trials without participants' consent?"

Give students opportunities to explore their own identities in relation to the course content. Drawing personal connections not only helps foster deeper learning, but it can also cultivate a student’s sense of belonging in the field. It may also help you see how your field might serve some but not others. 

Encourage students to engage academic and non-academic source material. Have discussions about what “counts” as authoritative information in your field, and why.

Promoting linguistic justice in writing assignments: 

As this site from Wesleyan College recommends, “Centralize rhetorical situations and writing contexts rather than language standards in your writing classroom.” If you show that all language use (content, structure, syntax, vocabulary, style) is based on authorial choices made in particular contexts and for particular audiences, then you can help bust the myth of the universal standard of “academic English.”

Encourage students to use their own linguistic traditions whenever possible. For example, let students freewrite in a native language or dialect. Encourage them to draw connections between their own language backgrounds and the disciplinary discourse you are teaching. This is called translanguaging, and it can be a powerful tool for learning.

Avoid penalizing language use. If there is a certain style or vocabulary you want students to use, be explicit about why discourse is used that way, and how it conveys discipline-specific knowledge.

Further reading: 10 Ways to Tackle Linguistic Bias in Our Classrooms (Inside HigherEd)

4. Offer Clear Instructions for Completion

Investigative or writing techniques that seem obvious to you—such as making an argument, analyzing, evaluating—might mean something different to students from outside your specific discipline. Being clear about what you mean when you use certain terms can help students navigate an assignment more successfully. While it might feel clunky or obvious, including this information in an assignment will help steer your students in the right direction and minimize miscommunication.

In the following excerpt from a prompt for a writing-in-history course taught by Sumyat Thu, the instructor asks students to use research in their papers, and then clearly describes, and supports with examples from the class and library resources, what counts as appropriate source material.

This essay is based on research. Students are expected to use primary sources and secondary works in developing their essays. We do not frown on the use of on-line resources ; indeed, some very good reference works ( identified on the history librarian Ms. Mudrock's research guide) are available as on-line books, and the library has e-book versions of Paul Spickard's  Almost All Aliens . Nonetheless, we strongly urge students to utilize the very rich materials available in the UW Libraries, particularly scholarly books and articles. The UW Libraries' on-line catalog can be explored with keyword searches, and such indexes as America: History and Life (again, see Ms. Mudrock’s website) are very helpful as well.

In this second example, again by Jen Malone, we see how the instructor not only indicates what chronological steps students must take to complete the assignment, but also how she includes thorough and clear instructions for how students can complete each step.

So, the first step you’ll need to take will be to choose a topic . You may wish to choose the same topic you’ll be using for your research paper in ENVIR 100 (if you’ve chosen that option—if so, please follow any instructions they’ve given you for choosing a topic for that), or something related to environmental science that simply interests you, or a topic from the following list of suggestions:

• GMOs (particularly with regards to the ecosystem and/or biodiversity),
• The environmental impact of meat production
• Bees and Colony Collapse Disorder

The second step you’ll need to take will be to do the research —you’ll need to find some sources (via library search engines, Google scholar, etc.). Keep some notes or a log of this process, since you’ll have to talk about how this went for you in your final report. Then you’ll need to read/skim the sources you’ve selected, and then you’ll need to create an annotated bibliography in which you list and briefly summarize those sources. An annotated bibliography is a particularly handy step when performing research, or when writing a paper that involves research. Basically, it is a list of the sources you intend to use for your paper (like a Works Cited page, you may use either MLA or APA format), but with the addition of a substantial paragraph (or two, if you wish) beneath each entry in which you summarize, and often evaluate, the source. This will help you to consider the sources you find as a body of research, and this makes using sources easier because you’ll have these initial notes handy as you write your report.

After you find and skim through your sources, the third step you’ll need to take will be to write the report .

• In the first section of the report, you’ll want to talk about your research process (What was this like? What was easy for you and what was difficult? What did you learn? What search terms did you use? How did those terms change?).
• In the second section of the report, you’ll want to talk about the body of research as a whole (How would you describe the issues/terms/debates surrounding the topic? What did you find? What do these sources indicate—both in terms of conclusions drawn and questions raised? How do these sources fit together and/or differ? What did you find most interesting?)
• In the third section of the report, you’ll want to take a moment to consider how this body of research fits it with what you’re learning in ENVIR 100 and where you might take the topic in a future paper (How do you see what you found regarding this topic as relating to what has been discussed in class thus far? What are the stakes of this topic and for whom? What aspects of this topic do we seem to know little about? What are the questions you still have about this topic? And, finally, now that you’ve read through this body of research, if you were going to write a paper on this topic, what might your basic argument be?). We’ll discuss this all in more detail next week, after you’ve compiled your sources.

Note: the second example may be a lot longer of a writing prompt than many of us are used to. This is not a bad thing. In fact, students tend to really appreciate such clear instruction and it reduces the amount of time you will spend clarifying confusion about what is expected. Also, instructions like these can be easily re-purposed for other, similar assignments in the future so you will not have to reinvent the wheel each time.

5. Clarify Expectations About Genre, Audience, and Formatting

Students will approach your writing assignment with varying knowledge and experience. Unless you have already instructed students explicitly in class about the knowledge and skills needed to complete a writing assignment, you cannot assume that students will already possess that knowledge. While clear, explicit prompts are essential, we also strongly urge you to discuss in class the genre you are assigning as well. Offer examples, both from professionals in the field, and from former students. The more exposure students have to the kinds of writing you want to see, the the more inclusive and accessible your assignments will be. We know of a history TA who said that one of her students, an engineering major, wasn't clear on the nature of a historiography, so he turned in his paper formatted like a technical report! This is an understandable mistake for a student to make, and providing examples can prevent mistakes like this from happening in your own classroom.

Below are two examples of how instructors communicate their expectations about genre, audience, and formatting to students. The first example is less helpful for students because it leaves key parts of the instructor’s expectations vague. (What is the writing assignment’s audience? What citation style does the instructor prefer? Is the works cited page part of the assignment or not?) The second example provides more detail for students.

Example 1: Paper must be 4-5 pages double spaced and must include a works cited page.

Example 2 : T he business memo should be fo rmatted according to the parameters we have discussed: no more than two pages long , typed, single-spaced with one space between paragraphs , with standard margins, in Times New Roman font (12 point), written for an audience of industry professionals.

6. Provide Examples of the Kinds of Writing You Assign

Studies have shown that examples can be a powerful learning tool in writing instruction. We recommend that instructors distribute examples of both successful and unsuccessful student writing to their students and explain why the examples are successful or unsuccessful.

Ask students who have submitted successful assignments if you can borrow their work as examples for future classes. Be sure to remove students’ identifying information from the assignments before they are given to future students.

If you do not have examples of unsuccessful writing (remember, sharing even anonymized student writing without the author's consent would be unethical), you can alternatively create a list of common pitfalls and mistakes to avoid when completing the writing assignment. Distribute the list to your students. Be sure to ground these pitfalls in terms of higher order issues specific to this genre, rather than just distributing a one-size-fits-all personal list of writing pet peeves.

Ask students which examples help them learn the genre, and which do not. Over time your students will help you curate a really great collection of samples.

Create occasional reading assignments where you ask students to find and analyze examples of writing by professionals in the field. What makes them effective or ineffective examples of the genre? What are some of the text's defining characteristics? These kinds of analyses can really help students improve their own writing.

7. Assess Your Own Work

Assessment is not just for student writing: it’s also important to assess the efficacy of the assignments you create. If student work is disappointing or students have struggled with an assignment, it most likely a result of ineffective assignment design. Please remember: everyone , even seasoned writing instructors, has assignments that do not go well initially. That is normal and ok!

We recommend that you engage in self-reflection as to why your assignment did not turn out well, and make tweaks to the assignment and/or grading criteria as needed. Here are some questions to ask yourself to reflect on your writing assignments.

Did many students turn in work which did not meet your expectations? In what specific ways did they fall short?

Did many students struggle with the assignment or a particular piece of the assignment? Where, exactly, did they struggle and how do you know?

Were many students surprised or dissatisfied by their grades on the assignment? Why do you think this happened?

Strategies for understanding what went wrong

Ask your students, either in class, on Canvas, or in a survey like a Google Form, to debrief the assignment. What was easy for them about the assignment? What did they learn from it? What was challenging? What was unclear?

Take writing assignments to writing centers such as OWRC or CLUE to get student feedback on updated or streamlined assignments. Student writing tutors can be a great resource-- they've seen hundreds of writing assignments!

Next guide: Supporting Academic Integrity

Teaching, Learning, & Professional Development Center

• Teaching Resources
• TLPDC Teaching Resources

How Do I Create Meaningful and Effective Assignments?

Prepared by allison boye, ph.d. teaching, learning, and professional development center.

Assessment is a necessary part of the teaching and learning process, helping us measure whether our students have really learned what we want them to learn. While exams and quizzes are certainly favorite and useful methods of assessment, out of class assignments (written or otherwise) can offer similar insights into our students' learning.  And just as creating a reliable test takes thoughtfulness and skill, so does creating meaningful and effective assignments. Undoubtedly, many instructors have been on the receiving end of disappointing student work, left wondering what went wrong… and often, those problems can be remedied in the future by some simple fine-tuning of the original assignment.  This paper will take a look at some important elements to consider when developing assignments, and offer some easy approaches to creating a valuable assessment experience for all involved.

First Things First…

Before assigning any major tasks to students, it is imperative that you first define a few things for yourself as the instructor:

• Your goals for the assignment . Why are you assigning this project, and what do you hope your students will gain from completing it? What knowledge, skills, and abilities do you aim to measure with this assignment?  Creating assignments is a major part of overall course design, and every project you assign should clearly align with your goals for the course in general.  For instance, if you want your students to demonstrate critical thinking, perhaps asking them to simply summarize an article is not the best match for that goal; a more appropriate option might be to ask for an analysis of a controversial issue in the discipline. Ultimately, the connection between the assignment and its purpose should be clear to both you and your students to ensure that it is fulfilling the desired goals and doesn't seem like “busy work.” For some ideas about what kinds of assignments match certain learning goals, take a look at this page from DePaul University's Teaching Commons.
• Have they experienced “socialization” in the culture of your discipline (Flaxman, 2005)? Are they familiar with any conventions you might want them to know? In other words, do they know the “language” of your discipline, generally accepted style guidelines, or research protocols?
• Do they know how to conduct research?  Do they know the proper style format, documentation style, acceptable resources, etc.? Do they know how to use the library (Fitzpatrick, 1989) or evaluate resources?
• What kinds of writing or work have they previously engaged in?  For instance, have they completed long, formal writing assignments or research projects before? Have they ever engaged in analysis, reflection, or argumentation? Have they completed group assignments before?  Do they know how to write a literature review or scientific report?

In his book Engaging Ideas (1996), John Bean provides a great list of questions to help instructors focus on their main teaching goals when creating an assignment (p.78):

1. What are the main units/modules in my course?

2. What are my main learning objectives for each module and for the course?

3. What thinking skills am I trying to develop within each unit and throughout the course?

4. What are the most difficult aspects of my course for students?

5. If I could change my students' study habits, what would I most like to change?

6. What difference do I want my course to make in my students' lives?

What your students need to know

Once you have determined your own goals for the assignment and the levels of your students, you can begin creating your assignment.  However, when introducing your assignment to your students, there are several things you will need to clearly outline for them in order to ensure the most successful assignments possible.

• First, you will need to articulate the purpose of the assignment . Even though you know why the assignment is important and what it is meant to accomplish, you cannot assume that your students will intuit that purpose. Your students will appreciate an understanding of how the assignment fits into the larger goals of the course and what they will learn from the process (Hass & Osborn, 2007). Being transparent with your students and explaining why you are asking them to complete a given assignment can ultimately help motivate them to complete the assignment more thoughtfully.
• If you are asking your students to complete a writing assignment, you should define for them the “rhetorical or cognitive mode/s” you want them to employ in their writing (Flaxman, 2005). In other words, use precise verbs that communicate whether you are asking them to analyze, argue, describe, inform, etc.  (Verbs like “explore” or “comment on” can be too vague and cause confusion.) Provide them with a specific task to complete, such as a problem to solve, a question to answer, or an argument to support.  For those who want assignments to lead to top-down, thesis-driven writing, John Bean (1996) suggests presenting a proposition that students must defend or refute, or a problem that demands a thesis answer.
• It is also a good idea to define the audience you want your students to address with their assignment, if possible – especially with writing assignments.  Otherwise, students will address only the instructor, often assuming little requires explanation or development (Hedengren, 2004; MIT, 1999). Further, asking students to address the instructor, who typically knows more about the topic than the student, places the student in an unnatural rhetorical position.  Instead, you might consider asking your students to prepare their assignments for alternative audiences such as other students who missed last week's classes, a group that opposes their position, or people reading a popular magazine or newspaper.  In fact, a study by Bean (1996) indicated the students often appreciate and enjoy assignments that vary elements such as audience or rhetorical context, so don't be afraid to get creative!
• Obviously, you will also need to articulate clearly the logistics or “business aspects” of the assignment . In other words, be explicit with your students about required elements such as the format, length, documentation style, writing style (formal or informal?), and deadlines.  One caveat, however: do not allow the logistics of the paper take precedence over the content in your assignment description; if you spend all of your time describing these things, students might suspect that is all you care about in their execution of the assignment.
• Finally, you should clarify your evaluation criteria for the assignment. What elements of content are most important? Will you grade holistically or weight features separately? How much weight will be given to individual elements, etc?  Another precaution to take when defining requirements for your students is to take care that your instructions and rubric also do not overshadow the content; prescribing too rigidly each element of an assignment can limit students' freedom to explore and discover. According to Beth Finch Hedengren, “A good assignment provides the purpose and guidelines… without dictating exactly what to say” (2004, p. 27).  If you decide to utilize a grading rubric, be sure to provide that to the students along with the assignment description, prior to their completion of the assignment.

A great way to get students engaged with an assignment and build buy-in is to encourage their collaboration on its design and/or on the grading criteria (Hudd, 2003). In his article “Conducting Writing Assignments,” Richard Leahy (2002) offers a few ideas for building in said collaboration:

• Ask the students to develop the grading scale themselves from scratch, starting with choosing the categories.

• Set the grading categories yourself, but ask the students to help write the descriptions.

• Draft the complete grading scale yourself, then give it to your students for review and suggestions.

A Few Do's and Don'ts…

Determining your goals for the assignment and its essential logistics is a good start to creating an effective assignment. However, there are a few more simple factors to consider in your final design. First, here are a few things you should do :

• Do provide detail in your assignment description . Research has shown that students frequently prefer some guiding constraints when completing assignments (Bean, 1996), and that more detail (within reason) can lead to more successful student responses.  One idea is to provide students with physical assignment handouts , in addition to or instead of a simple description in a syllabus.  This can meet the needs of concrete learners and give them something tangible to refer to.  Likewise, it is often beneficial to make explicit for students the process or steps necessary to complete an assignment, given that students – especially younger ones – might need guidance in planning and time management (MIT, 1999).
• Do use open-ended questions.  The most effective and challenging assignments focus on questions that lead students to thinking and explaining, rather than simple yes or no answers, whether explicitly part of the assignment description or in the  brainstorming heuristics (Gardner, 2005).
• Do direct students to appropriate available resources . Giving students pointers about other venues for assistance can help them get started on the right track independently. These kinds of suggestions might include information about campus resources such as the University Writing Center or discipline-specific librarians, suggesting specific journals or books, or even sections of their textbook, or providing them with lists of research ideas or links to acceptable websites.
• Do consider providing models – both successful and unsuccessful models (Miller, 2007). These models could be provided by past students, or models you have created yourself.  You could even ask students to evaluate the models themselves using the determined evaluation criteria, helping them to visualize the final product, think critically about how to complete the assignment, and ideally, recognize success in their own work.
• Do consider including a way for students to make the assignment their own. In their study, Hass and Osborn (2007) confirmed the importance of personal engagement for students when completing an assignment.  Indeed, students will be more engaged in an assignment if it is personally meaningful, practical, or purposeful beyond the classroom.  You might think of ways to encourage students to tap into their own experiences or curiosities, to solve or explore a real problem, or connect to the larger community.  Offering variety in assignment selection can also help students feel more individualized, creative, and in control.
• If your assignment is substantial or long, do consider sequencing it. Far too often, assignments are given as one-shot final products that receive grades at the end of the semester, eternally abandoned by the student.  By sequencing a large assignment, or essentially breaking it down into a systematic approach consisting of interconnected smaller elements (such as a project proposal, an annotated bibliography, or a rough draft, or a series of mini-assignments related to the longer assignment), you can encourage thoughtfulness, complexity, and thoroughness in your students, as well as emphasize process over final product.

Next are a few elements to avoid in your assignments:

• Do not ask too many questions in your assignment.  In an effort to challenge students, instructors often err in the other direction, asking more questions than students can reasonably address in a single assignment without losing focus. Offering an overly specific “checklist” prompt often leads to externally organized papers, in which inexperienced students “slavishly follow the checklist instead of integrating their ideas into more organically-discovered structure” (Flaxman, 2005).
• Do not expect or suggest that there is an “ideal” response to the assignment. A common error for instructors is to dictate content of an assignment too rigidly, or to imply that there is a single correct response or a specific conclusion to reach, either explicitly or implicitly (Flaxman, 2005). Undoubtedly, students do not appreciate feeling as if they must read an instructor's mind to complete an assignment successfully, or that their own ideas have nowhere to go, and can lose motivation as a result. Similarly, avoid assignments that simply ask for regurgitation (Miller, 2007). Again, the best assignments invite students to engage in critical thinking, not just reproduce lectures or readings.
• Do not provide vague or confusing commands . Do students know what you mean when they are asked to “examine” or “discuss” a topic? Return to what you determined about your students' experiences and levels to help you decide what directions will make the most sense to them and what will require more explanation or guidance, and avoid verbiage that might confound them.
• Do not impose impossible time restraints or require the use of insufficient resources for completion of the assignment.  For instance, if you are asking all of your students to use the same resource, ensure that there are enough copies available for all students to access – or at least put one copy on reserve in the library. Likewise, make sure that you are providing your students with ample time to locate resources and effectively complete the assignment (Fitzpatrick, 1989).

The assignments we give to students don't simply have to be research papers or reports. There are many options for effective yet creative ways to assess your students' learning! Here are just a few:

Journals, Posters, Portfolios, Letters, Brochures, Management plans, Editorials, Instruction Manuals, Imitations of a text, Case studies, Debates, News release, Dialogues, Videos, Collages, Plays, Power Point presentations

Ultimately, the success of student responses to an assignment often rests on the instructor's deliberate design of the assignment. By being purposeful and thoughtful from the beginning, you can ensure that your assignments will not only serve as effective assessment methods, but also engage and delight your students. If you would like further help in constructing or revising an assignment, the Teaching, Learning, and Professional Development Center is glad to offer individual consultations. In addition, look into some of the resources provided below.

Online Resources

“Creating Effective Assignments” http://www.unh.edu/teaching-excellence/resources/Assignments.htm This site, from the University of New Hampshire's Center for Excellence in Teaching and Learning,  provides a brief overview of effective assignment design, with a focus on determining and communicating goals and expectations.

Gardner, T.  (2005, June 12). Ten Tips for Designing Writing Assignments. Traci's Lists of Ten. http://www.tengrrl.com/tens/034.shtml This is a brief yet useful list of tips for assignment design, prepared by a writing teacher and curriculum developer for the National Council of Teachers of English .  The website will also link you to several other lists of “ten tips” related to literacy pedagogy.

“How to Create Effective Assignments for College Students.”  http:// tilt.colostate.edu/retreat/2011/zimmerman.pdf     This PDF is a simplified bulleted list, prepared by Dr. Toni Zimmerman from Colorado State University, offering some helpful ideas for coming up with creative assignments.

“Learner-Centered Assessment” http://cte.uwaterloo.ca/teaching_resources/tips/learner_centered_assessment.html From the Centre for Teaching Excellence at the University of Waterloo, this is a short list of suggestions for the process of designing an assessment with your students' interests in mind. “Matching Learning Goals to Assignment Types.” http://teachingcommons.depaul.edu/How_to/design_assignments/assignments_learning_goals.html This is a great page from DePaul University's Teaching Commons, providing a chart that helps instructors match assignments with learning goals.

Additional References Bean, J.C. (1996). Engaging ideas: The professor's guide to integrating writing, critical thinking, and active learning in the classroom . San Francisco: Jossey-Bass.

Fitzpatrick, R. (1989). Research and writing assignments that reduce fear lead to better papers and more confident students. Writing Across the Curriculum , 3.2, pp. 15 – 24.

Flaxman, R. (2005). Creating meaningful writing assignments. The Teaching Exchange .  Retrieved Jan. 9, 2008 from http://www.brown.edu/Administration/Sheridan_Center/pubs/teachingExchange/jan2005/01_flaxman.pdf

Hass, M. & Osborn, J. (2007, August 13). An emic view of student writing and the writing process. Across the Disciplines, 4. 

Hedengren, B.F. (2004). A TA's guide to teaching writing in all disciplines . Boston: Bedford/St. Martin's.

Hudd, S. S. (2003, April). Syllabus under construction: Involving students in the creation of class assignments.  Teaching Sociology , 31, pp. 195 – 202.

Leahy, R. (2002). Conducting writing assignments. College Teaching , 50.2, pp. 50 – 54.

Miller, H. (2007). Designing effective writing assignments.  Teaching with writing .  University of Minnesota Center for Writing. Retrieved Jan. 9, 2008, from http://writing.umn.edu/tww/assignments/designing.html

MIT Online Writing and Communication Center (1999). Creating Writing Assignments. Retrieved January 9, 2008 from http://web.mit.edu/writing/Faculty/createeffective.html .

Contact TTU

Academic Resources

• Academic Calendar
• Academic Catalog
• Academic Success
• BlueM@il (Email)
• Campus Connect
• DePaul Central
• Desire2Learn (D2L)

Campus Resources

• Campus Security
• Campus Maps

University Resources

• Technology Help Desk

Information For

• Alumni & Friends
• Current Students
• Faculty & Staff
• Teaching Guides
• How Students Learn
• Course Design
• Instructional Methods

Aligning with Learning Goals

Critical thinking, deterring plagiarism, integrative learning.

• Feedback & Grading
• Learning Activities
• Flex Teaching
• Online Teaching
• Scholarship of Teaching and Learning
• Reflective Practice
• Inclusive Teaching
• Teaching at DePaul
• Support Services
• Technology Tools

Teaching Commons > Teaching Guides > Assignment Design

Assignment Design

Here's a short list of some general assignment design strategies that apply to a wide variety of disciplines.

A number of strategies for deterring plagiarism are discussed, including asking your students to write about current topics relevant to your course and staging essay assignments throughout the quarter.

​Integrative learning occurs when students make connections among ideas and experiences in order to transfer learning to new contexts.​

Ohio State nav bar

The Ohio State University

• BuckeyeLink
• Find People
• Search Ohio State

Designing Assessments of Student Learning

Image Hollie Nyseth Brehm, ​​​​​Associate Professor, Department of Sociology  Professor Hollie Nyseth Brehm was a graduate student the first time she taught a class, “I didn’t have any training on how to teach, so I assigned a final paper and gave them instructions: ‘Turn it in at the end of course.’ That was sort of it.” Brehm didn’t have a rubric or a process to check in with students along the way. Needless to say, the assignment didn’t lead to any major breakthroughs for her students. But it was a learning experience for Brehm. As she grew her teaching skills, she began to carefully craft assignments to align to course goals, make tasks realistic and meaningful, and break down large assignments into manageable steps. "Now I always have rubrics. … I always scaffold the assignment such that they’ll start by giving me their paper topic and a couple of sources and then turn in a smaller portion of it, and we write it in pieces. And that leads to a much better learning experience for them—and also for me, frankly, when I turn to grade it .”

Reflect  

Have you ever planned a big assignment that didn’t turn out as you’d hoped? What did you learn, and how would you design that assignment differently now? 

What are students learning in your class? Are they meeting your learning outcomes? You simply cannot answer these questions without assessment of some kind.

As educators, we measure student learning through many means, including assignments, quizzes, and tests. These assessments can be formal or informal, graded or ungraded. But assessment is not simply about awarding points and assigning grades. Learning is a process, not a product, and that process takes place during activities such as recall and practice. Assessing skills in varied ways helps you adjust your teaching throughout your course to support student learning

Research tells us that our methods of assessment don’t only measure how much students have learned. They also play an important role in the learning process. A phenomenon known as the “testing effect” suggests students learn more from repeated testing than from repeated exposure to the material they are trying to learn (Karpicke & Roediger, 2008). While exposure to material, such as during lecture or study, helps students store new information, it’s crucial that students actively practice retrieving that information and putting it to use. Frequent assessment throughout a course provides students with the practice opportunities that are essential to learning.

In addition we can’t assume students can transfer what they have practiced in one context to a different context. Successful transfer of learning requires understanding of deep, structural features and patterns that novices to a subject are still developing (Barnett & Ceci, 2002; Bransford & Schwartz, 1999). If we want students to be able to apply their learning in a wide variety of contexts, they must practice what they’re learning in a wide variety of contexts .

Providing a variety of assessment types gives students multiple opportunities to practice and demonstrate learning. One way to categorize the range of assessment options is as formative or summative.

Formative and Summative Assessment

Opportunities not simply to practice, but to receive feedback on that practice, are crucial to learning (Ambrose et al., 2010). Formative assessment facilitates student learning by providing frequent low-stakes practice coupled with immediate and focused feedback. Whether graded or ungraded, formative assessment helps you monitor student progress and guide students to understand which outcomes they’ve mastered, which they need to focus on, and what strategies can support their learning. Formative assessment also informs how you modify your teaching to better meet student needs throughout your course.

Technology Tip

Design quizzes in CarmenCanvas to provide immediate and useful feedback to students based on their answers. Learn more about setting up quizzes in Carmen. 

Summative assessment measures student learning by comparing it to a standard. Usually these types of assessments evaluate a range of skills or overall performance at the end of a unit, module, or course. Unlike formative assessment, they tend to focus more on product than process. These high-stakes experiences are typically graded and should be less frequent (Ambrose et al., 2010).

Using Bloom's Taxonomy

Bloom’s Taxonomy is a common framework for thinking about how students can demonstrate their learning on assessments, as well as for articulating course and lesson learning outcomes .

Benjamin Bloom (alongside collaborators Max Englehart, Edward Furst, Walter Hill, and David Krathwohl) published Taxonomy of Educational Objectives in 1956.   The taxonomy provided a system for categorizing educational goals with the intent of aiding educators with assessment. Commonly known as Bloom’s Taxonomy, the framework has been widely used to guide and define instruction in both K-12 and university settings. The original taxonomy from 1956 included a cognitive domain made up of six categories: Knowledge, Comprehension, Application, Analysis, Synthesis, and Evaluation. The categories after Knowledge were presented as “skills and abilities,” with the understanding that knowledge was the necessary precondition for putting these skills and abilities into practice. 

A revised Bloom's Taxonomy from 2001 updated these six categories to reflect how learners interact with knowledge. In the revised version, students can:  Remember content, Understand ideas, Apply information to new situations, Analyze relationships between ideas, Evaluate information to justify perspectives or decisions, and Create new ideas or original work. In the graphic pictured here, the categories from the revised taxonomy are imagined as the layers of a cake.

Assessing students on a variety of Bloom's categories will give you a better sense of how well they understand your course content. The taxonomy can be a helpful guide to predicting which tasks will be most difficult for students so you can provide extra support where it is needed. It can also be used to craft more transparent assignments and test questions by honing in on the specific skills you want to assess and finding the right language to communicate exactly what you want students to do.  See the Sample Bloom's Verbs in the Examples section below.

Diving deeper into Bloom's Taxonomy

Like most aspects of our lives, activities and assessments in today’s classroom are inextricably linked with technology. In 2008, Andrew Churches extended Bloom’s Taxonomy to address the emerging changes in learning behaviors and opportunities as “technology advances and becomes more ubiquitous.” Consult Bloom’s Digital Taxonomy for ideas on using digital tools to facilitate and assess learning across the six categories of learning.

Did you know that the cognitive domain (commonly referred to simply as Bloom's Taxonomy) was only one of three domains in the original Bloom's Taxonomy (1956)? While it is certainly the most well-known and widely used, the other two domains— psychomotor and affective —may be of interest to some educators. The psychomotor domain relates to physical movement, coordination, and motor skills—it might apply to the performing arts or other courses that involve movement, manipulation of objects, and non-discursive communication like body language. The affective domain pertains to feelings, values, motivations, and attitudes and is used more often in disciplines like medicine, social work, and education, where emotions and values are integral aspects of learning. Explore the full taxonomy in  Three Domains of Learning: Cognitive, Affective, and Psychomotor (Hoque, 2017).

In Practice

Consider the following to make your assessments of student learning effective and meaningful.

Align assignments, quizzes, and tests closely to learning outcomes.

It goes without saying that you want students to achieve the learning outcomes for your course. The testing effect implies, then, that your assessments must help them retrieve the knowledge and practice the skills that are relevant to those outcomes.

Plan assessments that measure specific outcomes for your course. Instead of choosing quizzes and tests that are easy to grade or assignment types common to your discipline, carefully consider what assessments will best help students practice important skills. When assignments and feedback are aligned to learning outcomes, and you share this alignment with students, they have a greater appreciation for your course and develop more effective strategies for study and practice targeted at achieving those outcomes (Wang, et al., 2013).

Provide authentic learning experiences.

Consider how far removed from “the real world” traditional assessments like academic essays, standard textbook problems, and multiple-choice exams feel to students. In contrast, assignments that are authentic resemble real-world tasks. They feel relevant and purposeful, which can increase student motivation and engagement (Fink, 2013). Authentic assignments also help you assess whether students will be able to transfer what they learn into realistic contexts beyond your course.

Integrate assessment opportunities that prepare students to be effective and successful once they graduate, whether as professionals, as global citizens, or in their personal lives.

To design authentic assignments:

• Choose real-world content . If you want students to be able to apply disciplinary methods, frameworks, and terminology to solve real-world problems after your course, you must have them engage with real-world examples, procedures, and tools during your course. Include actual case studies, documents, data sets, and problems from your field in your assessments.
• Target a real-world audience . Ask students to direct their work to a tangible reader, listener or viewer, rather than to you. For example, they could write a blog for their peers or create a presentation for a future employer.
• Use real-world formats . Have students develop content in formats used in professional or real-life discourse. For example, instead of a conventional paper, students could write an email to a colleague or a letter to a government official, develop a project proposal or product pitch for a community-based company, post a how-to video on YouTube, or create an infographic to share on social media.

Simulations, role plays, case studies, portfolios, project-based learning, and service learning are all great avenues to bring authentic assessment into your course.

Make sure assignments are achievable.

Your students juggle coursework from several classes, so it’s important to be conscious of workload. Assign tasks they can realistically handle at a given point in the term. If it takes you three hours to do something, it will likely take your students six hours or more. Choose assignments that assess multiple learning outcomes from your course to keep your grading manageable and your feedback useful (Rayner et al., 2016).

Scaffold assignments so students can develop knowledge and skills over time.

For large assignments, use scaffolding to integrate multiple opportunities for feedback, reflection, and improvement. Scaffolding means breaking a complex assignment down into component parts or smaller progressive tasks over time. Practicing these smaller tasks individually before attempting to integrate them into a completed assignment supports student learning by reducing the amount of information they need to process at a given time (Salden et al., 2006).

Scaffolding ensures students will start earlier and spend more time on big assignments. And it provides you more opportunities to give feedback and guidance to support their ultimate success. Additionally, scaffolding can draw students’ attention to important steps in a process that are often overlooked, such as planning and revision, leading them to be more independent and thoughtful about future work.

A familiar example of scaffolding is a research paper. You might ask students to submit a topic or thesis in Week 3 of the semester, an annotated bibliography of sources in Week 6, a detailed outline in Week 9, a first draft on which they can get peer feedback in Week 11, and the final draft in the last week of the semester.

Your course journey is decided in part by how you sequence assignments. Consider where students are in their learning and place assignments at strategic points throughout the term. Scaffold across the course journey by explaining how each assignment builds upon the learning achieved in previous ones (Walvoord & Anderson, 2011). 

Be transparent about assignment instructions and expectations. 

Communicate clearly to students about the purpose of each assignment, the process for completing the task, and the criteria you will use to evaluate it before they begin the work. Studies have shown that transparent assignments support students to meet learning goals and result in especially large increases in success and confidence for underserved students (Winkelmes et al., 2016).

To increase assignment transparency:

• Explain how the assignment links to one or more course learning outcomes . Understanding why the assignment matters and how it supports their learning can increase student motivation and investment in the work.
• Outline steps of the task in the assignment prompt . Clear directions help students structure their time and effort. This is also a chance to call out disciplinary standards with which students are not yet familiar or guide them to focus on steps of the process they often neglect, such as initial research.
• Provide a rubric with straightforward evaluation criteria . Rubrics make transparent which parts of an assignment you care most about. Sharing clear criteria sets students up for success by giving them the tools to self-evaluate and revise their work before submitting it. Be sure to explain your rubric, and particularly to unpack new or vague terms; for example, language like "argue," “close reading,” "list significant findings," and "document" can mean different things in different disciplines. It is helpful to show exemplars and non-exemplars along with your rubric to highlight differences in unacceptable, acceptable, and exceptional work.

Engage students in reflection or discussion to increase assignment transparency. Have them consider how the assessed outcomes connect to their personal lives or future careers. In-class activities that ask them to grade sample assignments and discuss the criteria they used, compare exemplars and non-exemplars, engage in self- or peer-evaluation, or complete steps of the assignment when you are present to give feedback can all support student success.

Technology Tip   

Enter all  assignments and due dates  in your Carmen course to increase transparency. When assignments are entered in Carmen, they also populate to Calendar, Syllabus, and Grades areas so students can easily track their upcoming work. Carmen also allows you to  develop rubrics  for every assignment in your course. 

Sample Bloom’s Verbs

Building a question bank, using the transparent assignment template, sample assignment: ai-generated lesson plan.

Include frequent low-stakes assignments and assessments throughout your course to provide the opportunities for practice and feedback that are essential to learning. Consider a variety of formative and summative assessment types so students can demonstrate learning in multiple ways. Use Bloom’s Taxonomy to determine—and communicate—the specific skills you want to assess.

Remember that effective assessments of student learning are:

• Aligned to course learning outcomes
• Authentic, or resembling real-world tasks
• Achievable and realistic
• Scaffolded so students can develop knowledge and skills over time
• Transparent in purpose, tasks, and criteria for evaluation
• Collaborative learning techniques: A handbook for college faculty (book)
• Cheating Lessons (book)
• Minds online: Teaching effectively with technology (book)
• Assessment: The Silent Killer of Learning (video)
• TILT Higher Ed Examples and Resource (website)
• Writing to Learn: Critical Thinking Activities for Any Classroom (guide)

Ambrose, S.A., Bridges, M.W., Lovett, M.C., DiPietro, M., & Norman, M.K. (2010).  How learning works: Seven research-based principles for smart teaching . John Wiley & Sons. 

Barnett, S.M., & Ceci, S.J. (2002). When and where do we apply what we learn? A taxonomy for far transfer.  Psychological Bulletin , 128 (4). 612–637.  doi.org/10.1037/0033-2909.128.4.612  

Bransford, J.D, & Schwartz, D.L. (1999). Rethinking transfer: A simple proposal with multiple implications.  Review of Research in Education , 24 . 61–100.  doi.org/10.3102/0091732X024001061  

Fink, L. D. (2013).  Creating significant learning experiences: An integrated approach to designing college courses . John Wiley & Sons. 

Karpicke, J.D., & Roediger, H.L., III. (2008). The critical importance of retrieval for learning.  Science ,  319 . 966–968.  doi.org/10.1126/science.1152408  

Rayner, K., Schotter, E. R., Masson, M. E., Potter, M. C., & Treiman, R. (2016). So much to read, so little time: How do we read, and can speed reading help?.  Psychological Science in the Public Interest ,  17 (1), 4-34.  doi.org/10.1177/1529100615623267     

Salden, R.J.C.M., Paas, F., van Merriënboer, J.J.G. (2006). A comparison of approaches to learning task selection in the training of complex cognitive skills.  Computers in Human Behavior , 22 (3). 321–333.  doi.org/10.1016/j.chb.2004.06.003  

Walvoord, B. E., & Anderson, V. J. (2010).  Effective grading: A tool for learning and assessment in college . John Wiley & Sons. 

Wang, X., Su, Y., Cheung, S., Wong, E., & Kwong, T. (2013). An exploration of Biggs’ constructive alignment in course design and its impact on students’ learning approaches.  Assessment & Evaluation in Higher Education , 38 (4). 477–491.  doi.org/10.1016/j.chb.2004.06.003  

Winkelmes, M., Bernacki, M., Butler, J., Zochowski, M., Golanics, J., & Weavil, K.H. (2016). A teaching intervention that increases underserved college students’ success.  Peer Review , 18 (1/2). 31–36. Retrieved from  https://www.aacu.org/peerreview/2016/winter-spring/Winkelmes

Related Teaching Topics

A positive approach to academic integrity, creating and adapting assignments for online courses, ai teaching strategies: transparent assignment design, designing research or inquiry-based assignments, using backward design to plan your course, universal design for learning: planning with all students in mind, search for resources.

• Columbia University in the City of New York
• Office of Teaching, Learning, and Innovation
• University Policies
• Columbia Online
• Academic Calendar
• Resources and Technology
• Resources and Guides

Getting Started with Creative Assignments

Creative teaching and learning can be cultivated in any course context to increase student engagement and motivation, and promote thinking skills that are critical to problem-solving and innovation. This resource features examples of Columbia faculty who teach creatively and have reimagined their course assessments to allow students to demonstrate their learning in creative ways. Drawing on these examples, this resource provides suggestions for creating a classroom environment that supports student engagement in creative activities and assignments.  

On this page:

• The What and Why of Creative Assignments

Examples of Creative Teaching and Learning at Columbia

• How To Get Started

Cite this resource: Columbia Center for Teaching and Learning (2022). Getting Started with Creative Assignments. Columbia University. Retrieved [today’s date] from https://ctl.columbia.edu/resources-and-technology/resources/creative-assignments/

The What and Why of Creative Assignments  

Creative assignments encourage students to think in innovative ways as they demonstrate their learning. Thinking creatively involves combining or synthesizing information or course materials in new ways and is characterized by “a high degree of innovation, divergent thinking, and risk-taking” (AAC&U). It is associated with imagination and originality, and additional characteristics include: being open to new ideas and perspectives, believing alternatives exist, withholding judgment, generating multiple approaches to problems, and trying new ways to generate ideas  (DiYanni, 2015: 41). Creative thinking is considered an important skill alongside critical thinking in tackling contemporary problems. Critical thinking allows students to evaluate the information presented to them while creative thinking is a process that allows students to generate new ideas and innovate.

Creative assignments can be integrated into any course regardless of discipline. Examples include the use of infographic assignments in Nursing (Chicca and Chunta, 2020) and Chemistry (Kothari, Castañeda, and McNeil, 2019); podcasting assignments in Social Work (Hitchcock, Sage & Sage, 2021); digital storytelling assignments in Psychology (Sheafer, 2017) and Sociology (Vaughn and Leon, 2021); and incorporating creative writing in the economics classroom (Davis, 2019) or reflective writing into Calculus assignment ( Gerstle, 2017) just to name a few. In a 2014 study, organic chemistry students who elected to begin their lab reports with a creative narrative were more excited to learn and earned better grades (Henry, Owens, and Tawney, 2015). In a public policy course, students who engaged in additional creative problem-solving exercises that included imaginative scenarios and alternative solution-finding showed greater interest in government reform and attentiveness to civic issues (Wukich and Siciliano, 2014).

The benefits of creative assignments include increased student engagement, motivation, and satisfaction (Snyder et al., 2013: 165); and furthered student learning of course content (Reynolds, Stevens, and West, 2013). These types of assignments promote innovation, academic integrity, student self-awareness/ metacognition (e.g., when students engage in reflection through journal assignments), and can be made authentic as students develop and apply skills to real-world situations.  

When instructors give students open-ended assignments, they provide opportunities for students to think creatively as they work on a deliverable. They “unlock potential” (Ranjan & Gabora and Beghetto in Gregerson et al., 2013) for students to synthesize their knowledge and propose novel solutions. This promotes higher-level thinking as outlined in the revised Bloom’s Taxonomy’s “create” cognitive process category: “putting elements together to form a novel coherent whole or make an original product,” this involves generating ideas, planning, and producing something new. 

The examples that follow highlight creative assignments in the Columbia University classroom. The featured Columbia faculty taught creatively – they tried new strategies, purposefully varied classroom activities and assessment modalities, and encouraged their students to take control of what and how they were learning (James & Brookfield, 2014: 66).

Dr. Cruz changed her course assessment by “moving away from high stakes assessments like a final paper or a final exam, to more open-ended and creative models of assessments.”  Students were given the opportunity to synthesize their course learning, with options on topic and format of how to demonstrate their learning and to do so individually or in groups. They explored topics that were meaningful to them and related to the course material. Dr. Cruz noted that “This emphasis on playfulness and creativity led to fantastic final projects including a graphic novel interpretation, a video essay that applied critical theory to multiple texts, and an interactive virtual museum.” Students “took the opportunity to use their creative skills, or the skills they were interested in exploring because some of them had to develop new skills to produce these projects.” (Dr. Cruz; Dead Ideas in Teaching and Learning , Season 3, Episode 6). Along with their projects, students submitted an artist’s statement, where they had to explain and justify their choices. 

Dr. Cruz noted that grading creative assignments require advanced planning. In her case, she worked closely with her TAs to develop a rubric that was shared with students in advance for full transparency and emphasized the importance of students connecting ideas to analytical arguments discussed in the class. 

Watch Dr. Cruz’s 2021 Symposium presentation. Listen to Dr. Cruz talk about The Power of Blended Classrooms in Season 3, Episode 6 of the Dead Ideas in Teaching and Learning podcast. Get a glimpse into Dr. Cruz’s online classroom and her creative teaching and the design of learning experiences that enhanced critical thinking, creativity, curiosity, and community by viewing her Voices of Hybrid and Online Teaching and Learning submission.

As part of his standard practice, Dr. Yesilevskiy scaffolds assignments – from less complex to more complex – to ensure students integrate the concepts they learn in the class into their projects or new experiments. For example, in Laboratory 1, Dr. Yesilevskiy slowly increases the amount of independence in each experiment over the semester: students are given a full procedure in the first experiment and by course end, students are submitting new experiment proposals to Dr. Yesilevskiy for approval. This is creative thinking in action. Students not only learned how to “replicate existing experiments, but also to formulate and conduct new ones.”

Watch Dr. Yesilevskiy’s 2021 Symposium presentation. 

How Do I Get Started?: Strategies to Support Creative Assignments

The previous section showcases examples of creative assignments in action at Columbia. To help you support such creative assignments in your classroom, this section details three strategies to support creative assignments and creative thinking. Firstly, re-consider the design of your assignments to optimize students’ creative output. Secondly, scaffold creative assignments using low-stakes classroom activities that build creative capacity. Finally, cultivate a classroom environment that supports creative thinking.     

Design Considerations for Creative Assignments 

Thoughtfully designed open-ended assignments and evaluation plans encourage students to demonstrate their learning in authentic ways. When designing creative assignments, consider the following suggestions for structuring and communicating to your students about the assignment. 

Set clear expectations . Students may feel lost in the ambiguity and complexity of an open-ended assignment that requires them to create something new. Communicate the creative outcomes and learning objectives for the assignments (Ranjan & Gabora, 2013), and how students will be expected to draw on their learning in the course. Articulare how much flexibility and choice students have in determining what they work on and how they work on it. Share the criteria or a rubric that will be used to evaluate student deliverables. See the CTL’s resource Incorporating Rubrics Into Your Feedback and Grading Practices . If planning to evaluate creative thinking, consider adapting the American Association of Colleges and Universities’ creative thinking VALUE rubric . 

Structure the project to sustain engagement and promote integrity. Consider how the project might be broken into smaller assignments that build upon each other and culminate in a synthesis project. The example presented above from Dr. Yesilevskiy’s teaching highlights how he scaffolded lab complexity, progressing from structured to student-driven. See the section below “Activities to Prepare Students for Creative Assignments” for sample activities to scaffold this work. 

Create opportunities for ongoing feedback . Provide feedback at all phases of the assignment from idea inception through milestones to completion. Leverage office hours for individual or group conversations and feedback on project proposals, progress, and issues. See the CTL’s resource on Feedback for Learning . Consider creating opportunities for structured peer review for students to give each other feedback on their work. Students benefit from learning about their peers’ projects, and seeing different perspectives and approaches to accomplishing the open-ended assignment. See the CTL’s resource Peer Review: Intentional Design for Any Course Context . 

Share resources to support students in their work. Ensure all students have access to the resources they will need to be successful on the assigned project. Connect students with campus resources that can help them accomplish the project’s objectives. For instance, if students are working on a research project – connect them to the Library instruction modules “ From Books to Bytes: Navigating the Research Ecosystem ,” encourage them to schedule a consultation with a specialist for research support through Columbia Libraries , or seek out writing support. If students will need equipment to complete their project, remind them of campus resources such as makerspaces (e.g., The Makerspace @ Columbia in Room 254 Engineering Terrace/Mudd; Design Center at Barnard College); borrowing equipment (e.g., Instructional Media and Technology Services (IMATS) at Barnard; Gabe M. Wiener Music & Arts Library ). 

Ask students to submit a self-reflection with their project. Encourage students to reflect on their process and the decisions they made in order to complete the project. Provide guiding questions that have students reflect on their learning, make meaning, and engage their metacognitive thinking skills (see the CTL’s resource of Metacognition ). Students can be asked to apply the rubric to their work or to submit a creative statement along with their work that describes their intent and ownership of the project.

Collect feedback from students and iterate. Invite students to give feedback on the assigned creative project, as well as the classroom environment and creative activities used. Tell students how you will use their suggestions to make improvements to activities and assignments, and make adjustments to the classroom environment. See the CTL’s resource on Early and Mid-Semester Student Feedback . 

Low-Stakes Activities to Prepare Students for Creative Assignments

The activities described below are meant to be scaffolded opportunities leading to a larger creative project. They are low-stakes, non-graded activities that make time in the classroom for students to think, brainstorm, and create (Desrochers and Zell, 2012) and prepare them to do the creative thinking needed to complete course assignments. The activities can be adapted for any course context, with or without the use of technology, and can be done individually or collaboratively (see the CTL’s resource on Collaborative Learning to explore digital tools that are available for group work). 

Brainstorming 

Brainstorming is a process that students can engage in to generate as many ideas as possible related to a topic of study or an assignment topic (Sweet et al., 2013: 87). As they engage in this messy and jugement-free work, students explore a range of possibilities. Brainstorming reveals students’ prior knowledge (Ambrose et al., 2010: 29). Brainstorm activities are useful early on to help create a classroom culture rooted in creativity while also serving as a potential icebreaker activity that helps instructors learn more about what prior knowledge and experiences students are bringing to the course or unit of study. This activity can be done individually or in groups, and in class or asynchronously. Components may include:

• Prompt students to list off (individually or collaboratively) their ideas on a whiteboard, free write in a Google Doc or some other digital space. 
• Provide formative feedback to assist students to further develop their ideas.
• Invite students to reflect on the brainstorm process, look over their ideas and determine which idea to explore further.

Mind mapping

A mind map, also known as a cognitive or concept map, allows students to visually display their thinking and knowledge organization, through lines connecting concepts, arrows showing relationships, and other visual cues (Sweet et al., 2013: 89; Ambrose et al. 2010: 63). This challenges students to synthesize and be creative as they display words, ideas, tasks or principles (Barkley, 2010: 219-225). A mind mapping activity can be done individually or in groups, and in class or asynchronously. This activity can be an extension of a brainstorming session, whereby students take an idea from their brainstormed list and further develop it. 

Components of a mind mapping activity may include:

• Prompt students to create a map of their thinking on a topic, concept, or question. This can be done on paper, on a whiteboard, or with digital mind mapping or whiteboard tools such as Google Drawing.
• Provide formative feedback on the mind maps.
• Invite students to reflect on their mind map, and determine where to go next.

Digital storytelling

Digital storytelling involves integrating multimedia (images, text, video, audio, etc.) and narrative to produce immersive stories that connect with course content. Student-produced stories can promote engagement and learning in a way that is both personal and universal (McLellan, 2007). Digital storytelling contributes to learning through student voice and creativity in constructing meaning (Rossiter and Garcia, 2010). 

Tools such as the CTL-developed Mediathread as well as EdDiscussion support collaborative annotation of media objects. These annotations can be used in writing and discussions, which can involve creating a story. For freeform formats, digital whiteboards allow students to drop in different text and media and make connections between these elements. Such storytelling can be done collaboratively or simply shared during class. Finally, EdBlogs can be used for a blog format, or Google Slides if a presentation format is better suited for the learning objective.

Asking questions to explore new possibilities

Tap into student imagination, stimulate curiosity, and create memorable learning experiences by asking students to pose “What if?” “why” and “how” questions – how might things be done differently; what will a situation look like if it is viewed from a new perspective?; or what could a new approach to solving a problem look like? (James & Brookfield, 2014: 163). Powerful questions are open-ended ones where the answer is not immediately apparent; such questions encourage students to think about a topic in new ways, and they promote learning as students work to answer them (James & Brookfield, 2014: 163). Setting aside time for students to ask lots of questions in the classroom and bringing in questions posed on CourseWorks Discussions or EdDiscussion sends the message to students that their questions matter and play a role in learning. 

Cultivate Creative Thinking in the Classroom Environment

Create a classroom environment that encourages experimentation and thinking from new and diverse perspectives. This type of environment encourages students to share their ideas without inhibition and personalize the meaning-making process. “Creative environments facilitate intentional acts of divergent (idea generation, collaboration, and design thinking) and convergent (analysis of ideas, products, and content created) thinking processes.” (Sweet et al., 2013: 20)

Encourage risk-taking and learning from mistakes . Taking risks in the classroom can be anxiety inducing so students will benefit from reassurance that their creativity and all ideas are welcome. When students bring up unexpected ideas, rather than redirecting or dismissing, seize it as an opportunity for a conversation in which students can share, challenge, and affirm ideas (Beghetto, 2013). Let students know that they can make mistakes, “think outside of the box” without penalty (Desrochers and Zell, 2012), and embrace failure seeing it as a learning opportunity.

Model creative thinking . Model curiosity and how to ask powerful questions, and encourage students to be curious about everything (Synder et al., 2013, DiYanni, 2015). Give students a glimpse into your own creative thinking process – how you would approach an open-ended question, problem, or assignment? Turn your own mistakes into teachable moments. By modeling creative thinking, you are giving students permission to engage in this type of thinking.

Build a community that supports the creative classroom environment. Have students get to know and interact with each other so that they become comfortable asking questions and taking risks in front of and with their peers. See the CTL’s resource on Community Building in the Classroom . This is especially important if you are planning to have students collaborate on creative activities and assignments and/or engage in peer review of each other’s work. 

Plan for play. Play is integral to learning (Cavanagh, 2021; Eyler, 2018; Tatter, 2019). Play cultivates a low stress, high trust, inclusive environment, as students build relationships with each. This allows students to feel more comfortable in the classroom and motivates them to tackle more difficult content (Forbes, 2021). Set aside time for play (Ranjan & Gabora, 2013; Sinfield, Burns, & Abegglen, 2018). Design for play with purpose grounded in learning goals. Create a structured play session during which students experiment with a new topic, idea, or tool and connect it to curricular content or their learning experience. Play can be facilitated through educational games such as puzzles, video games, trivia competitions, scavenger hunts or role-playing activities in which students actively apply knowledge and skills as they act out their role (Eyler, 2018; Barkley, 2010). For an example of role-playing games explore Reacting to the Past , an active learning pedagogy of role-playing games developed by Mark Carnes at Barnard College. 

The CTL is here to help!

CTL consultants are happy to support instructors as they design activities and assignments that promote creative thinking. Email [email protected] to schedule a consultation.

Ambrose et al. (2010). How Learning Works: 7 Research-Based Principles for Smart Teaching. Jossey-Bass.

Barkley, E. F., Major, C. H., and Cross, K. P. (2014). Collaborative Learning Techniques: A Handbook for College Faculty . 

Barkley, E. F. (2010) Student Engagement Techniques: A Handbook for College Faculty.

Beghetto, R. (2013). Expect the Unexpected: Teaching for Creativity in the Micromoments. In M.B. Gregerson, H.T. Snyder, and J.C. Kaufman (Eds.). Teaching Creatively and Teaching Creativity . Springer. 

Cavanagh, S. R. (2021). How to Play in the College Classroom in a Pandemic, and Why You Should . The Chronicle of Higher Education. February 9, 2021.

Chicca, J. and Chunta, K, (2020). Engaging Students with Visual Stories: Using Infographics in Nursing Education . Teaching and Learning in Nursing. 15(1), 32-36.

Davis, M. E. (2019). Poetry and economics: Creativity, engagement and learning in the economics classroom. International Review of Economics Education. Volume 30. 

Desrochers, C. G. and Zell, D. (2012). Gave projects, tests, or assignments that required original or creative thinking! POD-IDEA Center Notes on Instruction. 

DiYanni, R. (2015). Critical and creative thinking : A brief guide for teachers . John Wiley & Sons, Incorporated. 

Eyler, J. R. (2018). How Humans Learn. The Science and Stories Behind Effective College Teaching. West Virginia University Press. 

Forbes, L. K. (2021). The Process of Play in Learning in Higher Education: A Phenomenological Study. Journal of Teaching and Learning. Vol. 15, No. 1, pp. 57-73. 

Gerstle, K. (2017). Incorporating Meaningful Reflection into Calculus Assignments. PRIMUS. Problems, Resources, and Issues in Mathematics Undergraduate Studies. 29(1), 71-81.

Gregerson, M. B., Snyder, H. T., and Kaufman, J. C. (2013). Teaching Creatively and Teaching Creativity . Springer. 

Henry, M., Owens, E. A., and Tawney, J. G. (2015). Creative Report Writing in Undergraduate Organic Chemistry Laboratory Inspires Non Majors. Journal of Chemical Education , 92, 90-95.

Hitchcock, L. I., Sage, T., Lynch, M. and Sage, M. (2021). Podcasting as a Pedagogical Tool for Experiential Learning in Social Work Education. Journal of Teaching in Social Work . 41(2). 172-191.

James, A., & Brookfield, S. D. (2014). Engaging imagination : Helping students become creative and reflective thinkers . John Wiley & Sons, Incorporated.

Jackson, N. (2008). Tackling the Wicked Problem of Creativity in Higher Education.

Jackson, N. (2006). Creativity in higher education. SCEPTrE Scholarly Paper , 3 , 1-25.

Kleiman, P. (2008). Towards transformation: conceptions of creativity in higher education.

Kothari, D., Hall, A. O., Castañeda, C. A., and McNeil, A. J. (2019). Connecting Organic Chemistry Concepts with Real-World Context by Creating Infographics. Journal of Chemistry Education. 96(11), 2524-2527. 

McLellan, H. (2007). Digital Storytelling in Higher Education. Journal of Computing in Higher Education. 19, 65-79. 

Ranjan, A., & Gabora, L. (2013). Creative Ideas for Actualizing Student Potential. In M.B. Gregerson, H.T. Snyder, and J.C. Kaufman (Eds.). Teaching Creatively and Teaching Creativity . Springer. 

Rossiter, M. and Garcia, P. A. (2010). Digital Storytelling: A New Player on the Narrative Field. New Directions for Adult and Continuing Education. No. 126, Summer 2010. 

Sheafer, V. (2017). Using digital storytelling to teach psychology: A preliminary investigation. Psychology Learning & Teaching. 16(1), 133-143. 

Sinfield, S., Burns, B., & Abegglen, S. (2018). Exploration: Becoming Playful – The Power of a Ludic Module. In A. James and C. Nerantzi (Eds.). The Power of Play in Higher Education . Palgrave Macmillan.

Reynolds, C., Stevens, D. D., and West, E. (2013). “I’m in a Professional School! Why Are You Making Me Do This?” A Cross-Disciplinary Study of the Use of Creative Classroom Projects on Student Learning. College Teaching. 61: 51-59.

Sweet, C., Carpenter, R., Blythe, H., and Apostel, S. (2013). Teaching Applied Creative Thinking: A New Pedagogy  for the 21st Century. Stillwater, OK: New Forums Press Inc. 

Tatter, G. (2019). Playing to Learn: How a pedagogy of play can enliven the classroom, for students of all ages . Harvard Graduate School of Education. 

Vaughn, M. P. and Leon, D. (2021). The Personal Is Political Art: Using Digital Storytelling to Teaching Sociology of Sexualities. Teaching Sociology. 49(3), 245-255. 

Wukich, C. and Siciliano, M. D. (2014). Problem Solving and Creativity in Public Policy Courses: Promoting Interest and Civic Engagement. Journal of Political Science Education . 10, 352-368.

CTL resources and technology for you.

• Overview of all CTL Resources and Technology

This website uses cookies to identify users, improve the user experience and requires cookies to work. By continuing to use this website, you consent to Columbia University's use of cookies and similar technologies, in accordance with the Columbia University Website Cookie Notice .

The Cowbell

News and Resources from UWGB's Center for the Advancement of Teaching and Learning

Assignment Design

There’s a fine line between assignment design and assessment strategies . In short, designing good assignments is one means of assessing your students’ learning on a larger scale.

Assignments help measure student learning in your course. Effective assignment design in your course involves aligning your assignments with learning outcomes. When assignments and outcomes are aligned, good grades and good learning go hand in hand ( https://www.cmu.edu/teaching/designteach/design/assessments.html ).

Assessments fall into one of two categories, formative or summative .

Formative assessments are typically low-stakes and help students identify their strengths and weaknesses so that they can improve their learning. Routine formative assessments also help instructors identify the areas where students are struggling and adapt their teaching accordingly.

Summative assessments evaluate student learning (such as at the end of a unit of instruction). Summative assessments are generally higher stakes (like midterm exams and final projects).

Assignments are what students actually ‘do’ as part of those assessments.

Incorporating a mix of assignment activities in your course can help students practice and demonstrate their mastery of outcomes in multiple ways. Consider ways you can design your assignments so that they better mirror the application of knowledge in real-world scenarios. Assignments designed in this way are often referred to as Authentic Assessments ( Authentic-assessment.pdf (uwex.edu)). One type of highly authentic assessment is the long-term project which challenges students to solve a problem or complete a challenge requiring the application of course concepts ( Project_Based_Learning.pdf (uwex.edu) ).

More details and examples can be found in the tabbed content box below. Please also consider signing up for a CATL consultation with one of our instructional designers for some personalized assistance in developing your ideas for assignments and ensuring that they align with your course outcomes .

(Adapted from Carnegie Mellon's:  Design and Teach a Course )

Assessments should provide instructors and students with evidence of how well students have mastered the course outcomes.

There are two major reasons for aligning assessments with learning outcomes.

• Alignment increases the probability that we will provide students with the opportunities to learn and practice knowledge and skills that instructors will require students know in the objectives and in the assessments. (Teaching to the assessment is a  good  thing.)
• When instructors align assessments with outcomes, students are more likely to translate "good grades" into "good learning." Conversely, when instructors misalign assessments with objectives, students will focus on getting good grades on the assessments, rather than focusing on mastering the material that the instructor finds important.

Instructors may use different types of assessments to measure student proficiency in a learning objective. Moreover, instructors may use the same activity to measure different objectives. To ensure a more accurate assessment of student proficiency, many instructional designers recommend that you use different kinds of activities so that students have multiple ways to practice and demonstrate their knowledge and skills.

Formative assessment

The goal of formative assessment is to  monitor student learning  to provide ongoing feedback that can be used by instructors to improve their teaching and by students to improve their learning. More specifically, formative assessments:

• help students identify their strengths and weaknesses and target areas that need work
• help faculty recognize where students are struggling and address problems immediately

Formative assessments are generally  low stakes , which means that they have low or no point value. Examples of formative assessments include asking students to:

• draw a concept map in class to represent their understanding of a topic
• submit one or two sentences identifying the main point of a lecture
• turn in a research proposal for early feedback

Summative assessment

The goal of summative assessment is to  evaluate student learning  at the end of an instructional unit by comparing it against some standard or benchmark.

Summative assessments are often  high stakes , which means that they have a high point value. Examples of summative assessments include:

• a midterm exam
• a final project
• a senior recital

Information from summative assessments can be used formatively when students or faculty use it to guide their efforts and activities in subsequent courses.

Formative Assessments:

• Reading quizzes
• Concept map
• Muddiest point
• Pro/con grid
• Focused paraphrasing
• Reflective journal
• Virtual lab/game
• Webconference
• Debate (synchronous or asynchronous)
• Participant research
• Peer review

Summative Assessments:

• Presentation
• Portfolio project

Carnegie Mellon University on Aligning Assessments with Objectives with examples.

Items to consider when weighing your assessment options:

If you are thinking about using discussions, be sure to think about the following:.

• What kind of questions/situations do you want the students to discuss? Is it complex enough to allow students to build knowledge beyond the textbook? Will the discussion help students meet your objectives (and develop an answer for your essential questions)?
• What are your expectations for discussions? Should students participate (post) a certain number of times, with a certain number of words, and reply to a certain number of people?
• What is your role in the discussion (traffic cop, the person who clarifies issues, will you respond to every post)?

If you are thinking about using quizzes, be sure to think about the following:

• What type of questions will help your students meet the objectives of the course? Are you going to grade essay questions or just let the computer grade multiple choice questions?
• What is the place for academic integrity? Are you going to randomize questions, randomize answers, restrict time, restrict the answers that students can see after completing the exam?
• How are you going to populate your quiz? Are you going to write the questions or use questions that come from a textbook publisher?

If you are thinking of using essays, be sure to think about the following:

• Will these essays/papers help students to meet the course objectives, which ones? Is the length of the essay appropriate?
• What do you think about plagiarism checkers such as TurnItIn?
• To what extent will you allow students to submit drafts, and will you provide feedback on drafts, or will you use a peer review system?

Other items to consider:

• Are you thinking about using an alternative assignment? If so, you may want to talk with an instructional technologist or designer.
• Consider the type of feedback you will provide for each assignment. What should students expect from you; how will you communicate those expectations; and how soon will you provide feedback (realistically)?

Further resources

Small teaching online.

This book (requires UWGB login) contains many tips that are easy to integrate into your distance education class. The chapter on “ surfacing backward design” contains many tips for assessment for online classes, many of which are adaptable to all distance modalities.

CATL Resources

• Collaborative Learning Assignments  (Toolbox article)
• Administering Tests and Quizzes (including alternatives) (Toolbox article)
• Writing Good Multiple Choice Questions ( TeAch Tuesday , YouTube)

Tip sheets from UW-System

UW-System put together some tip sheets for common sticking points in assessment for distance education.

• Writing effective multiple choice questions
• Authentic assessments
• Unproctored online assessments
• Project-based learning

Department Info

• Center for the Advancement of Teaching and Learning , CL 405 UW-Green Bay, 2420 Nicolet Drive Green Bay , WI 54311-7001
• (920) 465-2541 [email protected]
• Request a Consultation
• Events & Programs

UW-Green Bay

• University of Wisconsin-Green Bay 2420 Nicolet Drive Green Bay , WI 54311 , USA
• UW-Green Bay Mission
• College Portrait
• Connect with UWGB: facebook twitter flickr youtube
• General Contact: (920) 465-2000 or [email protected]
• Report a website issue
• Privacy Policy
• Emergency Information: emergency.uwgb.edu
• Online Learning
• Arts & Performances
• Cofrin Library
• Departments & People
• Give to UW-Green Bay
• Faculty & Staff
• A to Z index
• Departments

• Our Mission

Quick and Inexpensive Design Challenges

Encouraging upper elementary and middle school students to collaborate in solving a problem helps cement science learning.

Design challenges typically present students with a problem to solve using limited materials. A good design challenge has many possible solutions, encourages creative thinking and teamwork, and teaches valuable content in an engaging and hands-on manner. Some challenges require expensive materials and many days or weeks to complete. When you have a limited budget and just a day or two of class time to spare, design challenges like the following ones can get students creating, cooperating, and thinking.

1. Alka-Seltzer Rocket to Mars Challenge

Problem: Your rocket must launch from the ground into a bucket on the roof of the school. 

Materials: Alka-Seltzer tablets, film canisters (I purchased 30 canisters on Amazon for $9), containers for water, a large bucket, a roof or high place like the top of a playground.

Alka-Seltzer and water create carbon dioxide bubbles, and when sealed together inside an old film canister, they create a “rocket” that pops high up into the air.

I give students the target of an orange bucket (representing the planet Mars) placed on the roof of our school to encourage maximum height and accuracy with their rockets. Each group gets six Alka-Seltzer tablets, a film canister, and a container of water. They are encouraged to try different amounts of water and Alka-Seltzer until they achieve maximum height.

Students put some water in the canister, drop in some Alka-Seltzer, quickly seal the top, then put it down and step back. After about 10 seconds, the pressure causes the canister to fly into the air, and the students estimate the height using marks on the side of our building for reference. They record data and make changes until they run out of Alka-Seltzer or put their canister in the bucket. They quickly learn that too much water weighs the rocket down and creates less room for pressure to build.

Just half an Alka-Seltzer tablet and a tiny amount of water allows for 7 or 8 meters of height. Students also learn about the challenges of landing a rocket accurately, and about how to adjust hypotheses and gradually improve performance.

2. Kool-Aid Challenge

Problem: Your team must create a new and delicious flavor of Kool-Aid that wows your classmates.

Materials: A variety of Kool-Aid flavor powders, graduated cylinders or liquid measurement containers, paper cups, water.

I get parent permissions and check on student allergies before beginning any activity that involves food or drink. First, I mix five or six different flavors of Kool-Aid in 2-liter containers. I typically choose a variety of flavors, including one or two unusual ones like lemon-lime and strawberry-kiwi. The teams are challenged to make 1 liter of their new creation by combining multiple flavors.

They measure out each flavor using graduated cylinders until their concoction totals 1,000 ml. Students create names for their flavors and signs to advertise them. Each student samples the other new flavors using a paper cup, then ranks them.

We tally the votes and declare a winner of our Kool-Aid new-flavor competition. Students learn about metric volume and use creativity and collaboration to come up with their best solutions to the problem.

3. Solar Oven Challenge

Problem: Your team must create a solar-powered oven that warms a marshmallow.

Materials: Cardboard boxes, aluminum foil, plastic wrap, ziplock bags, black construction paper, marshmallows, thermometers.

We do this activity after studying the properties of light. Sometimes I provide a variety of cardboard boxes, or some years I ask the local pizzeria to donate a batch of pizza boxes.

Students first draw their designs individually, then decide on a group design. Many groups reflect light into their oven using aluminum foil, and they line the bottom with black paper to absorb light and turn it into heat.

The best-performing designs typically use plastic wrap (plastic laminating material also works well) to trap the heat inside their oven using the greenhouse effect. We place the ovens outside in the morning, with a thermometer in each box and one marshmallow per group member. We check temperatures and eat the marshmallows near the end of the school day to maximize heating time. Obviously, a bright and hot day works best.

Students learn how concepts like reflection, refraction, and absorption can work together to create heat.

4. Straw Tower Challenge

Problem: Create the tallest tower using only straws and masking tape in 45 minutes.

Materials: 40 straws per group, 3 feet of masking tape per group.

Just like with the solar ovens, I ask students to create individual designs (we use the Procreate app on iPads) and then agree on a group design. Students may tape straws to the floor but to no other objects in the room. Often, the most successful designs start with a sturdy base, like a triangular or rectangular prism, then build up in gradually smaller shapes as the tower gets higher.

Many times, a group will start building upward quickly and will pull ahead, only to lose stability and see their tower droop or fall over as the time limit is reached.

Students learn engineering and geometric skills, adapt their designs as conditions change, and think creatively in three dimensions in this challenge.

Instructors should design assignments to ensure students actively engage with course content and develop essential skills. Transparent assignment design is a framework for structuring assignments to promote and encourage student learning. Many of these strategies might seem straightforward, and probably include practices you do often, but transparent assignment design is about intentionality and considering what you are asking your students to do and how it can lead to their success.

Drive-Thru Pedagogy Blog

Pick up something practical.

A Guide to Transparent Assignment Design

February 6, 2024 • Brier Anderson

Students might find themselves grappling with the mysteries of an assignment, wondering what an instructor’s directions mean, the assignment’s purpose, and its role in the larger context of a course. 

Based on research  from Dr. Mary Ann Winkelmes (University of Nevada Las Vegas, Brandeis University) and the Transparency in Learning and Teaching (TILT) Higher Ed Project , transparent assignment design is  a way of communicating expectations to learners. The framework includes three components for assignment design: purpose, tasks, and criteria. Each of these components creates accessibility by removing barriers or the unwritten rules of what it means to be a college student. Instructors create transparency by describing how students will learn content, why learning experiences were planned in a particular way, and how students will use their learning in the course and beyond. 

Research has demonstrated that this type of explicit instruction and construction of assignments supports all students, but it is particularly beneficial for underrepresented students, first generation college students, and low income students. And these aren’t major shifts. Winkelmes found that transparency in just two assignments per course significantly improved student learning, boosted academic confidence and sense of belonging, and encouraged students’ metacognitive awareness of skill development toward future professions. 

Transparent assignment design is also beneficial to instructors. Assignments are more likely to be turned in on time, students participate in meaningful discussion at higher rates, and there are fewer questions from students about assignment logistics.

So, exactly how do you design a transparent assignment? 

• Reflect on the learning objectives of the assignment and your course.  
• Articulate the purpose of the assignment. Explain its relevance to the course objectives and any broader academic and real-world contexts. Describe the skills students will practice and what knowledge they will gain. 
• Break down the tasks. Divide complex tasks into smaller, manageable tasks. Provide step-by-step instructions and resources to guide students through each stage of an assignment as a checklist using student-friendly language. 
• Define success. Explicitly outline what a successful assignment looks like (consider sharing a rubric or exemplar). This builds student confidence and allows them to self-evaluate. 
• Seek student feedback. Although your assignment might seem clear, remember you are an expert in your field and prone to potential blind spots. Student insights can help you refine future assignments. 

Transparent assignment design doesn’t require you to  redesign your course; rather, it improves existing  assignments. This is one small step toward creating a more inclusive learning environment. Interested in learning more about transparent assignment design? Check out STLI’s microcourse –  Designing for Learners: Supporting Student Writers .

© 2024 Brier Anderson. The text of this work is licensed under a Creative Commons BY-NC-ND 4.0 International License.

Meet the Author

Brier anderson, senior instructional designer, stli, william & mary.

Brier designs online professional micro-learning courses and consults with faculty on course design. Brier’s focus areas include inclusive pedagogy, digital learning, and human-centered instructional design.

How Do I (Re)design Assignments and Assessments in an AI-Impacted World?

In an era where AI tools are readily accessible, educators may want to consider transforming their approach to designing course assignments and assessments. Generative AI tools can be used by students to complete out-of-class assignments with or without teachers’ knowledge; however, the use of AI output detectors has raised concerns about their accuracy and inherent biases (Trust, 2023a) as well as concerns as to how their use can impact instructor-student relationships. Torrey Trust, UMass Amherst Professor in Teacher Education and Curriculum Studies, emphasizes the need for redesigning assignments to reduce the potential for students’ inappropriate use of generative AI tools (Trust, 2023a) and advocates for making the purpose and requirements for assignments as transparent as possible, increasing the value of assignments through real world applications, and emphasizing learning as a social experience through assignment design (Trust, 2023b).

Rethinking and transforming assignments and assessments offers a potential opportunity to enrich students' educational experiences. It may be helpful for faculty to approach this transformation by weighing strategies which assignments or assessments should or could be AI-proof or AI-immune, integrating AI tools as part of learning activities, or by adopting a two-lane approach which combines these strategies (Liu & Bridgeman, 2023).  

Strategies and Examples

General considerations.

Align Objectives. Identify course goals and student learning objectives and reflect on the objectives to determine which ones require students to demonstrate learning in an AI-free environment or through AI-immune assessments, and which new objectives related to AI skills and knowledge you might want to add to your course. Consider alignment with AI-integrated assignments or a two-lane approach' where appropriate.

Communicate with Students. Be transparent with your students about your rationale for your assignment design choices as well as your expectations and parameters for the use of AI tools for each assessment or assessment category. Talk with students about the affordances, limitations, and risks with using generative AI tools, and emphasize that they should never input any sensitive and/or personally identifiable information. See the CTL webpage How Do I Consider the Impact of AI Tools in My Courses?  

Minimize Learning Barriers. Be mindful of the potential to increase learning barriers with low-tech options, such as requiring handwritten essays or oral in-class presentations, and the unreliability of AI text detectors (Trust, 2023a) as well as equity issues related to student technology access.

AI-Immune Assignments

Designing assignments for critical thinking, personal reflection, or unique insights that AI cannot replicate ensures authentic learning. Examples include:

• In-Class Presentation with Q & A
• Gallery Walk Activity : Students explore various stations featuring different topics, questions, or projects, engaging in discussion and reflection.
• Analysis of unexplored real-world scenarios in class: After students analyze and discuss their scenarios, ask them to visually represent their findings on posters.
• Class Discussion Synthesis: Require students to integrate insights gained from in-class discussions into their writing.
• Complex Multilayered Project: Assignment has multiple interrelated questions or tasks that build on each other, and students will need to produce highly detailed responses that meet high field-specific standards and/or language and they need to cite specific passages of the content informing their project (Clay, 2023).
• Source Documentation: Require students to screenshot the relevant passages that they reference in a paper or include annotated versions of their sources with their submission.
• Process Documentation: Require students to turn in submissions in Microsoft Word or Google Docs with the version history turned on.

Read about putting assignments to the test in this AI-Immunity Challenge .

AI-Integrated Assignments

This approach involves purposefully incorporating AI technologies into assignments for assistance with specific tasks. Begin by identifying learning objectives that explicitly involve using AI tools, such as the ability to analyze data using AI tools or the ability to use AI-generated feedback to improve one’s writing. UMass IDEAS provides an excellent overview of various Generative AI tools and the resources available on campus. Consider using the TILT Transparent Assignment Template to provide your students with a clear understanding of the purpose, expectations, and parameters for an AI-integrated assignment. Here are some examples:

• AI-Assisted Research Project : Leverage AI for various research tasks.
• Document AI Collaboration: Students use specific AI tools, documenting and reflecting on the process.
• Judge the AI Output: Guide students to evaluate AI-produced materials critically.
• Chart Your AI Journey : Assign students a performance task, such as designing a product, creating a plan, preparing for a structured debate, creating an art piece, or creating a multimedia presentation. Instruct them to research, select and utilize relevant AI tools to complete it. They should then outline and justify their chosen approach.
• Chatbot Conversation Analysis : Analyze chatbot responses, effectiveness, and biases.
• AI Art Critique : Compare AI-generated art to human-created works.
• Ethical Implications Debate : Engage in discussions on AI's ethical considerations.
• Data Visualization Project : Guide students to use AI tools for analyzing large datasets, creating visuals of findings, and discussing patterns, anomalies, and insights.

Be mindful that Copilot (formerly know as Bing Chat)  is included in the UMass agreement with Microsoft; it is considered FERPA compliant as long as users have logged in using their UMass accounts. If you are considering requiring students to use an AI platform to complete coursework, Copilot  is the only recommended option. Note that with any online service that is not contracted by the university, in view of FERPA regulations, students must not be required to identify themselves to third parties. If you plan to AI-integrate assignments using non-supported tools, provide an option for students who wish to complete the assignment without using AI tools.  

A Two-Lane Approach: Combining AI-Proof and AI-Integrated Assignments

Design some tasks that cannot be completed using AI tools, for example by having students complete the assessment in an AI-free environment or designing an AI-immune assignments (lane 1) and others that involve AI collaboration (lane 2). By adopting this two-lane approach (Liu & Bridgeman, 2023), educators can leverage AI to create a balanced and enriched learning environment that both safeguards against potential AI misuse and leverages AI's unique capabilities to foster creativity and deeper understanding.

Liu (2023) includes several examples of integrated AI assignments and the two-lane approach in this guide: Assessment Design Guide by Danny Liu, University of Sydney  

The redesign of assignments and assessments for an AI-impacted world is not just feasible but also an exciting opportunity to enrich the students’ learning experiences. By understanding how AI may alter learning objectives and creatively integrating or safeguarding against AI tools, you can create a robust educational environment and help students to meet new and evolving demands in their future workplaces.

Essential Considerations for Addressing the Possibility of AI-Driven Cheating, Part 1 - Torrey Trust, College of Education, in Faculty Focus August 2, 2023 (Trust, 2023a)

Essential Considerations for Addressing the Possibility of AI-Driven Cheating, Part 2 - Torrey Trust, College of Education, in Faculty Focus, August 4, 2023 (Trust, 2023b)

What to do about assessments if we can’t out-design or out-run AI? - Danny Liu and Adam Bridgeman, July 12, 2023

Assessment Design Guide by Danny Liu, University of Sydney 

Embracing Constructive Dialogue and Oral Assessments in the Age of AI-Graham Clay and Cambriae W. Lee in Inside Higher Ed August 3, 2023

How Do I Consider the Impact of AI Tools like ChatGPT in My Courses? | Center for Teaching & Learning (umass.edu)

A Guide: How Professors Can Discourage and Prevent AI Misuse - Graham Clay, August 7, 2023 (Clay, 2023)

Infographic Generative AI Tools List

Searchable AI Tools List by Future Tools

Incorporating AI in Learning Assessments: A Guided Pathway - Sean McMinn, June 15, 2023 (LinkedIn Blog Post)

• Consultations
• MAP Program
• Departmental Administration of Forward FOCUS
• Forward FOCUS Frequently Asked Questions
• Implementing and Modifying Forward FOCUS
• Identifying and Responding to Pinch Points
• Using Forward FOCUS to Design Forward
• Alternative Grading
• Listen to Learn
• ChatGPT and Generative AI Discussion Group: Navigating the Future of Teaching and Learning
• Lilly Fellows Stories
• Lilly Fellowship Current Fellows
• Lilly Fellowship Past Fellows
• TIDE Ambassadors Fellowship Cohorts
• Contemplative Pedagogy Past Programming
• Contemplative Pedagogy Resources
• UMass Courses Taught with Contemplative Pedagogy
• SoTL Professional Development Award
• SoTL Working Group
• SoTL Conference Calendar
• SoTL Sprint
• How Do I...?
• Inclusive Syllabus Design
• Universal Design for Learning (UDL)
• Faculty Successes
• Building Belonging
• Talk Teaching
• Equity Action Plan Instructional Resources
• Gather to Grade
• Teaching Showcase
• 2021-2022 Highlights
• 2022-2023 Highlights
• Periodic Multi-Year Review (PMYR) Grant
• Previous DTA Winners
• DTA Frequently Asked Questions
• Tips for Writing a Teaching Statement
• Previous COTA Winners
• Step-by-Step Guide on How to Submit Materials for the Manning Prize 2023
• Collaborative Grants
• CTLs in Context

Master of Design in Design for Interactions

Our mdes program supports those with design backgrounds who seek to transform their practice..

The School of Design welcomes students who hold undergraduate degrees in a design-based field and at least one year of professional experience to enroll in our MDes program. If you’re looking to build onto your strong foundation in design by studying the “big picture” aspect of designing for interactions—people, organizations, cultures, contexts, and systems—our MDes program can help you. Throughout the program, you will work with some of the brightest thinkers and most talented practitioners in the field, gaining exposure to approaches, ideas, and methods at the forefront of design. Studies rooted in communication, systems thinking, futuring, speculative design, design technology, ethics, and design research form the basis of the MDes. The curriculum enables us to teach you a rigorous process for documenting, analyzing, and understanding the past and present so that you are well-positioned to propose more desirable systems and interactions for the future.

The diversity of our MDes cohort creates an incredible group of people with whom to learn.

In addition to bringing rich cultural experiences from around the world, our MDes students hold a wide range of professional and academic expertise. Holding undergraduate degrees in design-based disciplines such as communication design, product design, user experience design, architecture, and service design, our MDes students bring their unique perspectives to design coursework, which enriches everyone’s learning. Our requirement for MDes students to have at least one year of professional experience also bolsters our program as students bring valuable lessons learned in practice, such as effective collaboration, to their academic studies.

Our rigorous curriculum balances structure and autonomy.

Spanning four semesters over the course of two years, the MDes program will challenge your thinking of the roles design can and should play in aiding various forms of interactions throughout society. Through individual and team-based projects that focus on the design of services or social innovation concepts, you will learn design principles, approaches, theories, and tools that are essential to designing for interactions. Each semester is comprised of thoughtfully-aligned seminars, studios, and labs that equip you with important knowledge and skills that aid your development as a design leader. Despite designers typically working in service of others and responding to specific prompts, our MDes courses provide you with ample autonomy in directing your individual work. We take this approach because we recognize the importance of your individual interests and strive to support you as you chart your personal path that builds on your unique design background and voice. Given that CMU is a liberal arts research university, students may also appreciate pursuing research opportunities with faculty and taking courses across campus to broaden and deepen their education.

The MDes thesis provides an opportunity for you to conduct rigorous design research.

A unique feature of the MDes program is the design thesis, which is characterized as an independent research and design project that you will conduct under the mentorship of a faculty advisor. The thesis is complemented by a required second-year seminar, elective coursework in the School of Design, and other departments across the Carnegie Mellon campus. In the first year, you'll identify possible thesis topics relative to School of Design faculty expertise, investigate ways of conducting a thesis, construct a researchable question that will frame your project, secure a thesis advisor, and write a proposal for your second year of study. In the second year, you'll conduct intensive research that aligns with an appropriate design process and culminates in a robust design project that addresses your research question. You will also write a document that describes your steps and discoveries. Throughout the process you will participate in public sharing sessions of thesis work, where you will give and receive feedback to further your inquiry and understanding. You can peruse masters theses from students in the School of Design online at KiltHub .

• Beyond Big Beef: Transitions to Food Citizenship Through Community, Ema Karavdic
• Affordances for Multi-device Gestural Interactions in Augmented Reality, Shengzhi Wi
• Amplifying ASL: Designing with Futuring and Inclusion, Mackenzie Cherban
• tac.tic: Tactile design language for indoor-outdoor pedestrian navigation, Chirag Murthy
• Designing for Trust, Meric Dagli
• Building Long-Term Relationships between People and Products through Customization, Ashlesha Dhotey
• Designing for Learning Growth: Encouraging Metacognitive Practice to Support Growth Mindsets in Students, Chen Ni
• Project Care: Empowering Elderly Chronic Disease Patients to Better Understand and Manage Their Treatment Plans Through Enhanced Patient-Centric Services and Systems, Suzanne Choi & Laura Rodriguez-eng

Our MDes equips you with important design skills and knowledge that enable you to realize a lifelong career in design.

The MDes is regarded as a terminal degree in design. As a result, graduates are poised to take on leading design roles in professional practice worldwide. Alumni are also well-positioned to acquire entry-level teaching and research positions at universities. As a graduate, you may also seek to deepen your studies through a design-focused PhD program like ours, or continue your education in areas such as business, human-computer interaction, or public policy. However you chart your path, we are confident that our MDes will provide you with a strong design education that builds on your background and strengthens the positive trajectory for achieving your professional goals.

Master of Design in Design for Interactions (MDes) Curriculum

Fall semester, year 1.

Explore design for interactions, design for services, and design for social innovation and study their potential impact in business and policy. Expand your skills in communication and interaction design.

Investigate the history, current state, and future of interaction design practice and research.

Envision and prototype preferred futures by giving form to the behaviors and interactions of products, services, and systems.

Use design strategies to decode complex information and communicate messages clearly.

Learn to use design tools for physical and digital environments to support your studio projects.

Investigate your personal interests, probe existing theses, and study various ways of conducting a thesis.

Learn about faculty research.

Spring Semester, Year 1

Investigate business and policy opportunities in design for services and social innovation through research-based team project work in your studio course. Work with advisors to prepare your thesis proposal.

Choose to study either Transition Design, Social Innovation or Design for Service.

Tackle a client-sponsored team project using an integrated research and design process.

Learn and apply a range of participatory methods for exploratory, generative, and evaluative research and design.

Construct a researchable question to frame your project, secure an advisor, and plan and propose the research and design approach you'll conduct in your second year of study.

Take a design elective or a course outside of design to complement your skills and knowledge. We recommend courses in policy, business, service or social innovation, interaction or communication design, or professional writing.

Fall Semester, Year 2

Through thesis project work and your choice of electives, craft a generalist degree in design for interaction, or develop a concentration in design for services or social innovation.

Build on the foundation of coursework and studios through thesis research with your advisor. Conduct research and develop creative concepts to investigate a significant challenge, engage with stakeholders in the real world to inspire and evaluate your ideas, and review your progress and evolving body of work with peers and your advisor to inform your subsequent steps.

Survey new models and approaches to interaction design and design for service in professional practice.

Learn research strategies and tools to assist you in your literature and artifact reviews, investigate making as a means of exploring and understanding your topic, and explore ways of visualizing your discoveries to aid your learning and share your findings with others.

Spring Semester, Year 2

Bring your thesis project to fruition by synthesizing your discoveries and disseminating valuable insights that have the potential to benefit others. Take advantage of electives to cultivate your expertise in design for interaction, and design for services or social innovation.

Model, test, and refine, your design concepts that have emerged from your year of deep research and design exploration to deepen your understanding of your topic, synthesize your findings and apply what you learned to your project, document, present, and publicly defend your thesis, and showcase your project as a unique feature of your design portfolio to demonstrate your ability to take on a significant research and design project.

Explore ways of encapsulating your study, synthesizing and structuring your discoveries, and writing and designing your thesis for dissemination.

We invite you to connect with us and learn more about the School of Design and our MDes program.

Check out examples of students’ work . Join us for an online visitors session . Review other areas of our site such as Frequently Asked Questions and Application Process . Plan a visit to Carnegie Mellon and coordinate a tour of the School of Design while you’re here. Contact us to schedule a call with our academic advisor to discuss any outstanding questions that arise. We look forward to meeting you!

Our website requires JavaScript. Please enable JavaScript in your browser. Not sure how?

Home » Academics » School of Game Development » School of Game Development Student Experience

• School Home
• Introduction
• Student Work

Student Experience

In the School of Game Development, it’s “game on” from day one. You’ll learn about the entire development pipeline and focus on one of the following areas: concept art, 3D art, game play, level design, or programming. You’ll be able to play with cutting edge technology like our networked VR treadmills and haptic vests. You’ll hang out in our esports lounge with your peers and experience the thrill of being part of a competitive gaming squad.

As you build your professional-quality portfolio, you’ll create interactive experiences for organizations like NASA and the Rockwell Museum and collaborate with other Academy students on projects for major corporations like Stellantis. Join us in the School of Game Development and we’ll teach you how to win in the game of life.

Partnerships

With deep professional ties to the gaming industry, the School of Game Development offers our students unparalleled opportunities to collaborate with the best of the best while still in school. Many of our faculty have logged time at some of the biggest gaming companies in the world, and that experience provides a gateway to meaningful industry partnerships.

Blizzard Games

Blizzard Entertainment partners with the game design school at Academy of Art University to provide lectures and student portfolio reviews. Many of our students have entered and won the annual Blizzard Student Art Contest, earning mentoring, internships and employment with Blizzard.

Game Showcase

Play games designed and built by academy students.

To truly provide a sense of what can be accomplished with a degree in Game Development from the Academy, we’ve created a gallery of working demos of some of the more exciting game projects our students have created.

Click the button below to browse games that vary widely in terms of art, gameplay, and interactivity.

The vision for the esports program was born in the summer of 2016. With our successful School of Game Development, thriving gaming community, and our location in the heart of San Francisco, Academy of Art is the perfect place for esports to thrive and grow. Our ArtU Esports Lounge opened on September 19, 2016, and since then we have refined our esports program to bring the gaming community closer together through hundreds of events, collegiate competitions, and esports education. Our commitment is to be the best collegiate esports program in the world.

Featured Student

Shannon Lane

BFA  Game Design 2024

Leveraging Learning Spaces Seminar (for grad students)

• Calendar / Outlook

Though the realm of the senses, movement, and the physical spaces in which we teach and learn may feel beyond the purview of our own instructional design and control, in fact, learning spaces and the bodies that inhabit them exert powerful influences on learning. This in mind, instructors can make intentional interventions to their pedagogical practices, classrooms, and syllabi to foster student learning and engagement (Hrach, 2021). 

What might it look like to intentionally engage this physical context of learning (Huse, 2005) in our instructional design? If this question interests you, we encourage you to join the CTL for a novel seminar, Leveraging Learning Spaces , in order to: 

• Explore how the body affects learning by discussing concepts such as embodied cognition, sensory learning, and the relationship between physical health, context, and learning outcomes
• Observe and critically reflect on the ways in which the design and use of learning spaces can support--or hinder--pedagogical goals and interventions and identify strategies to engage or interrupt what Monahan (2005) terms the “built pedagogy” of a learning environment 
• Consider possibilities and resources for learning beyond the classroom; and articulate a range of strategies to employ and advocate change-oriented practices in your future teaching assignments

In this novel offering, participants will engage in activities designed to both reflect on and experience the physical context of learning, including individual exercises, group discussions, and focused observations. Through these activities, participants will articulate dimensions of a pedagogical practice that is both emplaced (i.e., one that recognizes, leverages, and intervenes in the physical setting of learning) and embodied (i.e., one that is responsive and sensitive to the physical and sensorial contexts of cognition). 

This seminar, designed and facilitated by Caitlin DeClercq , Senior Assistant Director of Graduate Student Programs and Services at the CTL, will meet five successive Mondays beginning Monday March 25 (all dates: Monday March 25, April 1, 8, 15, and 22), 10:10am-12pm, in room 212 Butler Library . Due to space constraints, participation in this seminar is by application only. Applications will be available on the CTL website beginning Monday, February 19 and will be due Monday March 4, 2024. Please contact the CTL with any questions in the meantime: [email protected].

This workshop counts as an Intensive Seminar for participants enrolled in the  Teaching Development Program . 

Columbia University makes every effort to accommodate individuals with disabilities. Contact [email protected] for accommodations. This event may be photographed. For concerns, contact [email protected].

Contact Information