Unlike a math test, when we look at your creative work, we don't start with an A (100%) and work down, we start at a C and work up — and, we don't deduct points from a A, but instead add them to a C. This is markedly different from how something like a quiz is graded... and a bit more like how an essay is graded.
We have baseline expectations for a project depending on your level and the grading process starts there. These expectations also rise each semester — for instance, the expectations for Packaging-3 are higher than Packaging-1. If you delivered the same level of work each semester, you might get a B in your first semester, but a D in your third because these expectations are increasing with your level (and in this illustration, your work is not). When it comes to evaluating work, if your craft is much better than expected at your level, the grade rises… the same goes for type, concept, format, etc.
This grading model also counters the idea that: "I got an A in Type-1, why am getting a C in Type-3!?". When we look at work, we look at in in context of the level you're at — not past achievements or future hopes. We also grade on results, not effort. For many students, good work seems to come naturally, others have to work at it (some call this a "talent" element)… but at the end of the day, when the work hits the table (or PDF file), it is evaluated on its own merits in its own time regardless of the resources spent... and even who did the work. Quite simply: How did it measure up to the assignment? (...which is much different from "does it look cool" — many beautiful things fail to meet objectives).
As you might guess, A-level work is an amazing mix of concept, form, execution and presentation — and you know it when you see it. C-level work meets expectations, which — in many cases — is tough to accomplish in a difficult program with increasing expectations. A B-level grade exceeds expectations and is a good grade… You should be happy with a B. Really... it means the work is good.
Of course, if you are unclear on what these expectations are, please ask your instructor. We try to be as clear as we can about expectations when delivering project-based work, but we stop short of giving you a set of instructions to follow — this is a difficult balance. Some of your projects have rubrics and we're developing more along the way. These rubrics delineate what meets, exceeds, or falls-short of expectations. However, as you might guess, this is a slippery slope as a student might be more inclined to use the rubrics as a guide for a project (like a checklist) and overlook the gestalt of the it all which generally results in less-than-ideal work.
As an analogy, how we grade creative work is also how you might price a car or a house you've been working on. For example, you might have a great 1972 VW Beetle that you've been fixing up to sell. You've spent 239 hours working on it, $3K on paint, $3K on a new engine, $1K on a new exhaust system, $1K on tires and suspension, $1K on a great stereo, $2K on a new interior and $1K on misc parts. Added to the base price of the car ($6K), you might think you have a $18K car — not even counting your time... not true. The average selling price for a 1972 VW in decent condition is about $6K today. The great paint and great interior might get you a few thousand more, but no where near that imagined $18K mark. The same goes with a house. Home prices are tabulated by the average selling price in an area... not by how much you might have spent on renovations. The same basic rule applies: Start in the middle (average) and then work up and down as necessary.
How we evaluate your work is a bit different than what many students are accustomed to when coming from a course of study like math or science, so we want to be clear about it. However, once you realign your thinking on how creative work is judged — and how it's different than a 10-question quiz — you'll be more at ease with the world around you.
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