Digital Technologies • Creative Coding Studio • Years 7–8 • Assessed build log

Te Pukapuka Hangarau — Digital Tech Logbook

Ten sections, one per lesson. This is where you write down what you built, what went wrong, and what you changed to fix it. Programmers keep a log like this because nobody remembers on Friday what they changed on Tuesday. It prints to A4 — your kaiako will give you the whole booklet at the start of the unit.

Te Pukapuka Hangarau · Build Log

Ingoa / Name
Akomanga / Class
Scratch username

Fill in a section at the end of each lesson while it is still fresh — about ten minutes. Write what you actually did, not what you meant to do. A bug you wrote down and fixed is worth more marks than a project with no bugs recorded, because it shows your thinking. If you ran out of time, say so and say where you got to. An honest half-section beats an invented full one.

Section 1 · Unplugged algorithm design & debugging

Lesson 1. No computers this lesson — this is all on paper.

The everyday task I turned into an algorithm

My algorithm, step by step (use as many lines as you need; number every step)

When a classmate followed my algorithm exactly, the first place it went wrong was…

What I had assumed the reader already knew (this is nearly always the bug)

The step I rewrote, and how I rewrote it

Decomposition check — my algorithm has: ☐ a clear start ☐ one action per step ☐ steps in an order that cannot be swapped ☐ a clear finish

Section 2 · Scratch interface tour & first animated sprite

Lesson 2. First lesson on the computers.

My project name:   Sprite(s) I used:

Label the four parts of the Scratch window from memory — where each one is and what it does

Block palette:   Code area:

Stage:   Sprite list:

Write out the blocks in my first script, in order, top to bottom

A sprite at x: 0, y: 0 is in the middle of the stage. To move it to the top-right corner I would set x to about and y to about

Something that did not do what I expected, and what I found out

Section 3 · Loop efficiency audit & pen geometry

Lesson 3. Loops.

In my Lesson 2 script I had blocks repeated. Which blocks, and how many times?

I replaced them with this loop

Blocks before:   Blocks after:   Blocks saved:

Pen shape I drew, and the two numbers inside my loop

Shape:   repeat   turn degrees

Those two numbers are related. Write the rule you found:

One thing in my project that should use forever and not repeat — and why

Section 4 · Chatbot script & variable memory tracking

Lesson 4. Asking, storing, remembering.

The questions my chatbot asks, in order

Variables I made, and what each one holds

Name: holds:

Name: holds:

Memory trace — fill this in as you run your chatbot once

After question 1, answer holds:

After question 2, answer holds:

What happened to the first answer once the second question was asked?

That is why I had to store the first answer in a variable. Explain in your own words:

Section 5 · Conditional logic flowchart & collision code

Lesson 5. Decisions.

Draw the flowchart for one decision in my project — the condition in a diamond, the two ways out labelled true and false

The condition I actually used, written as it appears in the hexagon block

What happens when it is true

What happens when it is false (write “nothing” if you used if-then rather than if-then-else)

I tested it by deliberately making the condition true, then deliberately making it false. Result:

True case did what I expected: ☐ yes ☐ no —

False case did what I expected: ☐ yes ☐ no —

Section 6 · Broadcast communication map & multi-scene script

Lesson 6. Sprites talking to each other.

My broadcast map — one row per message

Message name: sent by: received by:

Message name: sent by: received by:

Message name: sent by: received by:

Before I used broadcasts I could have tried to time my sprites with wait blocks. Why is that worse?

One message that did not arrive, and what was wrong (check spelling of the message name first — it catches most people)

Section 7 · Game mechanics architecture & playtesting feedback

Lesson 7. Making it a game rather than an animation.

How a player wins:   How a player loses:

Score goes up when…   Lives go down when…

Where in my code do score and lives get set back to their starting values, and why does that have to happen there?

Playtester feedback — get two people who did not build it to play it

Tester 1 said:

Tester 2 said:

The one change I made because of that feedback

Was my game too easy, too hard, or about right for a first-time player?

Section 8 · Pūrākau animation storyboard & voiceover log

Lesson 8. Telling a story with code.

The pūrākau I am working with, and where I got it from

Source (book, website, or a person who told it to me — name it):

Storyboard — one row per scene

Scene 1: backdrop sprites what happens

Scene 2: backdrop sprites what happens

Scene 3: backdrop sprites what happens

Scene 4: backdrop sprites what happens

Which broadcast message moves the story from one scene to the next?

Audio log — what I recorded, in which language, and how many takes it took

Something I chose not to put in my animation, out of respect for the story or the people it belongs to

Section 9 · Bug clinic diagnostic log & peer review

Lesson 9. Finding out why it does not do what you told it to.

Bug log — three bugs, from the clinic project or your own

Bug 1. What I expected: What happened instead:

How I found the cause: The fix:

Bug 2. What I expected: What happened instead:

How I found the cause: The fix:

Bug 3. What I expected: What happened instead:

How I found the cause: The fix:

Peer review — I reviewed ’s project

One thing that works well:

One thing I could not work out as a player, and where I got stuck:

One specific suggestion (name a block or a scene, not “make it better”):

Section 10 · Capstone project record & final reflection

Lesson 10. Hand the whole booklet in with this section finished.

Project title:   Type: ☐ game ☐ pūrākau animation ☐ other:

In two sentences, what does it do?

Tick what your project actually contains, and write where each one is

  • ☐ a loop — where:
  • ☐ a variable — where:
  • ☐ a conditional — where:
  • ☐ a broadcast — where:
  • ☐ user input — where:

The hardest problem I solved, and how I solved it

Something in my project I would build differently if I started again

Look back at Section 1 — your paper algorithm from before you had ever opened Scratch. What do you know now that you did not know then?

Shared to the class studio: ☐ yes ☐ no   Project link or code:

If your project is not finished, hand the logbook in anyway. The log is the assessed piece — it shows how you think — and an accurate record of an unfinished build is worth more than a tidy story about a finished one.

Ngā kōrero kaiako · Teacher notes — everything below supports the logbook; it is not part of the printed booklet.

Mō te kaiako · At a glance

Best for

The Year 7 Creative Coding Studio unit, where it is the assessed spine. It also works on its own for any Scratch unit that needs a record of design decisions rather than a folder of .sb3 files.

Kaiako use

Print the whole booklet once at the start of the unit and keep them in the room — sections filled in at home a fortnight later are reconstructions, not records. Budget the last ten minutes of every lesson.

Ākonga use

One section per lesson, written while the project is still open on the screen in front of them.

Kaiako planning

Kaiako planning snapshot

  • Use length: about 10 minutes at the end of each of the ten lessons; 20–25 minutes for Section 10.
  • Marking: mark the booklet once, as a whole, at the end. Marking it lesson by lesson turns a thinking record into a compliance task and ākonga start writing for the tick.
  • Checkpoint: sight Sections 1–5 after Lesson 5. That is the point at which a gap is still recoverable.
  • Prep: nothing beyond photocopying. Section 1 is deliberately device-free so the booklet starts before the computers do.
Formative record Summative artefact

What to look for when marking

  • Specific blocks named, not general words — “I changed repeat 4 to repeat 6”, not “I fixed the loop”.
  • Bugs recorded honestly, with the diagnosis, not just the fix.
  • Section 3’s repeat/turn rule found by the ākonga rather than copied from the board.
  • Section 10 tick-list matching what is genuinely in the project — open the project and check two of them.

A booklet full of bugs and rewrites is a strong booklet. Say so out loud in Lesson 1, or ākonga will hide their mistakes.

Ngā whāinga me ngā paearu · Learning intentions & success criteria

Ngā Whāinga Akoranga / Learning Intentions

  • We are learning to record a design decision precisely enough that someone else could repeat it.
  • We are learning to describe a bug as the gap between what we expected and what happened.
  • We are learning to explain our own code in the language of the blocks we actually used.

Paearu Angitu / Success Criteria

  • I can name the specific blocks I changed and say why I changed them.
  • I can write down a bug, how I found its cause, and what fixed it.
  • I can point to a loop, a variable, a conditional, and a broadcast in my own project and say what each one is doing there.

Differentiation

  • Writing is the barrier, not the thinking: accept a spoken recording, a photo of the blocks with arrows drawn on, or dictation to a scribe. The evidence required is the reasoning, not the handwriting. Section 1 in particular can be done entirely as sketched steps.
  • Ākonga who finish early: Section 9’s peer review is the extension — reviewing someone else’s project well is harder than building your own, and there is space for a third bug.
  • ELL / ESOL: the block names are the vocabulary; let ākonga write the surrounding explanation in their first language and translate only the block names. The Scratch editor itself can be switched to te reo Māori and to many other languages, which makes the block name a shared anchor.
  • Absent for a lesson: the section can be completed from the project file alone — every prompt asks about something visible in the code, not about what was said in the room.

Dignity and safety note

Section 8 asks ākonga to name where their pūrākau came from and to record something they chose not to animate. Both prompts exist so that a story is treated as belonging to someone. Do not put Māori ākonga in the position of ruling on whether a classmate’s retelling is acceptable — that is not their job. If a class is working with a local pūrākau, the permission conversation is a kaiako-to-community conversation, held before Lesson 8, not a task delegated to a twelve-year-old.

Section 10 asks whether the project was shared to a class studio. Shared studios are public-facing: run the digital citizenship handout first, and check your school’s policy on ākonga accounts before anyone publishes.

Ngā Rauemi Tautoko · Support Materials