IP Unit: Reflective Report

This report concerns the planning for my proposed glossary of 3d printing terms which intends to help students get over the initial hurdle of industry specific terminology which can be a barrier to access and understanding. As a technician in the LCC 3D Workshop, I am always hyper aware of the language we are using – particularly considering that we have such a large body of international students for whom English is an additional language (EAL). I intend for the glossary to make the language of 3D printing more accessible, thus promoting greater confidence, independence, and inclusivity in the workshop environment.

In the 3D Workshop we regularly use terminology that is technical and specialised—words like boolean, mesh, and voxel can be deeply confusing to newcomers. This confusion places an additional burden on students’ cognitive processing, especially for those already navigating a new educational culture. Drawing on Cognitive Load Theory, we can see how excessive technical language can overload working memory and reduce a learner’s ability to focus on understanding core concepts or processes (Sweller, 1988). The glossary, therefore, serves to reduce this load, allowing learners to dedicate more attention to developing skills and experimenting creatively.

This intervention also connects with Vygotsky’s Zone of Proximal Development, which argues that learners achieve more when supported through scaffolding mechanisms such as guided explanations or tools that help bridge gaps in understanding (Vygotsky, 1978). The glossary is designed precisely as such a scaffold; giving students a reference that promotes autonomy while supporting comprehension. This will hopefully enable them to engage more confidently and independently in their practice without relying on technician support.

My commitment to accessible language has roots in my own experience living and working in China for a year teaching in a secondary school. Navigating day-to-day life and classroom communication without being fluent in Mandarin was a challenge that gave me insight into the struggles faced by EAL learners, and teaching English to large classes of up to 60 students required me to learn how to modify my speech, syntax, and vocabulary to match their varying levels of language proficiency. Through this I gained a sort of intuitive ability to match and adapt the language I use in spoken conversation, and wanted to find a way to implement this skill to aid in our taught content. I am aware however of how such a claim could be seen to be presumptious, so even as I plan this I take my perception of my own skills with a pinch of salt and will be continuously checking in with students and other colleagues to make sure I am on track.

Student engagement with workshops and understanding of taught content becomes even more important when considered alongside the UAL attainment gap statistics. These statistics consistently show significant attainment gaps between white British home students and other student groups—including Black home students, international students, and those categorised as ‘Other’. Many of these students are also more likely to be EAL speakers. In this context the glossary becomes more than a convenience; it is an educational intervention with the potential to reduce inequality by improving access to workshop resources and, in turn, boosting academic outcomes.

An important consideration in this project is how language-based barriers can affect access to workshops and practical learning spaces. UAL’s assessment criteria values experimentation, testing, and skills development – activities that are often dependent on physical access to tools and spaces like the 3D Workshop. If a student is hesitant to ask for help, intimidated by unfamiliar jargon, or confused by basic instructions, they may delay or entirely avoid using the facilities available to them which can ultimately do harm to their grades by not allowing for marks to be given in the experimenting and testing criteria. By addressing terminology early and accessibly, the glossary can reduce this barrier and encourage wider and more confident participation.

My approach is also informed by Kimberlé Crenshaw’s theory of intersectionality, which posits that individuals often experience overlapping systems of disadvantage – such as race, gender, disability, socio-economic status, or neurodivergence – that interact in complex ways (Crenshaw, 1989). A student in one of the attainment categories achieving lower grades than the white british group may also be navigating mental health challenges, working part-time, or managing a disability. These overlapping factors can further reduce the time and energy a student has available to decipher complex or unfamiliar information. Although a single glossary cannot dismantle all of these barriers, it aims to remove one: linguistic inaccessibility. By doing so I hope to improve access to the workshop, enabling students to work independently and increase their confidence in engaging with 3D printing processes.

The principles of Universal Design for Learning (UDL) (Rose and Mayer, 2002) also supports this strategy; UDL suggests that when we design with the most vulnerable users in mind, everyone benefits. By making terminology clearer and easier to understand for EAL students or those with communication difficulties the glossary will also serve native english speakers who are new to 3D printing and experienced users who may need a refresher. A shared understanding of language can foster more inclusive peer-to-peer learning and stronger collaboration across groups.

Feedback significantly changed my idea – I was originally going to create a series of leaflets on how to book and access the workshop, but decided to focus in more on just the glossary after speaking to my tutor carys and my blogging group. Their combined feedback made me see that focusing specifically on the glossary would provide the most long-term value – unlike a booking leaflet which might become outdated, the glossary could exist beyond my time at UAL and potentially be adapted and adopted by other campuses and workshops. Feedback from Carys also challenged me to think more deeply about accessibility; in addition to producing the glossary as a large-format poster for the workshop and a take-home leaflet, I will also ensure it is available digitally. The digital version will include alt text for all images, be compatible with screen readers, and be offered in large-text formats (both in print and digitally).

In the peer-to-peer blogging session my group also suggested having the glossary available in multiple languages on moodle to promote even easier understanding for the students. The intention to create a multilingual glossary also aligns with the principles of culturally responsive pedagogy, which emphasise the need to acknowledge and incorporate students’ cultural and linguistic backgrounds into teaching practices (Gay, 2000). Providing terminology in multiple languages is not just a practical inclusion – it reflects a pedagogical stance that sees linguistic diversity as a strength rather than a deficit. This is especially important at a university with a large international student body where catering to EAL learners can have a positive impact on inclusion and attainment, particularly for the groups that fall behind in the attainment stats.

Additionally, from the perspective of linguistic relativity, the language we use does not simply describe knowledge – it actively shapes how it is perceived and understood (Whorf, 1956). By demystifying technical jargon, the glossary not only aids comprehension but also shifts students’ perception of 3D printing from something inaccessible to something within reach- again, hopefully increasing workshop access for students who would benefit from evidencing practical skills to see an improvement to their grade.

A concern I had during development was the risk of making incorrect assumptions about what students do or do not understand. As a native English speaker I may not fully grasp the nuances of what constitutes a linguistic barrier for others. After our peer-to-peer feedback session my blogging group reassured me that even if my assumptions are imperfect, the glossary is still a valuable tool. It’s also based on my own experience of what terms commonly cause confusion for students, based on things that have cropped up again and again. Even for those who do understand the words, having a glossary to refer to can serve as a confidence-boosting resource that supports independent learning.

My implementation plan for the glossary is already underway; during summer I will begin to design the printed poster version ready to then be adapted for the different formats. After this I’ll focus on developing the digital version for Moodle, ensuring it is accessible in-line with best practices and procedure at UAL. I also plan to gather feedback from fellow technicians and students – especially the masters students here over summer – so that I can refine the glossary based on real user input.

Through the process of designing this glossary-based intervention I have learnt that your initial idea may not always be where the project ends up. It also got me thinking a lot more about accessibility of content, and learning more about the attainment gaps means that in all aspects of my teaching I’ll be thinking of ways to adapt what we do to try and help in closing the gap.

I think to the best of my abilities I have designed an educational asset that is as useful as it can be. My understanding of the frustrations of not knowing technical specifics in another language combined with my passion for helping students learn how to help themselves via independent understanding (instead of relying on me to fix their 3d modelling issues) will hopefully help aid in making this glossary asset promote independent learning and problem solving skills and be as useful as possible.

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Crenshaw, K., 1989. Demarginalizing the intersection of race and sex: A Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. University of Chicago Legal Forum, 1989(1), pp.139–167.

Gay, G., 2000. Culturally responsive teaching: Theory, research, and practice. New York: Teachers College Press.

Rose, D.H. and Meyer, A., 2002. Teaching every student in the digital age: Universal design for learning. Alexandria, VA: Association for Supervision and Curriculum Development (ASCD).

Sweller, J., 1988. Cognitive load during problem solving: Effects on learning. Cognitive Science, 12(2), pp.257–285.

Vygotsky, L.S., 1978. Mind in society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.

Whorf, B.L., 1956. Language, thought, and reality: Selected writings of Benjamin Lee Whorf. Edited by J.B. Carroll. Cambridge, MA: MIT Press.

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IP: Intervention Plan (detailed version)

Following some feedback since writing my previous 300 word long intervention plan, I have decided that the main point of focus will be on the illustrated glossary rather than the ‘how to’ guides which would mainly exist to signpost students towards Moodle. The problem of the language difficulties provided by complex 3D printing and modelling related vocabularly feels much more urgent to me, and ties in a lot more with helping to tackle racial inequality within UAL’s attainment date by helping those with EAL (who are more often than not international students, or non British home students), rather than guides more related to how to use Moodle, which students may not know about before coming to the workshop but seem to struggle with less.

Because of this, I am focusing on producing the illustrated glossary. I imagine it will be multiple pages long, which will be available both online in pdf format, printed in small as a booklet that students can take with them if they wish, and printed in large format as posters within the 3D Workshop.

In terms of accessibility, for all the printed documents I will be using no less than size 12pt font on the standard leaflets, and enlarging this proportionately for the posters. I will also create a large text version of the leaflet, and rather than having a “large text version available” sticker, the guides will be available side by side for students to identify themselves which one would better suit their needs. Online the documents will be available on Moodle, where I will research how to add alt text image descriptions to the document and make sure that it can be read out loud by a screen-reader. This is not something I have prior experience with so I will get in touch with Kye Li Chia, our Moodle technician for LCC to make sure I am doing this within UAL’s standards.

I aim to structure the glossary by terms and processes. I will first start of by introducing terms relevant to 3D modelling, this will be words used to describe how the students make and export their models in the softwares of their choices. I will focus on terms that I am already aware of that cause confusion, terms specific to 3D modelling, and terms that use words which have separate definitions in English. This list includes but is not limited to:

  • Mesh (the ‘skin’ of the 3d model)
  • Polygon (the shapes that the mesh is made of)
  • Polygon density / mesh density (how many polygons are in the mesh, which affects smoothness)
  • Boolean / Boole (the union / fusing of two separate objects into one. The Boole itself is often thought of as an object)
  • Open / Closed mesh (meshes that are complete and intact, or meshes with holes in them)

I will then include terms specific to FDM printing on the Ultimaker printers, for eg:

  • Ultimaker  (The brand of FDM printers available in the LCC 3D workshop)
  • FDM (Fused Deposition Modelling – where a 3D print is made by the heating up of a material and squeezing it out layer by layer to create a print)
  • PLA (Polylactic Acid – the main material we print with on Ulitmakers. PLA is derived from corn starch so technically biodegradable)
  • Infil (the structure generated on the inside of a 3D print – used for rigidity but also to avoid the time and material wastage that would occur if printed completely solid)
  • Wall thickness (amount of outer layers before the infill starts, can affect strength)
  • Support trees (software generated tree-like supporting structure which prints simultaneously with the model to support it as the print grows. This structure can be removed by students with pliers)
  • Overhang (area of the print that will need support)

And finally terms specific to SLA printing on the Formlabs:

  • Formlabs (the brand of SLA printing available in the LCC 3D Workshop)
  • SLA (Stereolithography printing – the act of printing using a pool of UV-curing liquid that cures layer by layer, as the model moves upwards and out of the pool)
  • Solid / Hollow (resin does not print with infil, meaning that models can cost a lot more when printed solid. Hollowing out can create a cost effective solution when printing big)
  • Wall thickness (thickness of the model if hollowing out – recommended to be no less than 3mm for strength)
  • Drainage holes (two holes that need to be added to the hollow model in order to drain out any liquid resin that gets stuck in the print
  • Cups (air pockets within a model (more prone if the model is hollow) that can cause issues when printing – to remove cups you can try rotating the model to a different angle or adding a drainage hole)

This isn’t all the terms but just an example. I will also ask my colleagues which terms they often find struggling to explain without visual aid.

In terms of design, I intend to keep things minimal and clean while keeping it similar to existing guides we have in the 3D workshop. I will pick a main colour to work in for the illustrations (eg, shades of orange and grey) to keep the illustrations simple. I will draw the illustrations myself on Adobe Illustrator to use a simple vector graphic style with the same line thickness throughout to make everything look matching and cohesive.

For the idea to develop in the future beyond what I can produce just for this unit, it would be interesting to get the glossary translated into different languages, especially ones where modelling terms such as ‘boolean’ are translated as something different on the softwares. This could be available as a drop down selection online where the glossary is housed on Moodle.

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IP: Race

Discussions about race within education are often uncomfortable, but data from institutions like UAL make it clear that these conversations are not only necessary but urgent. Our statistics show that white British home students consistently achieve the highest academic grades, while Black, ‘other’ home, and international students frequently fall behind – creating a large attainment gap. This persistent gap highlights the need to actively address the structural inequalities embedded within not only UAL but the whole educational system.

Starting as early as primary school Bradbury (2020) sheds light on the disparity in outcomes between white British students who speak English as their first language, and students of other racial backgrounds who use English as an additional language (EAL). Students are assessed upon entering school and again at later stages, but these assessments rarely account for language proficiency. While EAL students often show improvement over time as they acquire greater English fluency, their final outcomes remain lower than those of their British peers. Despite this the education system celebrates the percentage improvement rather than tackling the root causes of underachievement.

These statistics influence policy, which Bradbury says often considers bilingual students a ‘challenge’ and ‘establishes and re-inscribes particular ‘regimes of truth’ about what matters in education, and who can be recognisable as successful or failing’.

The bias doesn’t end in primary or secondary education – it extends all the way to the highest academic levels. Garret (2024) explores these issues within PhD education, arguing that UK higher education is steeped in what he terms “historical and ecological whiteness.”. This normalization of white cultural practices, traced back to colonial hierarchies, continues to shape academic norms today. In interviews with PhD students of colour Garret found that most did not wish to remain in academia after their studies, citing feelings of alienation and lack of support, particularly from white supervisors. The few who had supervisors of similar racial backgrounds said the experience was incredible, and made them realise how white dominated the rest of their education had been; ‘whiteness is only exposed when not normalised’.

This journey from primary school to doctoral education demonstrates that change is necessary at every level. Fortunately, institutions like UAL, which are not bound by a national curriculum, have more freedom to enact meaningful reform. Decolonising the curriculum and increasing diversity within staffing is one way to disrupt the white domination of tertiary education.

Within my role in technical it could be thinking about our online content, and what languages this is offered in – currently everything is only in English but with such a large international body of students (who the uni relies on for funding) it would make sense to ensure that our taught content is accessible to everyone, especially when we talk with complex specialist technical terms. Ensuring our equal treatment of all students, no matter their racial background, is very important too. Students will often tell us what their projects are about, and it is of course easier to relate to students who’s projects center experiences similar to your own, or are about topics you are familiar with; it is then these student’s who I find myself able to talk to more, giving them references, similar artists to look at, etc. Going forwards I think all of us on our team need to be a bit ore impartial, ensuring we give equal attention to students working on projects we may not understand the cultural intricacies of, while also furthering our own knowledge of other cultures.

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Bradbury, A., 2020. A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education

Garrett, R. (2024). Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education.

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IP: Faith

I wanted to start by examining Kwama Appiah’s talk, and the point he makes about the categorisations of world religions as being seen as ‘other’ to Christianity, as I believe this to echoe other topics of discussion across the IP unit. We discussed the prejudices and dangers around seeing disability as ‘other’ to being able-bodied / neurotypical, and will go on to discuss race, and any race that isn’t white being seen as ‘other’ to whiteness. None of these statements as a concept are new but they’re important to be aware of as we discuss decolonisation and develop teaching practices that actively move away from straight, white, able-bodied and Christian being the default.

Appiah argues that “there is no such thing as religion” – basing this statement on the fact that it is impossible to provide one singular definition when there are so many religions out there. I disagree – the word religion itself can be used as an umbrella term – what’s the point in having rigid binary definitions anyway? We don’t see the same with other terms; ‘disability’ is encompassing of physical disabilities, mental health issues and neurodivergent traits, the term ‘queer’ can refer to many different sexualities, the term ‘trans’ is also spectral – allowing many different gender identities to exist under the same umbrella. Why not the same for the word ‘religion’?

Talking about definitions is interesting though, as definitions differ with understanding of a subject. For people who have been exposed to harmful rhetoric about a group, their definition of that group of people is probably a negative stereotype. Haifaa Jawad writes about how harmful stereotypes are against Islam, with Islam proclaiming “the equal value of men and woman as essential contributors to the private and public life of society”, yet many viewing it as a religion that oppresses women. This harmful stereotype can lead to people assuming that women would therefore not be allowed to participate in sports, therefore they are not automatically included. By not being automatically included dress regulations are drawn up without encompassing Muslim dress codes, which therefore excludes Muslim women from participating in certain competitive sports. The cycle of assumptions and stereotypes creates further exclusion and needs to be broken in order to be combatted.

Jawad also exists in the world as a woman of colour, her experiences not only marked by people’s perception of her faith but also of her race. Jaclyn Reki states that “religion may be a source of difference that is connected to other sources of difference and points of oppression”. Combatting stereotypes and perceptions and dismantling the systems that sets certain religions and races as ‘other’ against the default is the only way forward.

I struggle to think of the faith considerations withing my own teaching; as a technician I am teaching software, health and safety, and machine operation. Within a wider academic teaching context it’s important to be inclusive of all faiths, and to decolonise the teaching examples used (eg, challenging the bias towards discussing exclusively European religious art as art history). Within my role it’s more important to be tackling internal biases – ensuring we give equal help to students of different backgrounds and helping them access what they need no matter what our assumptions are about them (and dismantling these assumptions in the first place).

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references:

Appiah, K.A. (2014) Is religion good or bad? (This is a trick question). [YouTube video]. TED. Available at: https://www.ted.com/talks/kwame_anthony_appiah_is_religion_good_or_bad_this_is_a_trick_question (Accessed: 28 May 2025).

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. [Online]. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/  (Accessed: 28 May 2025)

Reki, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia 38, pp779–800.

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IP: Intervention Plan

As a technician in the LCC 3D Workshop, I am always hyper aware of the language we are using – particularly considering that we have such a large body of international students for whom English is an additional language. In my specialism of 3D printing this is particularly pertinent as we use lots of modelling and printing specific terms such as Boolean, mesh, voxel – words that can create additional confusion on top of already trying to wrap your head around a process that’s new to you.

The accessibility of language is something I am passionate about – I think adapting the way you talk and communicate is one of the easiest barriers to remove to enhance the experience of students with communication difficulties, be this due to neurodivergence or language difficulties. As someone who has lived and worked abroad I understand the frustration of trying to communicate when you can’t explain yourself, or understand the answer.

Prior to booking the workshop we have online inductions on Moodle, however many students will wonder in to ask questions without knowing about these. I have a colleague in laser cutting who completed the Pg Cert last year and produced a wonderful series of handout leaflets to explain parts of the laser cutting process to students, and I often get asked by students and tutors if I have a set of these for 3D printing yet.

I would like to create a series of similar handout leaflets, as well as an additional glossary leaflet which would also be printed as a poster to explain terms like mesh density, high/low poly, shells, drainage holes, wall thickness etc with illustrated examples. I think this will help with having a visual reference to point students towards to explain terms, and both glossary and leaflet will give students something to takeaway to understand and process in their own time without feeling like they are relying on asking me for help.

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IP: Disability inclusion within UAL

Intersections between disability and other factors (race, gender, additional disabilities) can impact the experiences of individuals who do not fit into the wholly non-disabled, neurotypical society.

Within the arts and especially within teaching there are ways this can impact students – Christine Sun Kim says she was barred from certain modules and night courses due to lack of availability of a sign language interpreter (2023), which excludes deaf students from having the same access to education as their peers.

Watching Chey Brown’s interview (2023) made me further think about how exclusive society can be – the interview is captioned in large text (great for those who are deaf or with mild visual impairments), however the phrase “cis-passing” is miscaptioned as “suspassing”. This mishearing proves that despite having a trans person on camera, no one behind the scenes was aware enough of LGBTQIA+ terminology enough to spot or correct the mistake. Without understanding of the communities they are trying to represent it is easy to put the speaker in a place where their voice is not genuinely being heard.

UAL supposedly has a lot of rules and policies in place to cater towards additional access needs – however these are not easy to find and are not known by all staff. Furniture layouts are required to have a 90cm radial gap between each item to allow for the turning of a wheelchair. While we have this rule in place in all our layouts, this would only accommodate the smallest wheelchair size. The student wheelchar users I have worked with have all had larger motorised chairs which take up much more room than 90cm, begging the question of who these policies actually benefit – the wheelchair users themselves or just the planners who can use it as a tickbox in claiming to have accommodated for additional needs.

Physical disabilities are often the easiest to talk about, however disabilities also include things like chronic pain, chronic fatigue and neurodivergency which can be harder to spot. Students are able to disclose information about their disabilities, if they wish, to their academic tutors however this is not shared across technical spaces. A better system is needed so that the onus is not on students to have to disclose the information themselves every single time they enter a new technical area or interact with a new technician, or on the technician to be able to accurately diagnose and predict the needs of an entire student body. We are more than able to adapt our processes and how we teach, however without that service being advertised it is possible that students would be too shy to ask, or worse, assume that we couldn’t and not even come to the workshop.

There’s a lot that needs to be done across multiple job families at UAL before we can say as an institution that we are true allies to all types of disability, however there are members of the UAL community doing their best within their roles to make change – “if we give people the opportunity to shine, the sky’s the limit” (Adepitan, 2020, quoted in ParalympicsGB).

ParaPride (2023) Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023. [YouTube video]. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc (Accessed: 30 April 2025).

Art21 (2023) Christine Sun Kim in “Friends & Strangers” – Season 11 | Art21. [YouTube video]. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 30 April 2025).

ParalympicsGB (2020) Ade Adepitan gives amazing explanation of systemic racism. [YouTube video]. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 30 April 2025).

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TPP: Reflective Blog 4

For the final class of the TPP unit we received a guest lecture from Jheni Arboine and Siobhan Clay on looking at data – specifically looking at the attainment gaps within UAL students over the past few years.

Banerjee and Eryilmaz say that “the data consistently reveals that Black students are less likely to receive higher degree classifications when compared to their White counterparts” (2024) – revealing that it is sector wide and not just specific to UAL. This ‘longstanding gap’ (Gutman and Younas, 2024) seems ‘unexplained’ (ibid), but Singh (2009) puts forth that it could be down to a lack of teacher support, and those teachers having lower expectations of students of minority ethnicities and therefore under-challenging them.

Looking to the UAL statistics (where the attainment gap between black and white home students has increased over the past few years) there are clearly things to be done – putting a focus on improving the attainment gaps means delving into the specific help that may be needed for students of non white ethnic background that they are currently not getting. Gutman and Younas mention “the importance of adopting holistic, intersectional and exploratory approaches that are solution-focused” (2024), and I believe this is where my role could begin to feed into helping this.

Art school mark schemes are designed to eliminate the taste of the marker, and instead focus on awarding points for the students discovery, idea, process and development of the body of work. This type of experimentation and process development and very easily be evidenced by learning technical processes, and documenting this. In the workshops like where I am based we are in a prime position to help students with experimentation and skill acquisition, which is crucial when it contributes to their mark and could therefore influence attainment.

However, unlike courses who receive the type of detailed statistics on their specific attainment gaps broken down by categories such as race, gender, disability status – in technical we have no access to this level of specificity in our attendance rates. It is hard to solve a problem when we don’t know the stats we need to fix. There could be things we are unaware of influencing access to our workshop – eg could the traditional image of 3D making and woodworking as a very male dominated field be offputting to female students? Could the complex 3D related technical terms seem too overwhelming to students with English as a second language?

I think that allowing technical teams to access statistics in the same way that academic teams can could allow us to see if there is anything we can do to combat access related issues to our workshops. With technical access being integrated into the academic solution to closing the attainment gap we could see a higher portion of students being able to get the top marks for the development, experimentation and skill acquisition parts of their assessed unit projects, as well as providing more students with the opportunity to fall in love with the world class facilities we have available for them.

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References:

Banerjee, P. and Eryilmaz, N. (2024) ‘Undergraduate Achievement Disparities between Demographic Subgroups in English Universities’, trends in higher education. Available at: https://www.mdpi.com/2813-4346/3/3/31? (Accessed: 19 March 2025).

Gutman, L.M. and Younas, F. (2024) Understanding the awarding gap through the lived experiences of minority ethnic students: An intersectional approach [Preprint]. Available at: https://bera-journals.onlinelibrary.wiley.com/doi/pdf/10.1002/berj.4108? (Accessed: 19 March 2025).

Singh, G. (2009) A synthesis of research evidence. Black and minority ethnic (BME) students’ participation in higher education: improving retention and success. [Preprint]. Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/bme_synthesis_final_1568036653.pdf (Accessed: 19 March 2025).

UAL statistics viewed on a variety of pages on Active Dashboards. Available at: https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=99b2fe03-d417-45d3-bea9-1a65ebc250ea&dashcontextid=637169217954162575 (Accessed: 19 March 2025)

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TPP: Teaching Observation (tutor observation)

Below is the information I filled out for John ahead of the observation:

What is the context of this session/artefact within the curriculum?

The student has booked a week of printing on the Delta Wasp 2040 Clay Printer. The work they produce will be part of their coursework, but as student usage of technical facilities is often self led we help them produce the artefacts they need without knowledge of how exactly it fits in with their course’s Learning Objectives. The student may tell us how the work fits in but mostly we are facilitating the production of objects and the acquiring of the technical skill of printer operation and working with clay. Our objectives are to get the student to understand the medium, operate the printer with confidence and be able to use their skills and knowledge to effectively plan out their project and work the process into their deadlines. Falling in love with ceramics would be an added benefit!

How long have you been working with this group and in what capacity?

I have met this student on a few occasions when she has popped in to the workshop to ask questions about booking the printer, and give a brief overview of the project. I am aware that she wants to produce a few large vases but beyond that I will mostly get to know her and the project throughout this coming week of printing. I know from her profile info on Moodle that she is a third year BA Graphic Branding and Identity student.

What are the intended or expected learning outcomes?

For this day of teaching, I want to get the student comfortable with operating the printer. We will be spending the morning and the afternoon preparing the clay and loading the cannister with the clay we have mixed, before I demonstrate how to print with the machine using a small test model. By the end of the day, or possible tomorrow morning depending on how much time we have left after mixing the clay, I would like the student to feel confident enough to operate the printer and respond to any problems that arise while printing. I will be telling her information about drying times, finishing and trimming processes she can do, and kiln firing times, and hope that she can use this information to ensure the pots look how she wants them to.

What are the anticipated outputs (anything students will make/do)?

The student will use the clay she has mixed to print a series of large clay pots. We will fire these pots for her after they have dried and she will then be able to glaze them.

Are there potential difficulties or specific areas of concern?

Working with clay can be difficult and experimental – we are essentially asking a machine to squeeze mud through a tube and hoping that it creates a beautiful pot! Students can sometimes get frustrated when things don’t work out, and the initial setup of the machine can take a few prints to get right. While the controls of the machine are simple, the material requires quick response times so getting students to understand the operation mechanics can sometimes feel overwhelming to them on day 1. By day 2 and 3 they are usually confident enough that they do not need supervision. Meeting the student so far has not brought up any specific areas of concern but if she was to let me know of any access requirements she has that I was not made aware of prior to today then I may have to adapt how I teach.

How will students be informed of the observation/review?

The students has already been emailed and asked if it is okay for me to be observed, and has agreed.

What would you particularly like feedback on?

There is a lot of information to convey about printing – one of the biggest challenges I find is trying to teach slowly, revealing each step at a time in a way that makes sense. This can be difficult if the student is excited and interrupting asking questions about end results, their particular pots, glazes etc while I am trying to first just convey the basics of printing a test print. It can be easy to get sidetracked with questions and delve into answering about the more complicated parts of the process before we’ve even covered how to press the play and pause buttons. I guess I would like your opinion on wether or not I am explaining things simply enough and not overloading the student with information, or making the process seem difficult and scary by also explaining how things can sometimes go wrong. Any other feedback is also appreciated, for instance am I too colloquial or too cold? Do you think the student would benefit from more theoretical information about printing before starting the process? Should I be finding our more about her course, and how this fits in with her LOs before we start? Did you think the student was understanding me or just nodding from politeness? Did I make the process seem fun and engaging?

How will feedback be exchanged?

If you would like I would be down to hear some verbal feedback after the observation – ideally by the end of the afternoon the student will be able to use the printer herself so we may have some time before the end of the day. If not then filling in the response section of this form and emailing it back to me will be fine.

Below is John’s feedback on my taught session:

#myintro

Your notes for this class were so meticulous, so carefully narrated around both the wider context of the student, and the details with which you will create this teaching encounter. The level of reflection and analysis you are bringing into the teaching space with this pre-class thinking is immense, and it also highlights one of the key skills of the workshop teacher – working with, and teaching, complexity.

# bodilypedagogy

The most striking aspect of this initially is the bodily pedagogy, teaching the student how to gather the clay and throw it into the tube. As the session unfolds you employ, and teach, a range of practices some are highly physical and dexterous, while others are analytic and precise. What is interesting is how you make the teaching space whereby the student feels unselfconscious in this practice, a really valuable teaching skill you have developed.

#materialevaluation

The second most visible feature is how you train the student to notice and evaluate materials and technologies. You draw attention to the weight of the clay, to making and rolling the balls of clay (later on in the process you explain the property of the clay and shape it can tend to form). There is tactile knowledge being shared – this is significant too, because your 3D printer is available for use by students across the college who may work mainly on screen. You are opening up a world of learning for these students and you do it with an eye for the students own pace and rate of learning this skill. There is a lot of focus and engagement by Jana and you create with her the pace of the encounter – it is quite a different kind of teaching to classroom-based teaching, both more explicit and tacit negotiation of where the learning is at.

#learningbodiesandmeasures

You are skillful at letting the student find their own learning body, their own learning instruments in this process. You show where the wiring and tubes run from and where they run to, you are also teaching mechanics, how the wiring fits, the dials and taps required for the air pressure, highlighting the movement of the clay along the tube – you teach tactile and material measure before teaching  the digital measure of the screen. It is really complex, performative, pointing and showing, sense-checking that you and the student are thinking at the same speed.

#preparation

Part of what you teach the student is ongoing preparation (like the extensive pre-notes you wrote for class) you clean the table to prepare for a laptop, you explain the measurements you will input on the machine at the beginning of the day

#pedagogyofspeedandflow

What makes the teaching you do so complex is the switch form something physical and material to something digital and virtual. You are clear in explaining how the interface works, showing the relationship between the physical objects in your hand and the different levels and shapes that appear on the screen. One of the things I noticed, and I imagine you did too, was when showing how the printer works the student asked to grab her pen and paper – all good. You suggested she could take photos too but she preferred pen and paper – I suspect so that she could take account of each step in the process. I wonder if at this point a change of pace might be useful – they have a lot to take in and there is no way around that but thinking a change of gear might be worth trying? In a way it is analogous to the concepts of speed and flow, and how you suggested there would be “quick reactivity at the beginning less activity later”. 

#improvisation

The most excellent part was how you managed things not working out. In the pre-notes you asked if you made, “the process seem difficult and scary by also explaining how things can sometimes go wrong.” You handled all this so well, kept things moving, kept the task going, explain the context of the machine. We talk a lot about failure in art school (the endless Sam Beckett quote!) but genuinely recognising failure, making with it, and teaching with it demands real skill. When this happens you are managing the two different realities of the student: the reality, the deep feeling, of disappointment, perhaps even fear, depending on the stakes of the project; and the reality of the teaching moment you continue where you begin again working with the clay.  You also use the opportunity to share and teach other things, about the other printers and cnc printing, and when Jana asks about the 3D models, and you explained about the handheld scanner, where it is used in games and animation. I wonder whether it might be worth having an impromptu conversational ‘lesson’ ready  in your back pocket about the other machines when things go wrong – you did it really well. You did this teaching improv again when the software didn’t work

Summary

I made some suggestions in notes above Jules and regard to your questions “Do you think the student would benefit from more theoretical information about printing before starting the process?” Try it and see. On first instinct I would say yes but this also feels like an example of John Dewey’s ‘learning through experience’, that perhaps the process would feel more intimidating and more complicated. It you were going to provide something, I would make my own, a little illustrated storyboard of basic stuff – IKEA but actually makes sense.

“Should I be finding our more about her course, and how this fits in with her LOs before we start?” Always worth knowing a little, especially about LOs but not necessary.

“Did I make the process seem fun and engaging?” Absolutely. Quite technical and really fun. Like many technicians, your teaching is the management of complexity, of order and chaos, of many different kinds of information and measurement. A rich and multi-layered pedagogy. Further reading might be the Donald Schon The Reflective Practitioner, and a book by sociologist Douglas Harper, Working Knowledge: Skill and Community in a Small Shop. Difficult to get hold of but I think you would like it, one of the first doing photo-elicitation in a workshop, brilliant on tactile and tacit knowledges.

Below is my response to John’s feedback:

Overall I am pleased with John’s feedback – the obvious elephant in the room being the frustration I experienced due to the double calamity of both the pressure error on the printer and then the software issues on my computer! While John did get to observe parts of how I teach it feels a shame that I was not able to show the best side, although I am pleased with his notes on how I responded. A lot of clay printing can be experimenting and learning to work with failures, and one day of bad luck does not necessarily impact the whole week’s printing – evidenced by Jana’s brilliant subsequent grasp of the printer and her army of impressive vases. I think this is the most valuable and meaningful feedback there can be – seeing somebody with no prior experience in a medium able to understand it and produce an impressive body of work all within a week.

John is right that I was flexing my teaching while grasping Jana’s understanding – she was a quick student and I could see was understanding the process. With some students I will slow right down, and omit parts of information on the first day so as not to over-complicate things. I think my lack of asking her to make notes was based on my prior experience of knowing that students tend to be very quick with picking up how to interact with the display but it’s definitely right that it can seem overwhelming; perhaps I could move forwards to getting all of them to note things down in the future – this might make them feel more confident too knowing that they have their own writing to check back on, again further enabling them to feel that they have mastered the medium themselves.

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TPP: Reflective blog 3

I wanted to dive further into my thoughts on the role of a technician – first bought up by Sams’ paper read at the start of the TPP unit. Sams questions UAL technicians on their conception of their own role, which could be biased by the very common feeling of being jaded, and their feelings that they aren’t recognised for the work they do by the university (Sams 2016). Smith refers to the role of a technician being viewed as “quasi-teaching” (2004), and many other studies place technical teaching in a sort of grey area or with a lack of respect – “this outdated belief stubbornly persists in all but the academy’s most enlightened and progressive areas and continues to be perpetuated through simplistic stereotypes that delineate academics as teachers from the technicians who provide basic skills training and technical support.” (Savage, 2025)

Many technicians do not have much of a distinction in terms of practice and qualifications as their academic counterparts – Sams discovered that 40% of technicians also were active arts practioners outside their roles. Savage points out in 2009 that many technicians also hold teaching qualifications and postgraduate degrees, saying that “technicians are increasingly finding themselves encumbered with the skills, experience and qualifications that enable them to transition into academic roles if they choose” (2018). Why then, are these skills not more formally recognised by the universities these technicians work at?

‘Recognition’ is often the buzzword when it comes to the discussion of technical roles, and I want to define what that means for me. I think it goes beyond individual praise or celebration – afterall no one person in an institution should be here with the goal of getting lauded for their expertise. The student experience should always be the top priority, and this is made up of everyone they meet and everything they do and learn over the course of usually about 3-5 years.

For me I would like to see more recognition of technical teaching and technical skills and the value they add to a student’s practice – I think technical skill acquisition should be much more integrated into the curriculum. Biggs and Tang say “when accepted, technical pedagogies can be valued and more effectively integrated with academic teaching to promote constructively aligned curricula” (2009) and I believe this to be true. Instead of marking students on their skill development but only relying on their self led initiative to bring them to the workshops, if technicians were actively involved in the creation of briefs and course material we would be better able to show how our workshops can help courses reach their learning objectives and get more students through our doors.

A multi skilled student with experience in wood working, animation, book binding, screen printing, laser cutting and creative coding has a much more valuable CV than one who has managed to respond to three years of university briefs without stepping foot into a workshop. Afterall, portfolios are temporary but skills last forever.

(494 words)

References

Biggs, J. and Tang, C. (2009) Teaching for Quality Learning at University. 3rd edn. Maidenhead: SRHE and Open University Press.

Sams, C. (2016) ‘How do art and design technicians conceive of their role in  higher education?’, Spark: UAL Creative Teaching and Learning Journa, 1(2).

Smith, D.N., Adams, J., Mount, D., Reeve, N. and Wilkinson, D. (2004) Highly skilled technicians in higher education: a report to HEFCE. Leeds: Evidence Ltd.

Savage, T. (2018) ‘Creative arts technicians in academia: to transition or not to transition?’ Journal of Art, Design and Communication in Higher Education, 17(2), pp.237–253. Available at: https//doi.org/10.1386/adch.17.2.237_1 (Accessed 17/03/25)

Savage, T. (2019) ‘Challenging HEA Fellowship: why should technicians in creative arts HE be drawn into teaching?’ Journal of Art, Design and Communication in Higher Education, 18(2), pp.201–218. Available at: https://doi.org/10.1386/adch_00007_1 (Accessed 17/03/25)

Savage, T. (2025) ‘Why is it problematic for technicians to say they teach in higher education?’ Journal of Learning Development in Higher Education. Available at: https://journal.aldinhe.ac.uk/index.php/jldhe/article/download/1191/1036/12486 (Accessed 17/03/25)

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TPP: Reflective Blog 2

I wanted to ruminate on some thoughts I had after our guest lecture by Dr Lesley Raven on reflective thinking.

Dewey is often credited with being one of the first to define reflective practices in his 1910 book ‘How We Think’; “turning a topic over in various aspects and in various lights so that nothing significant about it shall be overlooked – almost as one might turn a stone over to see what its hidden side is like or what is covered by it”.

All of this is very important – we learn and grow from our experiences, especially as teachers and technicians early in our career. However, as the lecture progressed the language being used became more and more technical to the point where, to me at least, if felt like we’d used so much jargon that the idea itself had been lost.

Dr Raven was talking about reflective practice, while displaying quotes from other academics on reflective practice, while in the chat participants were having conversations with each other while the lecture took place. Remarks such as “people view reflection in relation to time (perhaps this is an ontological relationship to narrative)” were being made, and perhaps this is more a reflection on my own lack of vocabulary but I felt very frustrated with how confusing things were getting – despite understanding our starting point of Dewey’s simpler definition.

The use of highly technical vocabulary is nothing new in the world of academia, but I find it interesting that we’ve spent so many of our other Pg Cert sessions talking about accessibility and how we can make sure our teaching is understood by everyone. Much of this boiled  down to the use of language, especially with such a high proportion of students with English as a second language. Why then, in the absence of our own students, would we revert to inaccessible language?

I was interested in discovering Doran’s definition of UDL – Universal Design for Learning (2015) – a holistic approach to teaching incorporating multiple teaching methods and emphasising flexibility and adaptability, with a key core focus on being understood by everyone. UDL “is built on the principle that good instruction for these students goes beyond accommodations or modifications; it starts with ensuring maximum accessibility in all areas of instruction and assessment” (2015) meaning that individual accommodations are no longer necessary. Relating this to my point, I believe it means speaking and teaching in language that is accessible to anyone regardless of their academic background or proficiency in English.

Myers and Martin (2017) also advocate for ‘Plain Language Summaries’ (PLS) of academic texts and lectures to ensure maximum understanding to their audience; “educators, administrators, paraprofessionals, students, and students’ families – bring with them a diversity of cognitive and linguistic needs that may limit their access to research” and therefore accessible language is necessary to their understanding.

To link back to the initial topic, I wish Dr Raven’s lecture had perhaps felt a bit more accessible to those from a non-academic background, or that I was able to understand more of the discussion in the chatroom. Incorporating UDL principles or PLS could have further enhanced understand from all members of the audience, while not being at detriment to anyone who didn’t struggle.

(539 wrods)

References:

Dewey, J. (1910) How we think. Lexington: D. C. Heath. (Cited from Dr Raven’s lecture slides)

Doran, P.R. (2015) ‘Language Accessibility in the Classroom: How UDL Can Promote Success for Linguistically Diverse Learners’, Exceptionality Education International, 25(3), pp. 1–12. Available at: file:///C:/Users/jsstuart/Downloads/JIPE+Introduction+April+2021_FINAL_04282021.pdf (Accessed: 12 March 2025).

Myers, B. and Martin, T. (2017) ‘Why Plain Language? Linguistic Accessibility in Inclusive Higher Education’, Journal of Inclusive Postsecondary Education, 3(1). Available at: file:///C:/Users/jsstuart/Downloads/JIPE+Introduction+April+2021_FINAL_04282021.pdf (Accessed: 12 March 2025).

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