In making the illustrated glossary I had to choose in what format I’d have it accessible to students. I started off dreaming big – thinking that I could have it both in print and online, have the online version be interactive, create screen reader friendly versions, translate the glossary into multiple languages however due to the time scale of the project have had to minimise that down. That’s not to say it can’t expand in the future, but just had to scale down for now.
Within the workshop there are already a series of other leaflets for laser cutting, vinyl cutting, etc, so I wanted to stick with the graphic design language of these so that the whole workshop was unified in visual style. I initially hoped to create both the online versions and the handout leaflets that the students take with them, however after deciding on how many terms to define it quickly became clear there would be too many words for just an A4 fold in half leaflet if avoiding having the text too small.
I ended up focusing on the A1 poster, and accompanying large print laminated booklet that would remain in the workshop. I chose orange as the accent colour to differentiate from other guides in the workshop, and for the poster I grouped the illustrations and terms into definition groups with clearly signposted headings to make it easier to navigate the poster. I kept the illustrations in black and white so as not to clash with the orange and they are a mixture of illustrations done on Illustrator, and screenshots from 3D printing and modelling softwares.
I decided to include text as well as the illustrations as this gives it life beyond just me pointing to the poster in the workshop – students are able to take ownership of their own learning and independently work through the poster themselves. Having a large print document available in the workshop also helps with this – through the principles of UDL (Rose & Meyer, 2002) the large format print booklet will benefit all students to learn independently in the workshop instead of relying on me pointing at the posters.
I chose the bust of Nefertiti as my 3D model sample because of its prominence in the 3D print and scan community. The original bust, displayed in a Berlin museum under strict security, sparked controversy when two artists falsely claimed to have secretly scanned it using scanners hidden in their scarfs and coats. This hoax later inspired another artist to legally challenge the museum, eventually leading to the public release of the official scan data. The bust has since become a widely used 3D printing sample, prompting discussion about ownership, digital access, and cultural heritage. I mentioned this in my TPP microteach and wanted to reference it again here.
467 words
References:
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).
The poster: