Author: Sophie Reynolds

Case study 1: Creating content that aligns with neurodivergent learners  

This case study explores creating resources for the embroidery software Wilcom, using imagery and considering font type, size, colour, and text count. Research indicates art and design subjects have more dyslexic students (Bacon & Bennett, 2012), highlighting the importance of resources supporting all neurodivergent learners effectively. 

In our workshop, we continuously aim to make resources more user-friendly, especially as our student cohort grows. Previously, I created a detailed document to guide users through Wilcom software, from setting up a page to designing. This document was originally intended to train UEL technicians, but it is now available to students. However, it is lengthy in words, and has not been made to consideration with any accessibility guidelines.

My aim is to create some more user friendly worksheets for students, with particular focus on neurodivergent students, to follow, and hope that these streamlined resources will prove more effective, and enable students to be more self-directed when needed.

As I am dyslexic myself, I was interested in undertaking some research into the specific study of dyslexia. As I found, study has shown, visual thinking is a consistent characteristic of dyslexia (Grant and French, 2017), so it is fundamental that we use this learning style to teach the programs. All too often, we have students in the workshop commenting that they have dyslexia, or are neurodivergent, and as such, they have low self-confidence when it comes to using new software and technology. Often students will not come into the workshop because they are fearful that they will not understand. A study by Mortimore and Crozier (2006) found that for individuals, even at higher education level learning, have persistent challenges when it comes to skills such as note taking, completing coursework and exams, and a particular challenge is mastering keyboard skills, which reflects this feeling amongst students. 

In line with the Government’s 2021 Accessible Communication Formats guide, as well as guidelines from the West Yorkshire Health & Care Partnership (2021) and the Dyslexic website (2025), I will ensure the refined resource incorporates the following best practices to enhance accessibility:

• Keep sentences short to no more than 10-15 words
• More use of imagery: Illustrations when relevant and screenshots of the Wilcom software. In accordance to guidelines, the image(s) must go left of the words
• Set font size to at least 14 points for readability
• For improved readability, alter background colour: Use a cream or off-white, non-glossy paper for printed documents
• For the online digital resource, upload document in an additional pastel coloured background of blue or purple
• Font style – use a sans-serif font (Helvetica is the workshop’s preferred choice) which is easier to read than serif fonts
• Avoid italics, underlining, simulated handwriting, unusual shaped letters and decorative typefaces and use bold and clearly defined headers
• Use wide margins and headings
• Justify paragraphs to the left for consistency
• Increase line spacing to 1.5 for improved readability

In conclusion, this case study highlights the importance of creating accessible resources for neurodivergent students. In the context of creating guidelines for Wilcom embroidery software, by focusing on visual learning styles and incorporating accessibility guidelines, the goal is to develop user-friendly, streamlined resources that promote self-confidence and independence in students. The refined resources will prioritise clarity, simplicity, and visual support, ensuring that all students, regardless of their learning needs, can effectively engage with the software and succeed in their studies.

References  

• Bacon, A.M. and Bennett, S. (2012). Dyslexia in Higher Education: the decision to study art. European Journal of Special Needs Education, 28(1), pp.19–32. doi:https://doi.org/10.1080/08856257.2012.742748.
• Dyslexic.com (2017). Quick Guide to Making Your Content Accessible – Dyslexic.com. [online] dyslexic.com. Available at: https://www.dyslexic.com/quick-guide-making-content-accessible/ [Accessed 14 Feb. 2025].
• GOV.UK (2021). Accessible Communication Formats. [online] GOV.UK. Available at: https://www.gov.uk/government/publications/inclusive-communication/accessible-communication-formats [Accessed 14 Feb. 2025].
• Grant, D. and French, H. (2024). That’s the way I think : dyslexia, dyspraxia, ADHD, and dyscalculia explained . [online] Wellcome Collection. Available at: https://wellcomecollection.org/works/zb793sbc [Accessed 2 Summer 2025].
• Leeds Autism AIM (2021). Making information accessible for neurodivergent people. [online] Available at: https://www.wypartnership.co.uk/application/files/3716/4735/6437/making-information-accessible-for-neurodivergent-people-final-v2-20.04.21.pdf [Accessed 14 Feb. 2025].
• Mortimore, T. and Crozier, W.R. (2006). Dyslexia and difficulties with study skills in higher education. Studies in Higher Education, 31(2), pp.235–251. doi:https://doi.org/10.1080/03075070600572173.

When we were asked to lead the microteaching session, I felt quite anxious, and that anxiety stayed with me throughout. I also questioned the purpose and nature of object-based learning (OBL), particularly in an online setting. However, the readings I did beforehand, such as K. Hardie’s (2015) work on the Innovative Pedagogies series, helped to clarify these uncertainties. However, it was only after participating in and delivering the session that I truly understood the value of OBL. I now recognise that objects provide meaningful context for learning, whether it’s exploring abstract ideas, learning new techniques, critiquing design, or encouraging personal reflection. 

For my microteaching session, I aimed to compare hand and machine embroidery, focusing on the goldwork technique. I chose this subject to introduce my colleagues to a relatively unknown technique and provide a comparison that would broaden their understanding. I also wanted to encourage my students to adopt a more critical approach to their embroidery. I was keen to see if examining embroidered objects more closely would encourage a more analytical and reflective mindset.

In terms of planning for the session, I broke up the 20 minutes into:

• 8 minutes for intro presentation – I wanted to ensure that there was adequate amount of time to give some context to the session as goldwork isn’t a widely known subject, and I though it would make it a more engaging session
• 1 minute to observe 2 x images – enough time to properly observe but not too long to become unengaged
• 5 minutes for the acitivity – to use whiteboard
• 6 minutes to conclude, including discussing the activity

To introduce the session, I started with a presentation that covered a brief historical overview, followed by an exploration of materials used, and also included some images of digital embroidery to encourage colleagues to reflect on the materiality of the medium and the potential themes we would be discussing. 

For the interactive exercise, I asked colleagues to examine two images of goldwork—one created by hand and the other by machine—for one minute. Afterwards, I used Teams whiteboard to have them add pre-planned annotations to the relevant sections (see image below). We then discussed how to distinguish between the two embroidery types, as well as the limitations and benefits of each approach. 

The response from my colleagues was positive, which was a pleasant surprise considering how nervous I was. I had feared that my anxiety might have affected my engagement, but they all enjoyed learning something new and particularly appreciated the historical context. The presentation was visually engaging, and thye said that I became more animated when discussing the technical aspects. 

Reflecting on the session, I would focus more on the technical details of goldwork and provide a deeper explanation of how it is created. One colleague suggested it would have been helpful to see physical materials used in goldwork. At one point, I held up some foam which used in the technique when using machine embroidery, and looking back, incorporating more props and physical objects to discuss the technique and imagery would have been beneficial, especially in a physical setting. This reinforces the importance of visual learning through objects—more tangible elements would have enhanced the experience. 

Another area for improvement would be to give more specific instructions on what I wanted my colleagues to observe in the images for the 1 minute allocated. Without clear direction, there was some confusion about what to focus on. I should have asked them to consider the regularity of stitches, investigate materiality, or assess whether one image conveyed more emotion than the other, for example. In hindsight, the lack of direction hindered the learning process. 

Lastly, I would consider adding a summary at the end of the session. My focus was on completing the task, and I didn’t fully think about concluding the session. A summary would have helped colleagues reflect on what they had learned and take away key insights, providing a more fulfilling ending. 

The microteaching session was challenging, especially overcoming my nerves, but it was incredibly valuable to receive feedback from my peers. It reinforced the importance of visual OBL, and I feel more confident incorporating this approach into my future teaching. 

References:

Hardie, K. (2015). Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. [online] Higher Education Academy. Available at: Hardie, K. (2015). Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. [online] Higher Education Academy. Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/kirsten_hardie_final_1568037367.pdf.

After completing our weekly readings, we were asked to first discuss the benefits, opportunities, challenges, and limitations of Learning Outcomes (LOs) in Art & Design in small breakout groups, and then share our thoughts in a larger discussion.

Several key points emerged from our group discussions, but one theme that resonated with me was the lack of involvement of technicians in the process of setting briefs, defining LOs, providing feedback, or even being informed about the LOs in many cases. As noted in Reflection 1, technicians are not always valued on the same level as academic staff, with an outdated perception often placing academics in the role of “teachers” while technicians are seen solely as providers of skills and technical support, as highlighted by Savage, T and A Vere, K (2025). Our discussion underscored the importance of involving technical staff in the process, as their input would not only benefit student outcomes but also enable them to offer better support for achieving LOs.

For example, learning outcomes are frequently presented in a linear, numbered format, as demonstrated by one of my peers who listed the project brief and LOs that she designed for her group of students. However, as we often observe in workshops, LOs are rarely so linear. They tend to be more circular, involving ongoing processes of researching, testing, sampling, and reflecting. When a technical process doesn’t go as planned, additional research, testing, and sampling are required. A step-by-step, numerical list may not best capture this iterative process. A circular diagram, for instance, could be a more effective way to present LOs in a way that reflects the cyclical nature of creative work.

Furthermore, the physical nature of certain LOs can sometimes clash with the limitations of the resources and equipment available in workshops. For example, a common LO that we see in our workshop is to create an A3-sized textile, but our embroidery machines typically cannot accommodate that size. As a result, students are often asked to “scale up” their work, which may be unfeasible given the limitations of the machinery and the time constraints imposed by overcrowded schedules. Unfortunately, academic staff are not always aware of these technical constraints, and may be setting LOs that don’t take these factors into account.

Just yesterday (18 Feb), technicians at CSM had the opportunity to meet with the Vice Chancellor of UAL. One of the key themes that emerged from the discussion was the imbalance between technical and academic staff. The main takeaway was the need for more open communication and a broader understanding of the technician’s role, which should be seen as integral to teaching. As Sams, C. (2016) argues, technicians often fulfill a multifaceted role that could be better described as “technical lecturers”.

Moving forward, it may be necessary to reconsider how we define the role of technicians. A rebranding or better understanding of their contributions could encourage improved communication and collaboration among all staff, ultimately benefiting both students and the overall educational experience.

References

Savage, T. and Vere, K. (2025). Why is it problematic for technicians to say they teach in higher education? Journal of Learning Development in Higher Education, (33). doi:https://doi.org/10.47408/jldhe.vi33.1191., (Issue 33).

Sams, C. (2016). How do art and design technicians conceive of their role in higher education. Spark Journal, 1(2), pp.62–69.

In preparation for our session on February 12th, we completed pre-selected readings, one of which was How Art Became a Force at Davos by Carole Becker (2019). The reading reflects on Becker’s experience at the Davos conference after being appointed Dean of Columbia University’s School of the Arts. She noticed the absence of creative practitioners in discussions on pressing societal issues. In response, she made a concerted effort to invite a diverse range of creatives—from writers to cartoonists and musicians—to engage with topics such as climate change, gender discrimination, and disability inclusion, among others. Becker provides specific examples of these collaborations. 

This reading immediately reminded me of a discussion we had in week 1 of the PG-Cert, where we used a timeline of global events and connected them to education. The point was that societal changes inevitably impact education, which, in turn, profoundly influences creative output—whether in film, visual arts, or fashion. Artists have always used their work to challenge societal views and inspire change, so it raises the question: why should creative practitioners be excluded from important discussions on critical global issues? 

In our workshop, we frequently welcome students with exciting and innovative ideas, many of whom collaborate on industry-based projects. These projects are often initiated by companies seeking to work specifically with arts students. One of the most pressing concerns we’re facing is climate change, and this is clearly reflected in the work being done within our workshop. Students are making a conscious effort to adopt more sustainable practices, paying close attention to the materials they use. They take a holistic approach, considering the lifecycle of textiles, the carbon footprint of the materials, and minimizing waste. Given that the fashion industry is one of the major contributors to environmental degradation, it’s crucial that makers and manufacturers are equipped with the knowledge and skills to tackle these global challenges, which wouldn’t happen without arts education.

Furthermore, the reading highlights the ongoing marginalization of the arts, with funding cuts and reduced education opportunities at all levels. Another article writes findings on The Arts in Schools supports Becker’s view, and writes findings on why arts education is essential to building a humane society (Tambling & Bacon, 2023), supporting students with tools to areas such as wellbeing and social cohesion.

Creative disciplines are often dismissed as unnecessary in society, yet reports like Becker’s challenge this view, demonstrating the significant role the arts play in addressing societal concerns.

Reference:

Becker, C. (2019). How art became a force at Davos. [online] World Economic Forum. Available at: https://www.weforum.org/stories/2019/02/how-art-became-a-force-at-davos/ [Accessed 19 Feb. 2025].

Tambling, P., & Bacon, S. 2023. Arts in schools. Foundations for the future. Purposes, principles and practice. Available at: https://www.anewdirection.org.uk/the-arts-in-schools#downloadthereport [Accessed 19 February 2025].

After Session 2, we will begin our case study reviews. I’ve chosen to reflect on the learning resources available in our workshop, particularly focusing on Wilcom embroidery software. This topic resonates with me personally, as I am dyslexic and know that lengthy, wordy instructions often don’t make sense. 

Through further reading on dyslexia in education, a subject I hadn’t previously explored, I found the findings both fascinating and validating. One key insight is that individuals with dyslexia can become disheartened by repeated failures in the education system, leading to lower self-worth compared to their non-neurodiverse peers (Bacon & Bennett, 2012). Additionally, research by Hughes and Dawson (1995) shows that this lack of self-worth in education can extend to feelings of low personal intelligence, affecting social and professional aspects of life. 

While I don’t attribute all my feelings of low self-worth and intelligence solely to dyslexia, it does shed light on factors that contribute to these emotions. As an educator, I want to emphasize that having dyslexia is a valuable asset, especially in the arts. My goal, as I will discuss further in Case Study 1, is to create resources that support dyslexic and neurodivergent students in general. I believe it’s a societal issue that “standard intelligence” is often based on IQ and reading speed, rather than a broader understanding that intelligence can also encompass practical skills, memory, and other strengths.  

References:

Bacon, A.M. and Bennett, S. (2012). Dyslexia in Higher Education: the decision to study art. European Journal of Special Needs Education, 28(1), pp.19–32. doi:https://doi.org/10.1080/08856257.2012.742748. 

Hughes, W. and Dawson, R. (1995). Memories of school: Adult dyslexics recall their school days. Support for Learning, 10(4), pp.181–184. doi:https://doi.org/10.1111/j.1467-9604.1995.tb00037.x.

Reading Clare Sams’ article How Do Art and Design Technicians Conceive of Their Role in Higher Education, 2016, really resonated with me, as it captures themes that often arise in discussions among groups of technician colleagues. One key point that stood out is the desire to be valued for the full range of our contributions—not only for providing technical and practical advice, but also for our role in supporting the overall wellbeing of students. Our work goes beyond being a mere aid for students; we are skilled artists and makers in our own right.

In the article, Clare Sams (2016) interviews Technician A, who explains that she and her colleagues often feel that their support is not truly appreciated by academic staff. This sentiment is one I encounter frequently and was something that surprised me when I first started at UAL. Before joining CSM as a support technician, I worked as a visiting lecturer at UEL. In my experience, the environment there was quite different. Even though I wasn’t working as a technician, we (as academic staff) interacted with technicians in much the same way I do now. Our lunchroom was shared by both technical and academic staff, and small group meetings with the student year groups involved all staff members, allowing technicians to contribute to curriculum discussions and stay informed about deadlines, briefs, and other important details. This level of involvement and cross-team collaboration was valuable not only for staff but also for students. Technicians understood the objectives of the projects they were supporting, which allowed them to plan workshops effectively around peak usage and deadlines. This also helped foster mutual respect between students and technicians, as technicians were seen as equal members of the academic team.

In contrast, at UAL, interactions between technical and academic staff are rare. We often learn about briefs and deadlines through students, rather than directly from academic staff. We’re seldom invited to student shows or crits where students present their completed work. Additionally, the contractual benefits for technical staff differ significantly from those of academic staff. For example, technical staff have fewer holiday allowances, lower grading bands, and no time allocated for personal practice development. These discrepancies reinforce the feeling that technical staff are undervalued, and also enforces this feeling of ‘them and us’, which is touched upon in an article by A Shreeve, 2009.

To address this, technicians should be more actively involved with the staff running the courses. Bi-termly in-person meetings would provide a valuable opportunity to stay informed about upcoming projects and deadlines. This would allow technicians to plan workshops around deadlines, provide input on what is possible in the workshops, and contribute to the practical outcomes of the students’ work. Additionally, it would give us a chance to propose specialized workshops that could benefit students.

Furthermore, technical staff should automatically be invited to crits, shows, and other relevant events. There should also be an effort to equalize benefits across the board, ensuring that all staff in student-facing roles receive the same grading, benefits, and recognition.

References:

Sams, C. (2016). How do art and design technicians conceive of their role in higher education. Spark Journal, 1(2), pp.62–69.

Shreeve, A. (2009). ‘I’d rather be seen as a practitioner, come in to teach my subject’: Identity Work in Part-Time Art and Design Tutors. International Journal of Art & Design Education, 28(2), pp.151–159. doi:https://doi.org/10.1111/j.1476-8070.2009.01602.x.