Technologies · S2 · 5 weeks
Tactile Tapestry Galashiels
Driving question
How can we create a tactile display so blind visitors can experience the Great Tapestry of Scotland?
I can explore the properties and performance of materials before justifying the most appropriate material for a task.
TAUGHT IN Week 1, activity 1; Week 2, activity 2; Week 3, activity 2; Week 4, activity 2; Week 5, activity 1; Week 5, activity 2ASSESSED BY Material Exploration and Justification
I can create solutions in 3D and 2D and can justify the construction/graphic methods and the design features.
TAUGHT IN Week 1, activity 2; Week 2, activity 1; Week 3, activity 1; Week 3, activity 2; Week 4, activity 1; Week 5, activity 1; Week 5, activity 2ASSESSED BY 2D and 3D Solution Design
Contains public sector information licensed under the Open Government Licence v3.0.
Pupils examine images and stories from panels of the Great Tapestry of Scotland in Galashiels, investigating how visitors who are blind or partially sighted access visual heritage. Working in pairs, pupils choose a panel, select suitable tactile materials, and produce a layered card prototype with 3D-printed features. Pupils test their designs through blindfold handling and feedback from an invited local sight loss group, refining their models before presenting them to staff from the tapestry visitor centre.
The teacher passes around a mystery box containing textured objects and a flat photo of a tapestry panel, asking blindfolded pupils to describe what they feel. Pupils then discuss why a visual embroidery in Galashiels excludes visitors with sight loss. A short video clip shows how blind people navigate tactile museum displays.
- How do people with sight loss read shapes and pictures with their hands?
- Which panel from the Great Tapestry of Scotland will our team focus on?
- Which materials feel distinct enough when laser-cut or 3D-printed?
- How high must layers be so fingers can easily tell them apart?
- What will the visitor centre team look for in our prototype?
Your lessons: 2 a week, 50 minutes.
Week 1
Explore how tactile art works and investigate material textures.
Pupils test samples of card, wood, acrylic, and textiles under blindfolds to compare texture, warmth, and edge sharpness. Let pupils choose laser cut layered card, 3D print, or stitched textile for their relief, as long as it passes the fingertip test.
· 1 lessonPupils select one tapestry panel from photos of the Galashiels gallery and trace its main shapes onto a 2D line drawing. Swap the written design brief for a short audio description pupils record for their panel, which is what a blind visitor would actually use beside the relief.
· 1 lesson
Supports
Provide pre-printed high-contrast line guides for ASN pupils; provide a glossary of sensory vocabulary for EAL pupils; offer multi-textured textile swatches for pupils ready for an extension.
Deliverable
A traced 2D panel line drawing with tactile material notes for key areas.
Week 2
Plan layers and design raised components for the chosen panel.
Pupils separate their line drawing into background, midground, and foreground layers on 2D design software for laser cutting.
· 1 lessonPupils test laser-cut greyboard thicknesses and justify which layer heights make the scene easiest to navigate by touch.
· 1 lesson
Supports
Provide pre-layered template files for ASN pupils; use visual step cards for software commands for EAL pupils; encourage advanced pupils to test varied laser engrave depths for shaded textures.
Deliverable
A cut card test layer stack with written material justifications.
Week 3
Model 3D-printed tactile details and assemble the first prototype.
Pupils model one prominent focal element in 3D software to produce a distinct raised relief piece for 3D printing. Book a session at the Heriot-Watt textile campus at Netherdale so pupils can handle tweed weaves and borrow textures for their reliefs.
· 1 lessonPupils assemble laser-cut card sheets and 3D-printed elements into a complete relief prototype on backing board.
· 1 lesson
Supports
Pair ASN pupils with support assistants for 3D modelling; use bilingual shortcut sheets for EAL pupils; challenge quick finishers to add Braille lettering or tactile orientation marks.
Deliverable
Assembled working prototype of the tactile panel.
Week 4
Conduct blindfold user testing and gather community feedback.
Run a tactile clinic using worked examples that model a 3 mm minimum height difference and simplified shapes, before students test reliefs blindfolded and record where fingertips catch or get confused.
· 1 lessonAn invited local sight loss group visits to test prototypes and give direct verbal feedback to each pair.
· 1 lesson
Supports
Provide structured prompt cards for peer testing for ASN pupils; offer sentence stems for conversation with visitors for EAL pupils; have extension pupils record audio descriptions to accompany touch tests.
Deliverable
A completed touch-testing feedback log with planned design revisions.
Week 5
Refine the tactile relief panel and present it to gallery staff.
Pupils modify shapes, sand sharp edges, and rebuild layers based on user feedback to complete the final tactile model.
· 1 lessonPupils present their tactile panel and material choices to education staff from the Great Tapestry of Scotland centre.
· 1 lesson
Supports
Allow ASN pupils to present with cue cards or recorded audio; pair EAL pupils with supportive partners for speaking; encourage extension pupils to justify cost and durability for permanent gallery handling.
Deliverable
Finished tactile panel display board and written design justification.
End of week 3
In week 4, pupils carry out structured peer blindfold trials followed by user feedback from an invited local sight loss group, marking areas that feel confusing or sharp.
Student reflection
Pupils write a short reflection on how touch changes design decisions compared to visual appearance alone, assessing how well their model represented the tapestry story.
What they make
A framed tactile relief panel made from laser-cut layered board and 3D-printed features, paired with a short written material justification.
Options
Pupils choose which panel from the Great Tapestry of Scotland to recreate and decide whether to use stepped relief, textured engraving, or 3D-printed components for key details.
Who sees it
Education and visitor services staff from the Great Tapestry of Scotland visitor centre, during the final lesson of week 5.
Teams
Pairs formed by pupil choice, with teacher guidance to balance digital design and practical craft confidence.
| Criterion | beginning | developing | proficient | advanced |
|---|---|---|---|---|
Material Exploration and Justification TCH 3-10a · individual | Names materials used in the panel but does not explain why they were selected for touch. | Describes how card or plastic feels but provides limited reasons for why they suit blind visitors. | Explores properties of card and printed plastic and clearly justifies choices based on tactile clarity. | Justifies material choices in depth using test data on durability, texture contrast, and user safety. |
2D and 3D Solution Design TCH 3-09a · team | Produces flat or indistinct layers that make the tapestry scene hard to identify by touch. | Builds 2D layers and a 3D element, but some shapes overlap confusingly or lack tactile contrast. | Constructs clear 2D cut layers and a 3D detail that allow users to distinguish key elements of the scene. | Constructs an intuitive, multi-layered tactile solution with smooth transitions and purposeful graphic features. |
User Testing and Revision Collaboration · team | Records little testing feedback and makes no noticeable changes to the prototype. | Records test notes from peers but makes only minor surface changes to the design. | Uses feedback from blindfold trials and visitors to make sensible design revisions to the tactile panel. | Systematically integrates user trial feedback to substantially improve touch clarity and ease of navigation. |
Material Exploration and Justification
TCH 3-10a · individualbeginning
Names materials used in the panel but does not explain why they were selected for touch.
developing
Describes how card or plastic feels but provides limited reasons for why they suit blind visitors.
proficient
Explores properties of card and printed plastic and clearly justifies choices based on tactile clarity.
advanced
Justifies material choices in depth using test data on durability, texture contrast, and user safety.
2D and 3D Solution Design
TCH 3-09a · teambeginning
Produces flat or indistinct layers that make the tapestry scene hard to identify by touch.
developing
Builds 2D layers and a 3D element, but some shapes overlap confusingly or lack tactile contrast.
proficient
Constructs clear 2D cut layers and a 3D detail that allow users to distinguish key elements of the scene.
advanced
Constructs an intuitive, multi-layered tactile solution with smooth transitions and purposeful graphic features.
User Testing and Revision
Collaboration · teambeginning
Records little testing feedback and makes no noticeable changes to the prototype.
developing
Records test notes from peers but makes only minor surface changes to the design.
proficient
Uses feedback from blindfold trials and visitors to make sensible design revisions to the tactile panel.
advanced
Systematically integrates user trial feedback to substantially improve touch clarity and ease of navigation.
- Photographs of panels from the Great Tapestry of Scotlandcheck before use
- Corrugated cardboard, mounting board, and greyboard sheets
- Laser cutter and suitable sheet materials
- 3D printers and PLA filament
- Fabric sleep masks or blindfolds for sensory testing
- Contact details for a local sight loss community group or charitycheck before use
- Contact details for the Great Tapestry of Scotland visitor centre teamcheck before use