[accessibleimage] Re: tactile book for museum exhibition case study

Hi Sylvie
I have also found that 20 point font is the most acceptable for the majority
of people at 1.5 line spacing and character spacing increased by 1 point. In
fact, I have produced some of my guides to reading tactile plans in 32 point
font at the request of the customer. I almost always print on pale yellow
paper to help with glare reduction.

Re the museum guide - it was interesting to note that the complimentary
comments were not made by visually impaired users and that one of the
changes would be to involve the users in the design process in future!  Most
of you know that that is the over-riding factor in all the work that I
produce. It is crucial to good design and should always be the first
priority in any project.

I am currently producing a tactile version of the view from the observation
point at the Imperial War Museum North in Salford, nr Manchester UK (another
branch of the museum for which the aforementioned guide was produced) and
that has been designed with the aid of a totally blind advisor.  I have
already produced a tactile version of the view across London from the top of
City Hall and one of the view over the valley of the River Exe in Devon.
Both of which have received very favourable comments from visually impaired
visitors with no useful sight. I am currently working on the design of a 3rd
tactile panorama of a view in Cheshire.

For those of you who are sighted, you can see pictures of the London and
Devon panels on my website. http://www.tactility.co.uk

For the visually impaired folk, I can send you the text of the guides to
reading the panels if you email me via the link on the website which may
give you some idea of what it is all about.

Best wishes
Ann



____________
Dr Ann Gardiner
Tactility
01928 733040
 
-----Original Message-----
From: accessibleimage-bounce@xxxxxxxxxxxxx
[mailto:accessibleimage-bounce@xxxxxxxxxxxxx] On Behalf Of Kaizen Program
Sent: 06 July 2006 06:35
To: accessibleimage@xxxxxxxxxxxxx
Subject: [accessibleimage] Re: tactile book for museum exhibition case study

Lisa,

Thank you very much for posting this article.

I am truly glad that this book has been produced. It is a very important
contribution to the effort of making more materials accessible to everyone.

However, I have a concern about the size of the large print provided and
recommended.

For the benefit of all those on the list who want to provide large print
materials, I would like to  share the experience the Kaizen Program has
gotten from providing large print tailored to the needs of people with low
vision. Over the past nine years we have provided various handouts in the
specific size large print requested by about 50 visually-impaired
participants in our various workshops. We also provide large print learning
materials for new English learners who need it on an ongoing basis. We have
provided large print for about 20 adult students using large print so far.
We determine the size that these students need by showing them various sizes
of print, and in this way find out what size works best for them. We
reassess their needs after a few weeks, welcome corrections over time, and
reassess every year.

Based on the specific feedback we have received from workshop participants,
who are English speaking adults, generally well educated, and from the adult
immigrants and refugees who are students learning English, we have found
only three people who requested 14 point type or less, because they can use
magnifiers to see this size print, and because they have limited fields of
view that prevent them from seeing large print well.

None of the others have felt comfortable with less than 18 point type, and
the vast majority have asked for 20 point type or larger.

The American Printing house For The Blind also recommends 18 point type or
larger. I have pasted a research paper from their site below.

When we of Kaizen cannot ask individuals what size type they need, and when
preparing materials in large print for general distribution, we now produce
all large print
handouts in 20 point type.

Best regards,

Sylvie Kashdan, M.A.
Instructor/Curriculum Coordinator
KAIZEN PROGRAM for New English Learners with Visual Limitations
810-A Hiawatha Place South
Seattle, WA  98144, U.S.A.
phone:  (206) 784-5619
email:  kaizen@xxxxxxxxxxxxxxxxx
web:  http://www.nwlincs.org/kaizen/

Large Print: Guidelines for Optimal Readability and APHontTM a font for low
vision

APH Educational Research

J. Elaine Kitchel

Research Scientist American Printing House for the Blind

http://www.aph.org/edresearch/lpguide.htm

Introduction

Even though large print has been in use almost as long as the existence of
the printing press, little has been done to bring large print to its full
potential of usability by the low vision user. The American Printing House
for the Blind (APH) has developed guidelines for its own use after a
thorough study of current research and an examination of existing standards
in the industry. It is hoped these guidelines will aid those producing large
print documents to enhance the usefulness of large print for the reader.

Research evaluating the attributes of large print and their effects on
reading speed and efficiency in persons with low vision is ongoing. For this
reason, these guidelines must be considered dynamic and subject to expansion
and revision.

Definition of Large Print

Large print is generally defined as print for text passages that is larger
than the print used by that segment of the population with normal vision.
The sizes of print most commonly used by the sighted population range from
eight to twelve points in size. The American Printing House for the Blind
takes the position that large print for use by the low vision population is
print that is eighteen points in size or larger.

Example showing the x-height and the t-height in 100 point APHont. The 'x'
in the word 'box' is the same size as the letter 'o' and the round part of
the letter 'b'. The crossbar on the letter 't' in the word 'the' is the same
height as the hump on the letter 'h' and the top of the letter 'e'

In addition to the size of the font itself, the x-height and t-height of a
font can also be changed. (X-height is defined as the height of the letter
"x" in any given font; t-height is defined as the height of the bottom of
the crossbar of the letter "t" in any given font. Depending upon the font,
tand x-height may be different heights, or they may be the same.)

Other attributes that print designers are able to manipulate are:
proportions, leading, spacing, character thickness, character edges, and
character styles. These attributes could be manipulated either singly, or in
combination, to maximize readability of a font. Line spacing and line length
are other features of print that can be changed to guarantee good
readability. APH has created a font, APHontTM, that embodies characteristics
identified through research to promote readability in persons with low
vision. APHont is available free-of-charge to qualified users from the APH
web site.

Guidelines

APH's recommendations are based on replicated research performed by APH and
other agencies. Researchers studied the impact of various large print
characteristics on reading speed, comprehension, literacy, and usability by
large print users and found subjects had better scores in all areas tested
when using APHont.

These guidelines are outlined in the following statements:

Each large print user should have access to: A font that is at least 18
points in size. X-height and t-heights of at least 1/8 inch. A typeface
without serifs. Spacing between lines of print of at least 1.25 spaces.
Headings and subheadings that are larger and bolder than regular large print
text. Paragraphs that are block style and use 1 inch margins. The left
margin should be justified and the right hand margin should not be
justified. There should be no first-line indentations to delineate
paragraphs. Printed materials with no columns or divided words. Black print
on white, ivory, cream, or yellow paper with a dull finish so as not to
promote glare. Print that is not used over a background design or other
graphical material. Graphics that are not only enlarged, but maintain the
same contrast, clarity, and appropriate coloration as those prepared for
their sighted peers. Graphic materials, such as maps, graphs, and charts,
which also adhere to type size, font, and other large print guidelines.
(Guidelines for maps are under development.) Full-color or high-quality
black line art rather than gray-scale or shaded drawings. Books that weigh
no more than 32 ounces and are no larger in dimension than 9 inches by 12
inches by 2.5 inches.

Summary

Research conducted by APH in the Student Survey of Large Print and
Magnification Needs to Optimize Reading Efficiency, points to the validity
and necessity of the above guidelines. APH believes these guidelines embody
the attributes that have been shown through research to provide optimum
readability for persons with low vision. APH is proud to lead the way in the
development and implementation of these guidelines and will proceed with the
sincere belief that persons with impaired vision will benefit from them. APH
wants to keep a full range of options open for students who need textbooks.
Producing high-quality large print that embodies features that have been
proven helpful to persons who have low vision is one way to keep those
options available.

References

Arditi, A., Print legibility and partial sight. New York, NY: The Lighthouse
Research Institute, 1992.

Bailey, I. and Lueck, A., Magnification Needs to Optimize Reading Efficiency
(unpublished study). Louisville, KY: American Printing House for the Blind,
Draft (2001).

Buultjens, M. Aitken, S., Ravenscroft, J. & Carey, K. "Size counts: the
significance of size, font and style of print for readers with low vision
sitting examinations." The British Journal of Visual Impairment. (1998)
Edinburgh, Scotland.

Carrol, T. J., Trautman, R. L., Collingwood, H. "Standards for production of
reading material for the blind and visually handicapped." National
Accreditation Council (1974) New York, NY: pp. 15-22.

Gaster, L., Clark, C., (1995) "A guide to providing alternate formats."
Center for Rehabilitation Technology Services (1995) West Columbia, SC: pp.
7-12.

Kitchel, E., Evans, W., Student survey of large print (1999) Louisville, KY:
American Printing House for the Blind: pp. 1-27.

Mansfield, J. S., Legge, G. E., Bane, M. C. "Psychophysics of reading XV:
font effects in normal and low vision." Investigative Ophthalmology & Visual
Science 37 (8), 1492-1501. Draft (1996)

Rubin, G.S. & Legge, G. E., "Psychophysics of reading: The role of contrast
in reading". VII. Comprehension in normal and low vision VII. Clinical
Vision Sciences, 4, (1989): 51-60.

APHontTM: A Font for Low Vision

APHontTM (pronounced Ay'-font), was developed by a licensed fontographer to
specifications developed by APH. APHont was based on extensive research. It
embodies characteristics that have been shown to enhance reading speed,
literacy, comprehension, and usability for large print users.

Features: Even spacing between letters.

Example comparing 'willow' in APHont, Arial, and Times New Roman: APHont has
wide, even spacing between the letters. Arial has uneven spacing, with less
space between the 'i' and the 'l's. Times New Roman has narrow, but even
spacing

Higher crossbars.

Example comparing 'attention' in APHont, Arial, and Times New Roman: APHont
has high crossbars approximately 3/4 of the way up the stem of the 't'.
Arial's crossbars are positioned approximately 5/6 of the way up the stem of
the 't', and Times New Roman's crossbars are even higher and have serifs

No serifs.

Example comparing 'thoughtful' in APHont, Arial, and Times New Roman: APHont
and Arial do not have serifs. Times New Roman does have serifs

Wider letters.

Example comparing 'snowfall' in APHont, Arial, and Times New Roman: APHont's
letters are wide and spaced wide apart. Some of Arial's letters are narrower
('f', 's', 'n') and the letters are closer together. The letters are even
narrower in Times New Roman

Bold letters.

Example comparing 'astronaut' in APHont Bold, Arial Bold, and Times New
Roman Bold: APHont Bold and Arial Bold have thick even bold letters. Times
New Roman Bold have a mixture of thick and thin lines and they are not as
thick as APHont or Arial

Underslung descenders like "j" and "q".

Example comparing 'adjust' and 'aqueduct' in APHont, Arial, and Times New
Roman: The 'j' and 'q' in APHont are underslung -they extend under the
letter next to them. The 'j' in 'adjust' extends partially under the 'd' and
the tail on the 'q' in 'aqueduct' is halfway under the 'u'. In Arial, the
'j' is narrow and barely curves at all, the 'q' has no tail. The 'j' in
Times New Roman has a more pronounced descender, curving to the edge of the
'd'. The 'q' has no tail and has serifs

Rounder letters.

Example comparing 'footlong' in APHont, Arial, and Times New Roman: APHont
has round letters, Arial has oval letters, and Times New Roman has uneven
oval letters

Larger punctuation marks.

Example comparing 'Ouch!' in APHont, Arial, and Times New Roman: APHont has
full round even punctuation. Arials punctuation is square and uneven, while
Times New Roman has round uneven punctuation

Note: APH makes no claim that APHont is an appropriate font for children who
are just learning to read.

How do I get APHont?

The complete APHont Suite with bold, italics, and diacritical marks
containing both PC and Mac(R) versions of APHont is available by request
only.

To download the new APHont Suite, fill out the online form at

http://www.aph.org/products/aphont_orderform.html

You will be asked to verify that APHont will be utilized by or for persons
with visual impairments. After verification you may proceed to download.

APHont(tm) Character Set

Examples of the upper case and lower case letters, numbers, and punctuation
marks available for APHont Regular, APHont Italic, APHont Bold, and APHont
Bold Italic



----- Original Message ----- 
From: "Lisa Yayla" <fnugg@xxxxxxxxx>
To: <accessibleimage@xxxxxxxxxxxxx>;
<art_beyond_sight_learning_tools@xxxxxxxxxx>;
<art_beyond_sight_educators@xxxxxxxxxx>;
<art_beyond_sight_advocacy@xxxxxxxxxx>; "Art Beyond Sight Theory and
Research a" <art_beyond_sight_theory_and_research@xxxxxxxxxx>;
<artbeyondsightmuseums@xxxxxxxxxx>
Sent: Tuesday, July 04, 2006 6:07 AM
Subject: [accessibleimage] tactile book for museum exhibition case study


tactile book for museum exhibition case study


link
http://www.tpyf.com/server/show/nav.00n00n001004
pdf link
http://www.tpyf.com/upload/pdf/Tactile_book_CS_Final_21_March_06.pdf


Making a Tactile Book

Case Study: Making a Tactile Book for Blind and Visually Impaired People
Intended readers
Are you aiming to broaden access for visually impaired and blind people
to your museum, gallery or archive? Are you looking for a tool to make
education sessions more inclusive, particularly for the visually
impaired? A tactile book could help to broaden access to collections and
make museum visits more valuable and inclusive for people with a visual
impairment.

Background
The Their Past Your Future Tactile and Large Print Book was created as
part of an educational Outreach Kit developed to support a Touring and
Online Exhibition. The exhibition, and subsequent book, focused on the
impact of the Second World War on the people and places of the UK. 90
books were created in total and its content was a sample of the core
content of the exhibition.

The book was developed to provide greater access and inclusion to
facilitated learning sessions where the Their Past Your Future Outreach
Kit (see Outreach Kit Case Study) was being used, primarily for visually
impaired and blind people of all ages. However, the book could also be
used in museum education sessions related to the Second World War more
broadly, or simply made available for independent learning.

The tactile book had four main themes: the impact of war on individuals
and their families, its impact on the places and landscape of the UK,
its long term impact on UK society and how and why we continue to
remember the Second World War. The tactile and large print books were
presented in a bespoke B4 size ring binder. This allowed greater
flexibility of use: not only could the different sections be used with
different groups simultaneously, the contents could also be added to as
venues developed their own resources. 90 books were designed and
produced with 10 of these in Welsh; the Welsh venues received both an
English and a Welsh copy.

The Their Past Your Future Tactile and Large Print Books were
distributed at the beginning of December 2005 to all Touring Exhibition
venues around the UK.

The Their Past Your Future Tactile Book binder cover design. The design
was wrapped around the binder, with the Their Past Your Future logo on
the spine of the binder.


The Their Past Your Future tactile book with a braille title label
affixed above the image.

Aims

The aims of the tactile book were to:

Broaden access to the themes of the Their Past Your Future touring
exhibition and Outreach Kit through provision for visually impaired and
blind people of all ages
Encourage visually impaired and blind people to explore the impact of
the Second World War on the people and places of the UK
Develop a flexible resource that can be used in learning sessions that
include visually impaired/blind as well as sighted people



For the readers our main intended learning outcomes were:

Knowledge & Understanding

A deeper understanding of the variety and diversity of people?s experiences
That the Second World War has helped to shape present-day UK society



Skills

Encourage learning in social, informal and personal ways
Greater confidence to explore, investigate, and make personal
connections with items displayed



Attitudes & Values

Deeper sense of understanding for people of different ages, races,
religious experiences and backgrounds to themselves, and a positive
appreciation of diversity



Creativity, Inspiration & Enjoyment

Making lateral connections between other people?s lives and their own,
through personal stories



Why is this important?
The Department for Culture, Media and Sport (DCMS) aims for museums and
galleries to ?broaden access for all to all museums and galleries? and
to ?develop and promote the educational potential of museums and
galleries??. These incorporate some of the core aims of all Government
departments, which are to promote education, social inclusion,
regeneration and community cohesion. In addition to this, the Disability
and Discrimination Act of 1995 (DDA) requires that all organisations
providing public services must make them accessible to disabled people,
who are, according to the Museums, Libraries and Archives Council,
?among the most excluded in society?. The contents of both the tactile
and large print book were also made available in Welsh in compliance
with the Welsh Languages Act 1993.

The RNIB estimates that there are approximately 20,000 Braille readers,
and approaching 2 million visually impaired people in total, in the UK .
Information and books provided in tactile and large print form are
examples of auxiliary aids that contribute to institutions meeting the
standards set out by the DDA, providing an alternative means of
accessing a service. They can also help museums broaden their access to
visually impaired and blind people to their collections, exhibitions and
learning activities. Improving provision by providing for broader and
independent access to graphic, pictorial and textual information for
visually impaired and blind people is a step towards promoting equality
of opportunity and social justice, as well as developing new audiences
for museums.


Nuts & Bolts
Budget £15,000
Quantity 90 units (80 English, 10 Welsh)
Contractors RNIB and Be a Tiger Ltd
Distribution 70+ venues across the UK
Timeline
Nov 2004 - Initial presentation from and discussion with the RNIB to
consider book for visually impaired and blind people
Feb 2005 - Launch of touring exhibition
July 05 - Outreach kit distributed
Tactile book and artwork contractor research and tender process
Aug 05 - Liaison with RNIB: start of process to choose suitable images
Research into end-user needs
Oct 05 - Choice of images and accompanying exhibition text finalised
Descriptions of chosen images written by a consultant expert, Tactile
Images Officer, RNIB
Welsh translation of all content
Proofreading of all content
Oct/Nov 05 - Design of bespoke binder and large print booklet covers
Dec 05 - Distribution of 90 tactile books throughout the UK


Expenditure:

Tactile contents (90 units x 37pages) £6,000
B4 ring binder A4 booklet,
collation, artwor £4,900
Packing & distribution £1,000
Other (project management,
courier delivery, travel etc) £500
Marketing contribution £1,500
Conferences/training £350
Total £14,250


What we did
Allocated £15,000 to design, production and distribution of 90 tactile
books (80 English, 10 Welsh) around the UK.
Chose images and materials (swell, or microcapsule, paper) for
production of tactile contents of book in consultation with RNIB. 12
images chosen with related stories and information from Imperial War
Museum (IWM).
Descriptions of original as well as tactile images written by RNIB,
verified by IWM and added to content. Images labelled. English version
transcribed into braille. All content translated into Welsh and
transcribed into braille.
B4 size bespoke binders designed and produced to hold the tactile pages.
Large print book with the same content as tactile book produced and held
inside front cover of binder. Helvetica in 16-point typeface used for
the book, a sans serif font in the recommended minimum size for large
print text.
Each recipient contacted prior to distribution with information about
the contents, tactile images and their uses, and how to locate local
organisations for blind and visually impaired people for partnerships.
Distributed to all education contacts from Their Past Your Future
Touring Exhibition venues. Welsh partners received both an English and a
Welsh unit.
Marketing undertaken by creating tactile Christmas cards, sent to UK
organisations for visually impaired and blind people. Included letter
about the tactile book and contact details for more information.

Together poster (IWM PST 3158) with its representation in tactile
diagram to the right

The hats and faces of the servicemen were chosen as the most effective
way of demonstrating the content and meaning of the original poster.
Each hat is distinct and by them each of the countries represented is
identifiable. The accompanying description described the poster on the
left as well which parts were represented in the tactile diagram.

What worked?
Working in consultation with RNIB
- Choice of suitable images was guided by the RNIB as not all can be
effectively portrayed in tactile form, such as images with deep
perspective or lots of detail.
- Guidance from experts on Best Practice for producing good large print
information.
- Use of swell (or microcapsule) paper produced very clear images and
can be used for braille and images. Images can be easily reproduced if
damaged, as kept in electronic format.
- Contextual descriptions produced to accompany tactile images ? of the
original image or object and what the tactile image represents ? are
also essential. Tactile images are often inaccessible without them.
- Extensive experience and expertise in working with museum and galleries
Producing final product in a ring binder in a bespoke binder allowed
each page to be removed and making it more adaptable for use in
education sessions and allowing for recipients to add own items.
Free resource provided for Touring Exhibition host venues to help
improve accessibility.
Consulted with visually impaired museum accessibility officer outside
the Museum highlighted issues such as need for information to be
provided in a book that opened flat, not tightly bound.
Production of 10 copies in Welsh, which is different from English braille.
Presentation in binder also allows for the contents to be read flat,
rather than tightly bound, which makes reading braille and tactile
images difficult
Providing tactile book recipients with information about tactile images,
their uses and links to create partnerships with local organisations for
blind and visually impaired people
CPD opportunity for other museum professionals to help improve
accessibility which they might not otherwise have had
Innovative marketing by designing, producing and distributing tactile
Christmas cards
- Tactile Christmas cards designed, produced and distributed to
organisations for blind and visually impaired people. Letter included
with information about the book. See Download section below.
What didn?t?
Time constraint which did not allow for consultation with visually
impaired and blind end-users as fully as would ideal throughout whole
process
Braille of swell paper was flattened slightly by the large print book
inside the cover if it came out of the pocket. Over time would damage
pages to point of illegibility.
Would have been good for it to be produced at same time as the outreach
kit so that it all went as a piece but time constraints did not allow
What would we do differently next time?
Consult more widely with end users about their needs from conception to
production, including piloting, to determine if content is accessible
and effective.
Visual and tactile perception are different. To discover if something
works well in tactile form rather than visual requires proofreading by
touch.
Chose a method to protect the swell paper pages, such as a sturdier
pocket to hold large print book.
Produce audio version of text with descriptions of images to further
increase accessibility. Not all visually impaired people read braille or
tactile images, so information provided in audio form invaluable for
allowing them enjoyable and beneficial access to museum collections.
Feedback quotes
?Many thanks for the copy of the tactile book - a really useful example
of something we want to do with our forthcoming museum guidebook?,
(Access Officer, Exeter City Museums Service)

?Many thanks for the Tactile Book, it is fantastic?, (Head of Education
and Learning, IWMN)

Downloads
Contents of the English large print book
Happy Holidays from Their Past Your Future 22 Feb 06
Useful links
www.rnib.org.uk - the Royal National Institute for the Blind

www.rncb.org.uk - the Royal National College for the Blind

www.dogrose-trust.org.uk - charity working to make all environments
accessible to people with visual and other sensory impairments

http://www.mla.gov.uk - The Museums, Libraries and Archives Council has
produced a Disability Portfolio. This is a collection of 12 guides about
how best to meet the needs of disabled people within the museums,
archives and galleries sector.

Other related posts: