Video transcriptions
Slide 1
We are the interactive touch objects group and we worked with the Intrepid Museum. Our collaborator is Jessica Wilson, the curator of history and collections, and our mentors are Amy Hurst and Daniel Johnston. The image on this page is a black and white image of the USS Intrepid CV-11, also known as the “Fighting I”, on the ship there are two aircraft carriers and soldiers standing on the platform of the ship at sea.
Slide 2
Our team focused on military patches that are only available for viewing at the Intrepid Museum website. We have attached the link to that website to these slides. We are currently working on the four patches that are exhibited on this slide. Here on this slide.
From left to right, the first patch is the “I” Patch (Combat Information Center) and depicts a green monster with one red eye holding a ball and chain, and the text reads the fighting I the second patch. The second patch is the “Roof rat” patch which depicts a pirate wearing a hat that reads gas gang. He is holding a mop and a sword, and the text on the patch reads roof rat. The third patch to the right is the guided missile patch which depicts a missile flying over clouds. Inferior to that is an Insignia of two dolphins on either side of a submarine. The fourth patch on the far right is the Squadron VA(AW)-33 Mediterranean Cruise Patch which depicts 3 playing cards with three lightning bolts below them pointing to a globe the text on the patch reads Mediterranean cruise
Slide 3
So, at present, the military patches are not currently on display, and they are only viewable via their website which provides limited information on the artifacts. Individuals that are blind or low vision would be unable to receive the same experience as individuals that can view the patches on the website. Our goal was to create different versions of these patches for blind or low vision populations to be able to touch, and during our brainstorm we considered other methods that museums have implemented when designing for blind or low vision visitors such as 3D printing, creating a miniature replica, NFC tags or audio tags
Slide 4
To date, we have gotten in touch with Jessica Wilson, the curator of history and collections. As well as developed several variations of the patches, which include swell form, paper, iterations, embroidery, and simple felt blocking. During our iteration process, we emphasized the implementation of universal design through the creation of different patch versions using alternate modalities. We have incorporated touch points which are linked to an audio component with alternative text. As well as discussed and considered the construction of the interactive touch objects for ease of reproducibility.
Slide 5
During the initial stages of prototyping, patch graphics were simplified to vector images For the use of swell form printing and other variations.
This is an image of the original patches next to their simplified vector images.
Slide 6
Using the same simplified vector graphic image, a simplified felt version of the roof rat pirate patch was created.
The images from left to right show the original “Roof Rat” patch of a pirate with a mop, sword and hat that reads “Gas Gang” and the words roof rat are embroidered inferiorly to the pirate
The middle image is a simplified vector image of the “roof rat” pirate patch and the third and final image to the right is a heavily simplified version of the roof rat pirate patch in which the patches features are reduced to the pirate’s body, attire, mop and sword. There are no words used on the felt iteration
Slide 7
This image shows five versions of the monster patch, starting with a colored patch with a dotted texture in the eye area and a spiral texture on the ball part of the weapon. The renderings move toward a very simplified outline rendering of the monster, with no text and no circle around the monster . Through our iterations with the Swell Form, we learned about how the Swell Form printer raises up dark ink. In some of the scenarios, darker colors would sometimes get raised as well. We also wanted to experiment with using different patterns, like dots, to create more distinguishable definition from the Swell Forms.
The hand holding the ball and chain is simplified by removing renderings of fingers in a fist and the chain rendering is simplified by converting it into a smooth wiggly line. The handle of the weapon was simplified to only protrude from the top of the fist, as opposed to both the top and bottom of the fist. These changes made the image more readable by touch.
Slide 8
This is a scan of two versions of the monster outline with sewn embellishments. To create more contrast, we experimented with using thread to create texture against the Swell Form paper. In these examples, we added a raised stitched circle around the outer edge of the patch.
Slide 9
This slide shows two images of the monster rendered with machine embroidery, one green and one purple. Also pictured is a closeup of the purple monster being stitched with the embroidery machine, as well as an image of a close up of the monster’s hand holding the ball and chain.
Slight differences in settings on the machine yielded differing results in both tactile quality as well as ease of printing. Very thick, dense stitching made great raised outlines, but tended to damage the thread or repeatedly jam the machine. The purple figure’s lines were less dense yet still resulted in a sufficiently raised outline.
Slide 10
This slide shows the simplified vector version of the pirate patch. Below it there are two images of a Circuit Playground microcontroller attached to conductive thread sewn into the patch. The image on the right shows the microcontroller lighting up when the conductive thread is touched.
We considered using conductive thread as a way to trigger an audio story about the patch. One concern, however, is that a BVI user, while using their hands to orient themselves in an “overview” phase, would inadvertently trigger the audio.
Slide 11
This shows three versions of the machine embroidered monster with 3 different types of buttons where the eye would be.
We thought that a button might be a better way to activate the soundtrack, as a button requires a more intentional touch to activate. This is a video showing button testing. We tested a small black button, a medium black button, and a large raised red button. The buttons were incorporated into the simplified green monster patch.
Slide 12
Our next prototype was re-creating the patches with hand embroidery techniques and conductive thread. We started off by learning basic hand embroidery stitches. After feeling the different texture, we found that certain stitches created more tactile contrast with height and texture. To make the patches interactive, we used conductive thread connected to the circuit playground express. We then thought to keep the rest of the image flat so that users can selectively engage with the interactive elements. Our first prototype was with a paper printed background. We would like to experiment with using iron-on for greater durability. In addition, we plan to explore how to make the circuit playground more discreet so that it does not confuse or impede our users’ experience.
The image on the right is of the Squadron VA(AW)-33 Mediterranean Cruise Patch. The lightning bolts are emphasized with yellow thread, the border is created with a thick red stitch, and a star has grey conductive thread. The video below is an example of using circuit playground express and touching different stitches that then play a sound. The flowers are orange with a grey middle created by the conductive thread.
Slide 13
The next step for our project is to test our different prototypes with users and gather feedback on their experience and use these insights to create higher fidelity prototypes of our patches. In addition, we would like to continue progressing on adding audio and other interactive elements to our patches once we receive more information on the history of these patches.
At the end of the semester we aim to provide the Intrepid Museum with two variations of the patches including one involving swell form paper and another with textile and interactive audio components.
Some challenges we have experienced so far has been coordinating communication with external collaborators and that the museum does not have the patches on display so we do not have knowledge of how the original patches would be intended to be displayed at the museum.
QUESTIONS SLIDE
These are our questions for feedback. Thank you everyone for your time today.