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<Henry 01> Hi everyone, it’s the ITP Student team’s midterm report for the touchpad pro project. First, let me introduce our team members, I am Henry, and Cynthia and Yuan are also team members of our student team. We are very honored to have Dr. John Rizzo and CEO of TPP Foundation Daniel Lubiner as our mentors

Our Project Goal is to develop activities and templates for TouchPad Pro to interpret content including graphic recognition and elementary school education; by making interpretation activities, we could enable learners with vision disabilities to draw, design, and learn.

<Henry 02> After reaching out to Daniel, the foundation and CEO of TPP, we had the initial understanding of the present status of the product including the current market, competitors, and development prospects. We had also realized the application methods and target audience and discussed with Daniel the feasible project objectives and designs.

<Henry 03> At present, the product on sale in the market is the braille doodle pad. Its main function is to adsorb small balls through magnetic force, so as to help visually disabled people feel the original appearance of some simple graphics through touches, such as trees and houses. In this way, they can have a preliminary understanding of the size, proportion, and shape.

 

<Henry 04> There are some similar products on the current market which will be our competitors: the draftsman Blind and the existing doodle pads. The draftsman blind is designed for blind people, however, it is too expensive to purchase and apply in elementary school. The most common one we have used for testing is the doodle pads, Although it has a reasonable market price, the function is very limited due to the space between each point, and the general size of the pad; also, the magnetic balls are very easy to fall down.

 

<Henry 05> Currently, we followed the schedule and held meetings weekly with both group members and mentors, we shared our weekly updates and developed our project based on the mentor’s feedback and advice. In the third week, we have provided a template prototype by using cardboard and laser-cut to present our ideas of demonstrating simple shapes to elementary school kids who have disabilities in vision. Based on that, we set up our project direction to produce interactive and educational-used templates to present visualization graphs. Next, Cynthia will give you an introduction to our current templates.

 

<Cynthia 01>Based on our discussion, research and preparations, we made a design plan for the broad doodle templates. Our target users are elementary school kids with visual impairments. We want to help them learn about graphics and further data visualizations and our compositions. We also set several attributes to our templates. The first one is educational, because we always want the children to learn something from their experience with Braille doodles. The second one is geometric, not only because it is a foundation in their learning, but also, they are visually impaired children, so we want to make it simple and straightforward for them to learn. If we have more time, we will make it more artistic and creative. To start their braille doodle plus template experience, the children will need to first put their templates on their braille doodle pads, and then draw shapes by following silhouettes in the templates. When they put their templates away, the shapes will stay there, so they will learn about the shapes while touching. So this is more like a step-by-step tutorial telling the children what the geometric shapes feel like, and how to do the comparisons and how to put it into practical use. 

<Cynthia 02> We also made a learning flow for the data visualizations path especially. So we made the design decision that the children will learn from simple shapes to a completed chart sample. So our first templates will be basic geometric shapes. there will possibly be a line, a triangle and a rectangle in the template, for children to learn what is what. And the second one is comparisons between two shapes. For example, we will put two rectangles in our templates and let the children learn which one is larger with which is smaller. And the third one is we want to put more shapes in the templates for the kids to do the comparison. And the fourth one is, we would like to add a x and y-axis to help the children learn some basic information about that. Then, we will put our basic shapes into the chart, also from two shapes to multiple shapes. And the final version will be a flexible template for data adjustments. Yuan will show us a detailed version we did in our prototype. 

<Cynthia 03> This is our digital version sketch for the templates. This is the two-shape comparison sample. We can see there are two rectangles in different shapes and the left one is smaller while the one on the right is bigger. So we also add the braille words of small and big on the templates. And this one is a comparison between multiple shapes, we can see four rectangles.  This is the x and y-axis. The children will learn from zero to seven on their x-axis and zero to five on their y-axis. And this is a completed chart with two rectangles on the x-axis. Yuan will show some sample prototypes we have made so far.

<Yuan 01 > So this is a prototype that we made a few weeks ago, we use cardboard to make the template. So we try out several basic shapes. First, the lines, rectangle and triangle. After testing out, we realize that actually there is a meeting point in a triangle. So, we realize that because of the thickness of the cardboard, it is actually kind of hard to draw them in a doodle pad. So we decided to change to another material in the next step.

<Yuan 02 >This is what we made this week. We decided to use two materials to separate the thing that can move or not, to help users to identify the differences. This is a template for users to draw graphs in the x and y-axis. In this video, you can see that users easily draw in the x and y-axis.

<Yuan 03 >So in the ideal way, we hope users can put out the cutout part, and they can adjust it into the place where they hope to place. In this video, you can see users easily draw the bar chart in the pad in a specific race. But we also realize there are some improvements we tested out, we realize that without the whole cover, it is not really stable. And it is not easy for users to pull out the things. So after the user testing, we think we need more things to do in the next step.

<Yuan 04 > After showing this prototype to the doctor Rozin, and Daniel, we might need to make several adjustments based on their suggestions, since they have more experiences with the people who have the low visions. Secondly, we will make a braille doodle in the template, which allows users to feel it, which one is x-axis and which one is y-axis and in a more specific way, they can feel the different numbers in the x and y-axis. Third, we’ll make a box for the graph which allows users to pull out. And lastly, if this is possible, we might do several user testing.

<Yuan 05 >First asked should we include a braille doodle on the top of the template or make it in the template as you can see in the image here, like one is making the braille to though, on the top of the template so users can use it in their hands to fill it. And in other way, if we make the braille doodle in the template, then users need to enjoy it first then they can feel it. And then the second is other than geometric shape, which can be used in the educational field by applying to the path? Thank you. 🙂

Slide 1

Hello, welcome to the Accessibility Guidelines for NYU Library Galleries group. This is our midterm presentation on our project updates so far.

Slide 2

Overall, our team aims to expand on the accessibility services that NYU provides by creating digital and physical guidelines for NYU Library Galleries. By being mindful of the interpretation challenges that may come with experiencing various forms of art, our guidelines serve as a resource for gallery designers and curators to refer to prior to their installation. But despite working primarily with Elmer Holmes Bobst Library, our guidelines should reflect universal usability for all NYU affiliated galleries.

Slide 3

My name is Carmi Gonzales and my focus on our project is the guidelines for the physical space of the galleries. And so my goal is to create physical guidelines for the galleries that would be accessible through Google Docs to serve as a resource for gallery designers and curators to refer to prior to their installation.

And populations that are impacted by interpretation challenges are individuals that have impairments in the following areas: audio, visual, perceptual, language, cognitive, and memory. And so for an example of what perceptual impairments may look like is difficulty in sorting the foreground from the background, or difficulty in distinguishing relative distances between objects. So one way that visitors can be accommodated by galleries using guidelines is placing items in front of simple backdrops to reduce the amount of visual clutter.

Slide 4

My accomplishments thus far is narrowing down the topics that I want to address in the guidelines. And so there are 11 topics so far, which are exhibition content, items that are mounted on the wall, items that are in cases, QR code placements, label information and design, audiovisual and interactives, circulation route, furniture, color, lightning, and public events in the galleries.

Slide 5

In the following slides will be examples of interpretation challenges that would be addressed in our physical guidelines after having a tour of the galleries at the Bobst Library.

Slide 6

So this is an audio interactive that allows users in the gallery to listen to a playlist of songs that were exhibited through a nearby speaker. However, a QR code and step by step instructions would be really beneficial for visitors as to access the songs in a different modality such as their phones and to have instructions on how to navigate themselves using this interactive.

Slide 7

Here’s another example of items that are mounted on the wall and a casing for objects. And so our guidelines will provide guidelines such as the the maximum height of the top of the casing, as well as the maximum height for the labels on the walls so that they are readily visible for all users.

Slide 8

So my final goals for the end of the semester are to elaborate on the 11 topics that will be addressed, create a page of definitions that address the different impairments that some visitors may have, and to create a quick checklist at the end of the guidelines as a final step for gallery designers and curators.

Slide 9

Here are some of our challenges up to this point, which is addressing as many interpretation challenges as possible within our scope of practice and within the time that we have, as well as being cohesive with NYU’s typefaces and themes.

Slide 10

So, some questions for feedback: What are some interpretation challenges you or someone you know have encountered while navigating a gallery? What are other considerations we should implement into our guidelines?

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.