Attachment_C_Tactile_Experiences.docx

Tactile Experiences In exhibits, many of the methods used to deliver information and offer access to resources are geared toward sighted visitors. For visitors who are blind or have vision loss, tactile experiences are essential for effective communication of exhibit content and messages. When one or only a few tactile experiences are provided, visitors who are blind or have low vision have limited opportunity to actively engage with the topics and resources being presented. Tactile experiences also make information more accessible in general. Nearly everyone can benefit from using their hands to explore objects; and for children and adults with cognitive disabilities, tactile objects, maps, and models are fundamental learning tools.

Design Foundations DF1 General DF1.1 Well-designed interpretive experiences include multiple tactile elements that collectively convey the content, meaning, and importance of key interpretive themes and messages with each individual tactile designed to fulfill a limited number of clearly defined purposes.

DF1.2 Tactile experiences can be provided through a variety of methods and media types including:

· consumable display objects such as natural history specimens (pelts, geodes, etc.) and cultural history items (clothing, tools, etc.).

· raised-line graphics, floorplans, and maps.

· full-size and scale models, including reproductions or exact replicas.

· raised-relief topographic maps.

· bas relief to high relief sculptures with or without undercut.

· molds and imprints.

DF1.3 Based on the complexity of the subject matter and associated goal(s), there may need to be multiple tactiles of different sizes, level of detail, or areas of focus to convey each key interpretive theme or message.

Size, Shape, and Level of Detail DF1.4 Tactiles need to be large enough that all details being interpreted are easily discernable by the touch of a single finger.

DF1.5 Typically, the level of detail required will reflect the complexity of the intended message(s). For example, a model with a singular and direct purpose (such as illustrating the general shape, size, and location of a structure) will not need to be as detailed as a model meant to illustrate ornate architectural details on a building’s façade.

DF1.6 Tactile experiences need enough detail to effectively communicate all intended goals without being overwhelming or causing cognitive overload. Providing too much or too little detail can make it difficult to focus on important features and comprehend the message. For example, a map meant to highlight a park’s primary geologic features may include a few points of interest for reference and orientation. Including keyed symbols to every peak, waterfall, and overlook would be tactilely overwhelming.

DF1.7 Lack of dimension means absence of information. Low dimension tactiles are appropriate in limited circumstances. Tactiles with substantial dimension, such as 3D models and raised relief topographic maps, typically provide more complete and accurate information.

· See Tactile Graphics, Molds and Imprints, and Bas Relief regarding best practices for low dimension tactile techniques.

DF1.8 Using color in combination with tactile features can be an effective way to convey information and engage sighted visitors and visitors with low vision. See Color Combinations and Contrast.

DF1.9 Sometimes tactile components need to be reduced or softened for durability and safety. For example, tall and thin monuments or flagpoles on a landscape map may need to be altered to prevent them from being easily broken. Sharp teeth or claws on an animal model or sharp edges on a knife or sword may need to be blunted.

DF1.10 Sometimes there are components of tactiles that need to be exaggerated (enlarged beyond the scale of the rest of the model) for them to be sufficiently discernable both visually and tactilely. Examples include:

· Vertically exaggerating the height of a mountain or the depth of a lake on a 3D relief map. While this may not be technically accurate, it may be both visually and tactilely more understandable to the visitor.

· In an exhibit about hearing in animals, slightly enlarging the external tympanum on a model of a small frog which in real life would be difficult to tactilely discern.

· Enlarging specific components of a tactile model of a piece of art to ensure all key components of the art are discernable. See Examples and Illustrations for an example of this.

DF1.11 Ensuring a tactile experience effectively conveys the desired message requires careful planning and creativity. For example, if the most critical information is at the top of a tall object, design solutions will be needed to ensure access to the most important features. In this instance, one option may be mounting the model on a low base that incorporates toe clearance in conjunction with a small model of the object that allows full exploration.

DF1.12 Embrace flexibility in the initial design that allows for future revisions of the size, shape, and access to relevant components. This includes:

· Designing the space to fit the tactile instead of designing the tactile to fit the space. User feedback often indicates that tactiles in general or specific tactile details need to be larger than originally designed.

· Thinking outside the box, literally. Instead of installing irregularly shaped tactiles on square or rectangular platforms, design the platform’s shape and support structure to optimize visitors’ reach ranges. See Examples and Illustrations.

Raised Characters, Lines, and Areas DF1.13 Effective raised numbers, letters, and symbols are visually legible with clearly defined edges that are not too sharp.

DF1.14 To be sure tactile symbols, numbers, letters, and braille are visually and tactilely discernable from the background, they may need to be placed on raised platforms that are distinct from their backgrounds. See Examples and Illustrations for more details.

DF1.15 Raised lines and areas are typically used on tactile graphics.

Common uses for raised lines are:

· paths of travel (sidewalks, roads, trails)

· divisions on a map or model (including delineation of the legend)

· outlines of structures

· leader lines for labels Common uses for raised areas are:

· buildings and other structures DF1.16 Raised-line patterns and surface textures are often used to:

· reduce crowding from direct labeling.

· highlight physical barriers.

· draw attention to changes in surface level or material.

· distinguish topographic features such as water and ground cover.

· identify critical interpretive or informational features.

DF1.17 User feedback has indicated that recessed features and areas are more difficult to tactilely read than raised lines and areas. While there are situations when this technique is appropriate depending on the object’s material, content, and goals, designers should incorporate recessed lines and areas sparingly, cautiously, and intentionally.

Potential uses for recessed features and areas:

· water (rivers, lakes, oceans)

· secondary paths of travel (sidewalks, roads, inaccessible areas) Placement and Angles DF1.18 Tactiles need to be in locations best suited to provide visitors who are blind or have low vision easy access to relevant information. Examples include:

· Locating a visitor center’s tactile floorplan as close to the entrance as possible in an area that allows for easy access and does not block flow to other areas of the visitor center.

· Locating a park’s tactile site map near or adjacent to the information desk in an area that allows for exploration without interfering with other visitors’ access to the information desk.

· Locating a tactile map that provides orientation to a trail at the most accessible location near the trailhead.

DF1.19 The overall tactile experience must be considered when determining which and how many tactiles are mounted at an angle. Generally, readers rails within exhibits are mounted at 30 degrees angles, and wayside panels are mounted at either 30- or 45-degree angles. If there are many tactile opportunities within an exhibit or a particular tactile is complex with many details or components, reducing the angle for that one tactile or for other tactiles within an overall exhibit may be advisable to reduce strain.

DF1.20 To tactilely explore braille, raised letters, and 3D objects mounted at an angle, most visitors must bend their wrist, hand, and fingers. The greater the angle at which an object is mounted, the more the visitor must flex their hand to get their fingers in the required position. For some people, this may be difficult to do, cause strain, or become uncomfortable if required for more than a brief time. Consider the overall tactile experience and tactile content when determining what angle if any to mount tactile. For example:

· Complex tactiles with many details, associated braille, and raised lettering may be more easily explored on a horizontal surface.

· Mounting some tactile content, such as a model of a house, at an angle may not make sense to all visitors,.

· Some content may be hard to fit on a horizontally mounted tactile. While wrist strain is a disadvantage, being able to fit all content needed on an irregularly shaped map might be achieved if mounted at an angle because the reach range will be reduced.

· Simple models, such as small airplanes may be fine at an angle. If the exhibit has many of these, it may cause more over all strain. Mounting some at an angle and others horizontally may reduce this impact.

Research, Review, and Prototyping DF1.21 There is significant variation in how tactile experiences have been developed to-date. It is valuable for project teams to review examples of tactiles that users and experts have deemed effective and successful in communicating their desired messages. Such reviews can reveal important lessons learned as well as generate creative ideas and solutions.

DF1.22 It is essential to continually revisit and refine tactile concepts and configurations throughout the design process. Even small changes, such adjusting line thickness or height, increasing definition of details, or softening edges, can substantially improve a tactile’s effectiveness.

DF1.23 Incorporating prototyping, users, and experts into the design process helps ensure tactiles are effective. Seeking feedback from and co-designing tactiles with users and experts is especially useful to:

· confirm appropriateness of the tactile’s overall design approach,

· confirm the tactile appropriately and effectively conveys the object’s learning objective,

· determine if the tactile is too complex or tries to convey too much,

· test effectiveness of specific tactile techniques, and

· identify other concerns that must be addressed.

This is particularly important for novel approaches and techniques.

DF1.24 The production processes and materials impact the tactile and visual experience. There are currently too many variables to specify one technique over another, especially for symbols, numbers, and letters. For example, while some users prefer prismatic lettering because the single center line is easy to trace, others find it harder to read. Continued prototyping using the specified materials and production process for each tactile is encouraged until findings provide clearer direction.

Miscellaneous DF1.25 Because touching artifacts is typically discouraged in museums, visitors may need to be encouraged to touch tactiles. They can be invited to do so with a written invitation, a consistent tactile symbol, or both.

DF1.26 All tactile objects require regular cleaning and maintenance, and many consumable display objects will require regular replacement. Future planning for life cycle costs and maintenance that considers this is essential to ensuring the tactiles remain effective.

DF1.27 Audio description is essential for users to effectively explore tactiles and understand the information conveyed by them. See Audio Description.

Supplemental Design Foundations SDF1 Tactile Models SDF1.1 The first step in designing a tactile model is to select which type of model will work best based on the object and concept(s) being interpreted.

SDF1.2 Scale models enable visitors to understand an object in its entirety.

· Full scale models allow visitors to grasp the true size, shape, and often details of an object. This works well for objects that are small to medium-sized in real life (up to 18 inches cubed).

· Reduced scale models allow visitors to explore large objects from one location and grasp the overall shape and key features of the object.

Examples include built structures, landscape features, vehicles and other modes of transportation, and large animals.

· Enlarged scale models allow visitors to detect and examine details that are too small to easily see or tactilely discern if the object is modeled at its actual size in real life. Sometimes it is only necessary to enlarge or exaggerate specific features.

Examples include small insects, details on coins, medals and jewelry, and anything microscopic.

SDF2 Tactile Floorplans SDF2.1 The two primary functions of tactile floorplans are orientation and general navigation. These types of floorplans are not meant to provide interpretation or emergency egress information. Tactile floorplans must:

· Communicate an area’s spatial configuration and identify the location of key assets, services, and features.

· Guide broader, overall planning for a visitor’s exploration of the space.

· Allow users to create a mental model of the space and determine an immediate plan on where to go next.

SDF2.2 The following questions can be used to guide the design of the navigational and informational components for a floorplan:

· Is there a preferred path of travel that should be delineated?

· Do rooms or exhibit areas need to be labeled? Are exhibit themes clear and succinct enough to label or will they clutter the floorplan?

· What, if any, features need to be specifically identified (e.g., an artifact, map, model, view, etc.)?

· Are there major physical barriers, such as changes in level or large columns, within the space? If so, will identifying them assist or impede a visitor’s understanding and ability to navigate?

· Is there anything else that needs to be labeled to help visitors understand how to approach and navigate the space?

SDF2.3 More than one floorplan may be needed if an exhibit is large, has multiple entrances, or includes multiple floors open to visitors. Options are:

· providing a tactile floorplan that orients visitors to the whole building along with floorplans for each floor or space utilized by visitors,

· placing duplicate tactile floorplans at multiple locations with the “You Are Here” symbols modified accordingly.

SDF3 Tactile Graphics, Molds, Imprints, and Bas Relief SDF3.1 These techniques often need to be presented in conjunction with other tactile components and methods to be fully effective.

SDF3.2 Tactile (raised line) graphics may be appropriate when the object being modeled has little dimension or dimension is not critical to the concepts being communicated. This approach works with items such as the outline and vein structure of a leaf, diagram of the water cycle, diagram showing the outline of a ship and its interior spaces, or simple maps.

SDF3.3 Raised-line graphics may not work well when they are depicting a concept that is not related to a three-dimensional object. For example, a raised line copy of a handwritten signature may be interesting for some yet unintelligible to others, thus reducing its impact and effectiveness.

SDF3.4 Molds and imprints are appropriate for objects that naturally occur that way such as footprints and fossil impressions.

SDF3.5 Approach bas relief with caution. There is considerable debate about the ability of bas relief to accurately and sufficiently depict an object’s shape and detail. Use traditional bas relief (very low relief with no undercutting) sparingly and restrict this technique to objects that have little dimension or are fragile, such as coins, leaves, or spiders.

Design Specifications General Use the project’s interpretive and communication goals to guide the selection and design of tactile experiences. In the project’s accessibility narrative, document how each tactile addresses one or more of the goals.

Design consistent tactile features across all tactiles produced for a project. For example, use the same legend symbols, style of line, or same raised pattern to indicate the same types of trails or areas across tactiles.

If an invitation to touch a tactile is incorporated into the design, include a braille label as part of the invitation.

Design tactile experiences so that:

· the tactile objects are mounted such that users do not have to hold their wrists in a flexed position for extended periods,

· there is space for a forward approach on at least one side (i.e., at least one side has clear space for a wheelchair adjacent to knee and toe clearance underneath the structure the tactile is mounted on), and

· tactiles are placed close to the accessible side of the exhibit structure when they can only be accessed from one side.

Depth, Width, and Height For tactile experiences the maximums are:

· Depth: all tactile information must be within an 18-inch reach range.

If a tactile is designed to be approached from the front and back, it can have a base up to 36 inches deep.

· Width: 48 inches.

· Height from the ground to the top of the tactile: 48 inches.

Advisory on Large Tactiles

When a tactile (including its base) must be more than 48 inches wide, 36 inches deep, or 48 inches high additional tactile components may be needed to convey all necessary and “at a glance” information. For example, for maps larger than 36 by 48 inches, insert one or more smaller tactile maps. Alternatively, consider creating a suite of tactile maps in the same area, each of which is within range and has a particular focus. For large or tall models, produce smaller scale models for visitors to reach all aspects.

Words, Letters, Numbers, and Symbols Create concise, descriptive labels for all features meant to be tactilely identified. Either directly label the features or provide a keyed legend.

Apply all requirements outlined in the Symbols section.

All pictographs, numbers, and letters used as symbols to identify features on a model or map, such as a star for “You Are Here” or “R” for “Restroom,” must be raised. In addition, all numbers and letters used as symbols must also be 5/8-inch-high minimum and have the associated transcribed braille. See Braille for more information.

For titles, direct labels, and text in a legend, provide transcribed braille. See Braille for more information.

· For capitalization in legends and for direct labels on a map, follow BANA’s guidelines for signs. See BANA Guidelines for the Creation of Braille Signage (brailleauthority.org).

If any text is intended to be read tactilely, it must be raised, all upper case, and 5/8-inch-high minimum.

· Titles on tactile elements are the only text required to be tactile. See Advisory on Raised Lettering in All Caps below for other text.

Advisory on Raised Lettering in All Caps

Research on the effectiveness of providing whole words and phrases as raised text in all capitals is limited. Some reviewers have indicated this may be helpful for people who are blind, low vision, or deafblind who do not read braille. Other user feedback has indicated that they are likely to tactilely read only the first few letters of a word and would not tactilely read whole words, phrases, or sentences. It is also known that text in all capitals can be difficult for many sighted people to read, especially those with low vision or dyslexia.

It is still recommended that all titles are raised 5/8-inch-high minimum and written in all caps. This is particularly important for locations where audio description is not readily available or reliable.

To assist those who may have difficulty reading raised text in all caps, it is recommended to reference the tactile’s title or name in the associated body text. For example, in the body text associated with a tactile of a bird labeled BLUEBIRD, include something like “the bluebird on your right is…”

Legends When directly labeling features is not feasible, use raised character and/or symbol labels that are keyed to a tactile legend.

· Include braille for all keyed items that are represented by a character, i.e., a letter or number.

Make the legend tactilely distinct from the main content.

· If using a raised line to separate the legend, make sure it is different from other lines on the tactile object.

· To the extent possible, use the same method to frame (tactilely separate) the legend from other content on all tactiles within the same exhibit or set of waysides.

Include no more than 15 items that need to be keyed in a legend.

· Of those 15 items, any combination of letters and numbers is allowed.

· Limit the use of different types of symbols, line styles, raised line patterns, or surface textures to five or less of each up to 15 total.

· If more than 15 items need to be keyed in a legend, create multiple tactiles to communicate the desired information.

Raised and Recessed Lines, Areas, and Features For raised lines, use the BANA line styles palette, including the specified limited combinations.

Elevate raised lines and areas a minimum of 1/32 inch (0.8 mm).

Raise leader lines and make them the least significant line style with no arrowhead at the end. One end must touch the feature it identifies, and the other end must be at least 1/8 inch from the beginning or end of the braille associated with the features label.

The edges of raised lines, raised areas, and recessed features must be comfortable to touch and easy to trace with a finger.

Make recessed features wide enough so that a diversity of adult-sized fingers can comfortably trace the area with the ball of a single finger.

· Determine if it is necessary to make the texture of the recessed feature different from the surrounding area.

Raised-Line Patterns and Surface Textures Use raised-line patterns or surface textures to delineate areas such as a parking lot, forest, or extent of a fire-burn.

Identify specific sites and services such as a restroom, information kiosk, or park store by other means (e.g., symbols, characters, or raised features).

Select raised-line patterns from the BANA texture palette, including the specified limited combinations.

When using both raised lines and raised-line patterns on a single tactile, ensure they are easy to tactilely distinguish from each other.

Angles and Placement If a tactile is designed to provide visitors with the opportunity to explore it from the front and the back, place it on a horizontal surface.

Exception:

Outdoor tactiles meant to be explored from the front and back may be placed at a slight angle to allow for drainage.

· There may be other options for drainage that do not require an angled panel. For example, drain holes may be incorporated into the design as part of the tactile information. This might involve integrating a hole as a symbol for a feature on the tactile. Alternatively, the holes can be located in the panel corners away from tactile content so that they are clearly not conveying tactile information.

Never mount tactiles on a vertical surface.

Exception:

After exploring all full access options, a vertical tactile map may be an acceptable solution when remediating an existing trailhead sign.

If the tactile is made of a material affected by hot or cold weather (e.g., bronze), place it in an area to minimize the effects of temperature and the sun. A shelter or shade structure may be required.

Materials and Finishes All fabricated tactiles must be made from materials that are durable and finished with a coating that can withstand routine cleaning and prolonged exposure to hot and cold temperatures. The finished tactile must be comfortable to touch.

Tactiles shall be cast, carved, printed, or CNC (Computer Numerical Control) routed as one piece.

· If features must be added to the core component, mechanically attach them. Do not apply or glue tactile features onto the core.

If possible, incorporate colors and images directly into the material, use spray-application, or print with an ink-jet.

· Use non-toxic inks.

· If brush-painted details or self-adhesive vinyl decals are applied, the final product must be finished with a safe, durable coating.

Audio Description Audio description is required for all tactile experiences including:

· Audio description script and recording

· Equipment for AD delivery

· Maintenance plan for equipment and content See Audio Description Section for more information.

Supplemental Design Specifications Tactile Models Regardless of the scale at which a model is presented, inform viewers what the scale is. Options include providing details in accompanying body copy, caption text, another tactile comparison, or a combination of the two.

For reduced and enlarged scale models, communicate the difference between the model’s size and the actual size of the real object. This can be accomplished by any of the following:

· Provide one or more scales that illustrate the comparable inches, feet, or yards of the model vs the real object.

· Describe the comparison in the body text or caption. For example, say “the beetle model is four times the size of live beetles.”

· Include a “relatable key”: an object whose size is commonly known by most visitors. For example, the Statue of Liberty might be used to indicate the height of sand dunes in a park.

See Examples and Illustrations for more information.

When designing a raised-relief sculptured model (see below for information about raised-relief maps), ensure the following:

· Visitors are able to get two hands over, behind, or under enough of the model to understand the relevant details. Aim for the greatest extent of undercut feasible given the object’s shape and features, material used for fabrication, and mounting requirements.

· The model is attached to the base in such a manner that it does not interfere with the user’s ability to fully explore all important details or give the wrong impression of the shape, size, or details of the object.

· Fragile features are strengthened or supported in ways that do not cause confusion or miscommunicate information about the object.

Tactile Maps Create a tactile map’s using only the map’s primary purpose and potential secondary benefits. Other non-primary information needs to be excluded so as to not overwhelm the user.

Include the following tactile features on all maps: See Symbols and Signs.

· Scale

· North arrow symbol Include the You Are Here symbol on all maps designed for orientation and general navigation. See Examples and Illustrations for more details.

Orient the map so it matches the orientation of the mapped area in real space. As a result, the north arrow may not always point upwards.

Include a legend with keys that are as simple and clear as possible. This will help avoid “tactile congestion” which can result from putting too much tactile information in a small space.

Provide audio description for the overall map even if the map has built in audio components (e.g., interactive sensors that activate and provide information about a specific aspect of the map).

Tactile Floorplans Locate stationary tactile floorplans where they provide the most immediate assistance to visitors. This may be near the exhibit entrance, information desk, and/or the audio description equipment distribution location. If on the information desk, be sure there is a clear worksurface for rangers and visitors to interact that never requires the tactile to be temporarily covered by materials such as a park map.

Provide a tactile floorplan for all exhibit spaces.

Include the following tactile items and symbols (see Symbols and Signs) on all exhibit floorplans:

· Scale

· North arrow

· Entrance / Exit

· “You Are Here” When the following amenities and features are present within the space, include the raised NPS specified symbol (see Symbols and Signs) for:

· Information / VC Desk

· Restroom

· Park store

· Theater

· Elevator

· Stairs - if usable by visitors Examples and Illustrations

Figure 41. "Please Touch" hand symbol at Smithsonian Institute’s National Air and Space Museum.

Inviting visitors to touch specific exhibits communicates that touching is welcome. At the National Air and Space Museum, a consistently used tactile symbol of a hand (seen at the bottom center of Figure 40) indicates tactile exploration is intended.

Figure 42. Invitation to touch a desk panel reproduction at the White House Visitor Center exhibit.

This written invitation to touch the Resolute desk kneehole panel (see Figure 41) invites visitors to tactilely explore the exhibit. In this case, the text combines an invitation to touch with a reference to the object.

Figure 43. Visitor touching a tactile element of an outdoor exhibit panel.

As seen in Figure 42Error! Reference source not found., to position the fingertips to effectively touch and discern the information on the tactile element on the vertical panel, the visitor has to bend his wrist to a nearly 90-degree angle. This can put significant strain on users’ wrists, hands, and fingers. For this reason, it is not recommended to put tactile elements, including braille, on vertical surfaces.

Figure 44. Example of prototyped prismatic tactile numbers.

Tactile letters, numbers, and characters have been prototyped and reviewed numerous times by users and accessibility specialists. Figure 43 represents the characteristics of prismatic lettering which helped some users trace the letters better. Other prototyping using this prismatic technique did not yield the same visitor feedback.

Figure 45. A proposed tactile tree cookie drawing for a Devils Tower National Monument’s wayside.

A wayside about controlled burns included a tactile tree cookie to convey information that tree rings provide about past environmental conditions (wet years, dry years, and fire). The review of a drawing of the proposed tactile concluded that large direct labels would interfere too much with the tactile experience. Having no examples of tactile tree rings to draw from, the team agreed to prototype the design. Figure 44 through Figure 48 capture the prototyping process and iterations for this tactile experience.

Figure 46. Prototype 1 of a tactile tree cookie for a wayside at Devils Tower National Monument.

The first prototype (Figure 45) proposed a keyed legend of distinct textures representing a fire scar, wet year, and dry year. Feedback from the review team and users indicated that the revised keyed numbers on the tree cookie corresponding with the legend on the right still interfered too much with the tree cookie. Feedback also indicated that the tree ring textures were too difficult to tell apart.

Figure 47. Prototype 2 of a tactile tree cookie for a wayside at Devils Tower National Monument.

In response to feedback, a second prototyped design for this tactile experience (Figure 46) removed all keyed information from the tree cookie and moved the legend further to the right to present nearly a whole tree cookie. The tactile textures representing the environmental conditions were also revised for clearer discernment by touch.

Figure 48. Final prototype of a tactile tree cookie for a wayside at Devils Tower National Monument.

A third and final prototype was submitted before casting (Figure 47). The primary purpose was to demonstrate the slightly refined tactile quality of the textures representing each environmental condition.

Figure 49. "Fresh Start" wayside located at Devils Tower National Monument.

The controlled burn wayside at Devils Tower NM (Figure 48) seamlessly incorporates a tactile component that the design team felt confident about because of its prototyping. This wayside provides an opportunity for all visitors to engage with and understand how tree rings can provide information about past fires and other conditions.

Figure 50. Outdoor tactile trail map at Devils Tower National Monument.

Tactile design techniques for this Devils Tower trail map (Figure 49) include raised prismatic letters in all caps at 5/8 inch; a raised line separating the legend from the map, fewer than five distinct textures; different line lengths and shapes designating the trails; and a forward approach to a horizontal surface with cane detectable posts at the front and rails on the sides of the base.

Figure 51. Outdoor tactile site map for Devils Tower National Monument.

The outdoor tactile map at Devils Tower National Monument (Figure 50) includes a raised-relief topographic feature at the top to indicate the location of the Tower and introduce visitors to the topography. Because of space constraints, the legend is presented across the bottom and to the right of the map. Raised rectangular labels for keyed legend items were developed to distinguish them from tactile map features. The buildings were raised to provide a more realistic dimensional experience for the user.

Figure 52. Tactile site map for Steamtown National Historic Site.

Steamtown National Historic Site’s 36 by 48-inch map (Figure 51) is part site map and part floorplan. The site is complex, and the map pushes the limits for the amount of information that can effectively be provided in one tactile map. Direct labeling is used for some services and locations that have space for them. In the map’s congested areas, raised letters and symbols are used and keyed to a legend. The park’s buildings and general layout are highlighted by the raised red areas. Alternatives to this design might include consideration of two maps—one to give the visitor a sense of the overall park and the other to specifically focus on the features within the visitor center. Another alternative might be to limit some of the raised all caps direct labelling.

Figure 53. Floorplan with direct labeling only.

The simplistic floorplan of a small space shown in Figure 52 has plenty of space to direct label each room, making a separate legend unnecessary. In this instance, the map’s labels are sentence case with braille below making them usable by people who read braille and by at least some individuals with low vision. A future iteration that includes raised line all caps text measuring 5/8 inch in addition to the braille would be accessible to a larger audience of blind and low vision users who do not read braille.

Figure 54. Tactile floorplan for the visitor center at Devils Tower NM.

The Devils Tower exhibit tactile floorplan (Figure 53) exemplifies a simple map of a small space with a singular purpose. The floorplan uses a combination of textures, symbols, raised exhibits, and a raised outline to provide general orientation and navigation to visitors.

Figure 55. Tactile floorplan for the visitor center at the Jimmy Carter National Historical Park.

The Jimmy Carter National Historical Park floorplan (Figure 54) exemplifies a floorplan map for an exhibit with many rooms and themes. The path of travel on the map suggests how to navigate. Each room is labeled with a raised letter keyed to the legend along with its associated exhibit theme. Both the path of travel and the themes can help visitors choose where to go and how to get there. While challenging, an iteration of this map could include a legend of the symbols used, such as the exits and entrances.

Figure 56. The tactile floorplan and model at the Jimmy Carter National Historical Park.

The tactile floorplan for the Jimmy Carter National Historical Park is coupled with the model of the high school where the exhibits are located (Figure 55). The high school is a critical component of the park. It is where the park’s exhibits are located and where both Carters attended school. Having a tactile model of the building provides context for all visitors and is especially critical for visitors who are blind or have low vision.

Figure 57. Models at the White House Visitor Center One model may not be sufficient. At the White House Visitor Center differently sized White House models are necessary to convey critical interpretive information. Pictured above in Figure 56, the 30 by 48-inch model in the forefront is large enough for visitors to tactilely discern some architectural details of the White House, including the difference between the round South Portico and the rectangular North Portico. Behind this model on a reader rail is a much smaller 12-inch “massing” scale model. This model’s small size allows visitors to comfortably explore it with two hands to comprehensively understand the entire shape of the building. The larger model of the White House, surrounded by a reader rail, is out of reach and not intended to be touched. Behind and to the right against the back windows is a tactile model of Presidents Park (Figure 57), which includes a much smaller model of the White House.

Figure 58. Presidents Park tactile model at the White House Visitor Center.

In order to understand the White House in the context of the surrounding area, a tactile map of President’s Park (Figure 57) was produced. This tactile provides critical context to the history and activities that occurred at the White House and within its grounds. This map was not included in the first several rounds of planning. It was added after consultants indicated the need.

Figure 59. Tactile map of President's Park in the White House Visitor Center.

Drawers of raised line maps and floorplans of the White House (Figure 58) are also available for visitors to explore as they use a computer touch screen interactive program. These interactives offer a timeline of the presidents living in the White House and a virtual tour of select White House rooms. Located under the touchscreens, these pull-out drawers were the result of feedback from blind and low vision consultants. They provide an improved opportunity for these visitors to follow and understand the virtual tour content with the assistance of audio description.

Figure 60. Detailed model exhibited at Steamtown National Historic Site Small-scale models are a common feature in some exhibits. The model of the entire roundhouse and area surrounding Steamtown National Historic Site (Figure 59) is not only small, it also is inside a glass display case. As part of an update of the exhibits in the lobby of the visitor center, a design team that included accessibility specialists and user feedback identified a location to build a tactile model of a roundhouse (Figure 60). This tactile model provides a universally designed experience that benefits all visitors.

Figure 61. A tactile model of the roundhouse at Steamtown National Historic Site Inside Steamtown National Historic Site’s visitor center, a visitor can look out at the working roundhouse including the multiple train tracks used to wheel trains in and out of the building for repair. A tactile model (Figure 60) of the roundhouse includes a locomotive that can be turned and aligned with different tracks to simulate how a real locomotive can switch directions and tracks to enter and exit the building. This concept is critical to understanding the fundamental design and function of the roundhouse.

Figure 62. Tactile model of the Spang Chalfant & Company Locomotive No. 8. at Steamtown National Historic Site At Steamtown National Historic Site, the actual Spang Chalfant & Company Locomotive No. 8 has been cut open and is on display. One side features the intact exterior of the locomotive and its tender, while the other side provides views of the mechanics. A tactile model (Figure 61) is located in front of the cut-away exhibit along with other relevant exhibits items. Not only is this model accessible to all visitors allowing them to explore and better understand the real object displayed in front of them, it also allows sighted visitors to better imagine the locomotive in its entirety.

Figure 63. Tactile graphic at Steamtown national Historic Site.

A tactile model of how a locomotive produces and is powered by steam (Figure 62) was the focus of this tactile graphic. This tactile replicates the primary components highlighted within the cut-away engine exhibit and provides a straight-forward, stepped explanation of how the steam engine and tender function together to make and use steam. Together with additional interpretive text and a captioned and audio-described video, visitors are presented with multiple modes and opportunities to understand this critical interpretive object in the park’s collection.

Figure 64. The Bear Lodge painting that is on display at Devils Tower National Monument.

This oil painting by Herbert A. Collins (Figure 63) hangs in the Devils Tower National Monument visitor center. It illustrates one of the many oral histories told by American Indian tribes with connections to the site. As a significant interpretive item in the visitor center, it was important to create a tactile version of the painting.

Figure 65. Tactile representation of the Bear Lodge painting at Devils Tower National Monument.

A first round of prototyping revealed that a completely accurate tactile recreation of the original painting was too complex. Inclusion of the clouds at the top and details of the trees at the bottom made it difficult to focus on important aspects of the bear, the tower, and the people on top. A second prototype, much like the final version seen in Figure 64, simplified the image. The final tactile focused on the core content of the image that contains the most important information, and several refinements were made to emphasis the core content. The textures for the clouds and trees were minimized; the bear’s tail was clearly separated from its legs; the bear’s claws and claw marks were slightly enlarged; and the people on top were enlarged so they are more tactilely discernable from the background.

Resources Braille Authority of North American (BANA): Guidelines and Standards for Tactile Graphics, 2022. Accessed December 19, 2025.

Braille Braille is a system that enables blind and low vision readers to read and write through touch. The Braille Authority of North America (BANA) sets the official braille code for the United States. Currently, Unified English Braille (UEB) is used in the United States, Canada, and many other English-speaking countries around the world.

Some people who are blind or have low vision are fluent braille readers. Others read braille at a basic level, and still others do not read braille at all. For those who do, it is a highly effective and preferred accessible format.

Design Foundations DF1 General DF1.1 For media, braille is particularly effective when presented in conjunction with other multi-sensory modes of communication. For example, incorporating braille into tactile displays, mechanical interactives, and user-selected audio-visual programs improves exploration and increases comprehension. When combined with audio description, braille can greatly enhance the overall exhibit experience.

DF1.2 Adequate space is required to include braille in sign, exhibits, and waysides. While free, online tools to transcribe text into braille are not appropriate to use for final production purposes, they can be used as placeholders to gauge needed space in the earlier phases of design.

DF1.3 Sometimes content is presented in multiple languages. Currently, the Braille Authority of North America only requires the provision of a braille version in English. That said, a park’s foundational purpose, interpretive focus, or visitor base may warrant consideration of additional languages. When braille is provided for content in English and that same content is also provided in another language, consider if and how braille in that language can also be incorporated.

DF1.4 Many braille readers have their own refreshable braille devices. Providing braille ready files (.brf) on the park’s website for content such as park brochures or exhibit text enables visitors to download these files in advance and have them available for use during their visit to the park.

Supplemental Design Foundations SDF1 Exhibits and Waysides SDF1.1 Other than as described in SDS2 Exhibits and Waysides below, braille for all interpretive text on panels is not required because there typically is not enough space available, or it is not an appropriate location for braille.

· If a panel includes a tactile component, reference the Tactile Experiences section for details on what associated content to braille.

· While not required, a park's foundational purpose, interpretive focus, or visitor base may warrant consideration of including additional interpretive information in braille.

Design Specifications General All braille produced for HFC contracts must be produced or reviewed by professional braille transcribers and proofreaders who hold professional certification from the National Federation of the Blind and National Library Service for the Blind and Print Disabled or the National Blindness Professional Certification Board. Confirm vendor’s professional certification in advance of engaging services.

· The Library of Congress’s directory of braille producers is a primary resource for locating professionals.

Produce braille in full conformance with the latest edition of applicable codes set forth by BANA. In line with these codes, it is important to indicate to the braille transcriber the following occurrences within the text:

· Font styles that must remain the same (UEB 9.1.1)

· Correct pronunciation for difficult to pronounce words (UEB 10.12.7)

· Type of language of foreign words (UEB 13.1.2 & 13.3) Use contracted (Grade 2) braille. Do not use jumbo braille.

Exception:

Publications can be requested in grade 1 braille. These requests would likely be for newer or younger braille readers.

Ensure that the produced braille conforms with formatting requirements set forth by BANA (Braille Formats: Principles of Print-to Braille Transcription). Formatting requirements include the spacing of braille cells, the shape of braille dots to ensure the dots are rounded and free of sharp edges, burrs and rough spots, and booklet sizes.

Braille production differs between braille on embossed paper and braille for signage. Reference BANA’s Size and Spacing of Braille Characters | Braille Authority of North America. For signs and exhibits, also see BANA Guidelines for the Creation of Braille Signage (brailleauthority.org) and cross reference with ABA Standards and the IBC.

· Depending on the materials and production process, the braille dots may need to be enhanced to meet specifications. For example, if braille is cast in bronze, the mold needs to account for margin of error that might reduce the size of the resulting braille in the final tactile.

· Due to spacing limitations, do not use braille case indicators for capitalization on signs and exhibits except for the first word of sentences, proper nouns and names, individual letters of the alphabet, initials, or acronyms.

Note on Combining Braille and Printed Text

Use distinct sections for braille and print.

Both overlaying and alternating printed text and braille may impact readers. Overlaying the two may cause readers to slow down (decreased readability), or the color on the braille cells may wear off, negatively impacting the legibility of the printed text. On the other hand, placing braille underneath each line when there are multiple lines of text may slow or confuse braille readers.

While some vendors use these techniques, it is currently recommended to use distinct sections for both braille and text until further user testing confirms that these techniques do not have an adverse effect on readability for all.

Supplemental Design Specifications Exhibits and Waysides Use braille in conjunction with raised text for all tactile experiences. See the Tactile Experiences section for more information.

Cross reference BANA and follow ABAAS 703 for braille characteristics.

Use braille to identify the location and function of controls at interactive media elements. For example, include a raised character or number and its corresponding braille next to each audio station playback button.

Exception:

A QWERTY format keyboard (where the first keys of the top line of letters are Q-W-E-R-T-Y) is universally understood. When this type of keyboard is used, it may not need additional markings.

Use braille (in association with raised characters) to provide short, precise instructions wherever users must perform an action to enable accessibility features. For example, “Scan QR Code” or “Plug in Headset” are appropriately instructive and concise.

Provide digital files to the exhibit site for all interpretive text and audio description scripts so the park has it available for printing, posting, sharing as needed or converting to braille upon request.

Publications For National Park Service print publications, refer to Harpers Ferry Center’s Braille Publication Guide. While some content generally applies to other media formats, this guide provides detailed information on how to produce braille versions specifically for park brochures.

When preparing publications and interpretive media files for braille transcription, include descriptions of all images. Use BANA’s current guidance and work with braille vendors to refine descriptions as needed.

Publications produced by and for the NPS need to, at a minimum, be in an 508-compliant electronic format that is easy to access.

· Any publications can be requested in an alternative format (including braille) by visitors at any time. Parks need to prepare an SOP that provides these documents in a previously disclosed timely manner.

· Any publication in braille format should be prominently displayed alongside the standard print versions. Like any standard-issue publication that visitors may keep, alternative print formats may be permanently kept by the user.

Note on Maps and Graphics in Braille Transcribed Publications

Print publications that include visual information such as charts, graphs and maps need to be evaluated to ensure if and how they need to be…