EVENT SPOTLIGHT: WORLD UNSEEN On April 5th Canon and the Royal National Institute of Blind People (RNIB) debuted its innovative new photography exhibition, World Unseen, an event dedicated to making photography more accessible to people with visual impairments as well as teaching sighted visitors about the complexities of different eye conditions. The exhibition was created in collaboration with the RNIB which helped in ensuring the project responded to the needs of those living with sight loss. Involved in the project was visual communication company Prosign Print and Display, which created the relief, braille, and simulation prints, while Netherlands-based company CBB provided the relief interpretations and accompanying braille for images. At the core of this initiative is the power of print, display technology, and signage, as the event used carefully created tactile prints to allow visitors to “see” the photographs through touch as well as other sensory experiences like audio and braille descriptions. Lived Experience Broadcaster and activist, Lucy Edwards, known for her work with haircare company, Pantene, as well as with media producers like the BBC and Apple, attended World Unseen and was wowed by how much of an impact the technology could have on the blind community. Speaking to SignLink at the event, Edwards said: “Inclusive prints are so important, I currently go into supermarkets and drug stores and every bottle and can feels exactly the same to me, that has been my reality for 11 years now. I give up my independence at the door […] That is so not me, I’m such an independent woman. “If the world was made differently and more emphasis was put on the purple pound by putting braille on cans or making a universal tactile language for people with neurodiversity, blindness, or of different ages, that would make such a difference. I think we need to think outside the box as printing is not just for the sighted.” Since being held in Somerset House in London, World Unseen has had a major impact on several people, with the event receiving major media attention from the likes of Sky News and the BBC. Commenting on Print Monthly’s video coverage of the event, one YouTube user said: “Beyond blindness - this technology will open new dimensions hitherto could only be imagined. Kudos to Canon.” Also commenting, Karis Copp, owner of Karis Copp Media, said: “Hearing Dave (Dave Williams, RNIB), Lucy (Edwards), and Karen (Karen Trippass) talk about the impact of experiencing imagery without sight really puts print's power into perspective.” Dave Williams, inclusive design ambassador at RNIB, added: “I know many blind people around the world would love to experience more accessible and inclusive exhibitions like this one. “Since the exhibition closed, I’ve been inundated from blind people keen to get hands on with this kind of experience. Let’s continue to collaborate to find ways of bringing more tactile photography and art to the widest possible audience.” When working on these types of projects and engaging with the blind community Edwards stresses: “If you’re going to go down this road you need to have people with lived experience around the table […] blindness is a spectrum, so engage with charities and the likes of diversity and inclusion consultants who can point you in the right direction to how to adapt your products and the way you print for everyone.” As businesses continue to diversify and public places and events become more inclusive and inviting environments, printers and sign-makers have the chance to pave the way for change and create new opportunities with the right technology and approach. Building the Layers Tactile and haptic prints can be achieved through a number of means by utilising a mix of print technology, software, and different materials. In terms of the Canon technology used for World Uneen, Mathew Faulkner, director of marketing & innovation, wide-format printing at Canon EMEA, explains: “So PRISMAelevate is part of the software suite that enables the preparation of files that helps them to be printed in the correct way. The Arizona prints in multiple layers so that’s how we build up the texture and the elevation, but you need the right preparation of the file so PRISMAelevate will take an image and builds up the right structure and elevation with the colour going over the top. “What’s really important is to elevate the right parts of an image that can tell a story. The software at its core can elevate automatically. You can tell it that the dark parts of an image are the highest part of elevation, and the light parts are the lowest, but it’s also flexible and you can choose different areas to be elevated.” Speaking to SignLink about being Inspiring Change 30 Issue 253 - June / July 2024 www.signlink.co.uk As tactile and elevated print makes headlines thanks to its inclusion at the World Unseen exhibition in London, David Osgar looks at the importance of the technology used for the event and the advice and takeaways of those who visited and were involved in the project ▲ Dave Williams, inclusive design ambassadar of RNIB at the exhibition
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