Tactile graphics are widely used to present maps and statistical diagrams to blind and low vision (BLV) people, with accessibility guidelines recommending their use for graphics where spatial relationships are important. Their use is expected to grow with the advent of commodity refreshable tactile displays. However, in stark contrast to visual information graphics, we lack a clear understanding of the benefts that well-designed tactile information graphics offer over text descriptions for BLV people. To address this gap, we introduce a framework considering the three components of encoding, perception and cognition to examine the known benefts for visual information graphics and explore their applicability to tactile information graphics. This work establishes a preliminary theoretical foundation for the tactile-frst design of information graphics and identifes future research avenues.

Cerebral Visual Impairment (CVI) is the set to be the leading cause of vision impairment, yet remains underrepresented in assistive technology research. Unlike ocular conditions, CVI affects higher-order visual processing-impacting object recognition, facial perception, and attention in complex environments. This paper presents a co-design study with two adults with CVI investigating how smart glasses, i.e. head-mounted extended reality displays, can support understanding and interaction with the immediate environment. Guided by the Double Diamond design framework, we conducted a two-week diary study, two ideation workshops, and ten iterative development sessions using the Apple Vision Pro. Our findings demonstrate that smart glasses can meaningfully address key challenges in locating objects, reading text, recognising people, engaging in conversations, and managing sensory stress. With the rapid advancement of smart glasses and increasing recognition of CVI as a distinct form of vision impairment, this research addresses a timely and under-explored intersection of technology and need.

Figure 1: Overview of the research study.Left: A multi-sensory artefact combining contrasting spatialised audio and haptic feedback supports BLV dancers to align with a teacher's movement.Right: Three reflexive themes illustrate how the artefact shaped learning, teaching, and multi-sensory adaptation.

3D printing is a mainstream technology enabling the affordable production of 3D models that may enhance access and understanding of graphics for students who are blind or have low vision (BLV). However, the potential usefulness of a new technology does not guarantee its adoption. This paper presents a case study in the adoption of 3D printing as an accessible format for BLV education in Australia and New Zealand. Over the last six years, a community-driven research project engaged in awareness raising, created a community of practice and developed guidelines for the use of 3D printing in education. We evaluate the success of the project using an Implementation Science lens with the RE-AIM framework and identify the key factors for successful adoption. We hope this work will guide the adoption of 3D printing for BLV students and serve as an exemplar for the adoption of other assistive technologies.

3D printed models (3DPMs) are increasingly used to support the education of students who are blind or have low vision (BLV). As 3DPMs are more widely-adopted, educators are using more complex multi-part models. However, with this increased complexity comes additional challenges for their use, such as supporting audio labels of multiple parts as well as guiding the assembly and disassembly of the model. This work explores the co-design and evaluation of a system that supports the use of multi-part 3DPMs by BLV students. Working with BLV adults and children, as well as educators, an iPad application was developed to support interaction with an insect model, including speech interaction and support for assembly. Evaluation showed that the system was strongly enjoyed by students and educators were enthusiastic as they believed it would increase classroom engagement and inclusion, and its support for voice annotation could be used for assessment.

Dance teachers rely primarily on verbal instructions and visual demonstrations to convey key dance concepts and movement. These techniques, however, have limitations in supporting students who are blind or have low vision (BLV). This work explores the role technology can play in supporting instruction for BLV students, as well as improvisation with their instructor. Through a series of design workshops with dance instructors and BLV students, ideas were generated by physically engaging with probes featuring diverse modalities including tactile objects, a body tracked sound and musical probe, and a body tracked controller with vibrational feedback. Implications for the design of supporting technologies were discovered for four contemporary dance learning goals: learning a phrase; improvising; collaborating through movement; and awareness of body and movement qualities. We discuss the potential of numerous multi-sensory methods and artefacts, and present design considerations for technologies to support meaningful dance instruction and participation.

Over the past decade, considerable research has investigated Vision-Based Assistive Technologies (VBAT) to support people with vision impairments to understand and interact with their immediate environment using machine learning, computer vision, image enhancement, and/or augmented/virtual reality. However, this has almost totally overlooked a growing demographic: people with Cerebral Visual Impairment (CVI). Unlike ocular vision impairments, CVI arises from damage to the brain’s visual processing centres. Through a scoping review, this paper reveals a significant research gap in addressing the needs of this demographic. Three focus studies involving 7 participants with CVI explored the challenges, current strategies, and opportunities for VBAT. We also discussed the assistive technology needs of people with CVI compared with ocular low vision. Our findings highlight the opportunity for the Human-Computer Interaction and Assistive Technologies research community to explore and address this underrepresented domain, thereby enhancing the quality of life for people with CVI.

With their overwhelming reliance on visual arts and artefacts, art galleries and museums are often considered unapproachable spaces for people who are blind or have low vision (BLV). We present the results of an ongoing collaboration with an Australian regional gallery in their efforts to improve access by BLV people to their permanent collection and temporary exhibitions. We describe the approach taken to develop interpretive technology-mediated experiences for BLV visitors for their 2021 and 2022 flagship exhibitions, along with evaluation from the perspectives of both BLV visitors and the gallery staff. Outcomes include: broader awareness within the gallery for inclusive design practice and public engagement; better understandings of the needs of BLV visitors, in particular relating to confidence building and technology integration; understanding of gallery constraints and challenges; and a framework for the development of future inclusive gallery experiences.

Actively participating in body movement such as dance, sports, and fitness activities is challenging for people who are blind or have low vision (BLV). Teachers primarily rely on verbal instructions and physical demonstrations with limited accessibility. Recent work shows that technology can support body movement education for BLV people. However, there is limited involvement with the BLV community and their teachers to understand their needs. By conducting a series of two surveys, 23 interviews and four focus groups, we gather the voices and perspectives of BLV people and their teachers. This provides a rich understanding of the challenges of body movement education. We identify ten major themes, four key design challenges, and propose potential solutions. We encourage the assistive technologies community to co-design potential solutions to these identified design challenges promoting the quality of life of BLV people and supporting the teachers in the provision of inclusive education.

Visual icons provide immediate recognition of features on print maps but do not translate well for touch reading by people who are blind or have low vision due to the low fidelity of tactile perception. We explored 3D printed icons as an equivalent to visual icons for tactile maps addressing these problems. We designed over 200 tactile icons (TactIcons) for street and park maps. These were touch tested by blind and sighted people, resulting in a corpus of 33 icons that can be recognised instantly and a further 34 icons that are easily learned. Importantly, this work has informed the creation of detailed guidelines for the design of TactIcons and a practical methodology for touch testing new TactIcons. It is hoped that this work will contribute to the creation of more inclusive, user-friendly tactile maps for people who are blind or have low vision.

Independent travel and navigation in new environments, in particular multi-storey buildings, is a major challenge for people who are blind or have low vision (BLV). Using tactile maps as part of orientation and mobility (O&M) training, BLV people can build a cognitive map of an environment before visiting. Tactile maps of multi-level environments, however, have received little attention. We investigated the usefulness of 3D printed models of buildings, through a user study with nine BLV adults. Three designs were evaluated: flat, overlapped-sliding and overlapped-rotating. All three designs were reported to be useful, usable, engaging and allowed participants to build a cognitive map of the building. There was a strong user preference for the overlapped presentations, which were reported to be more effective in supporting cross-floor spatial knowledge. This exploration of the design space of 3D building plans demonstrates their value and we hope will encourage their provision in O&M training.

People who are blind rely on touch and hearing to understand the world around them, however it is extremely difficult to understand movement through these modes. The advent of refreshable tactile displays (RTDs) offers the potential for blind people to access tactile animations for the very first time. A survey of touch readers and vision accessibility experts revealed a high level of enthusiasm for tactile animations, particularly those relating to education, mapping and concept development. Based on these suggestions, a range of tactile animations were developed and four were presented to 12 touch readers. The RTD held advantages over traditional tactile graphics for conveying movement, depth and height, however there were trade-offs in terms of resolution and textural properties. This work offers a first glimpse into how refreshable tactile displays can best be utilised to convey animated graphics for people who are blind.

The ability to cross the street at intersections is an essential skill, often taught to people who are blind or have low vision (BLV) with the aid of tactile maps and kits or toys. However, each of the existing mapping tools has shortcomings. We investigated whether co-designed 3D printed components can offer benefits. Guided by consultation with 11 Orientation and Mobility (O&M) professionals, we co-designed a series of 3D printed kits that they then used in their practice with BLV children who showed high levels of engagement and learning. The 3D materials were found to demonstrate the key concepts for street crossings in a portable, engaging and professional manner. They will be released for free download, enabling O&M professionals to access or modify the materials as required. We hope that use of our co-designed 3D printed tools will contribute to the safety, independence and inclusion of BLV people.

Data visualisations are increasingly used online to engage readers and enable independent analysis of the data underlying news stories. However, access to such infographics is problematic for readers who are blind or have low vision (BLV). Equitable access to information is a basic human right and essential for independence and inclusion. We introduce infosonics, the audio equivalent of infographics, as a new style of interactive sonification that uses a spoken introduction and annotation, non-speech audio and sound design elements to present data in an understandable and engaging way. A controlled user evaluation with 18 BLV adults found a COVID-19 infosonic enabled a clearer mental image than a traditional sonification. Further, infosonics prove complementary to text descriptions and facilitate independent understanding of the data. Based on our findings, we provide preliminary suggestions for infosonics design, which we hope will enable BLV people to gain equitable access to online news and information.

This paper presents a systematic literature review of 292 publications from 97 unique venues on touch-based graphics for people who are blind or have low vision, from 2010 to mid-2020. It is the first review of its kind on touch-based accessible graphics. It is timely because it allows us to assess the impact of new technologies such as commodity 3D printing and low-cost electronics on the production and presentation of accessible graphics. As expected our review shows an increase in publications from 2014 that we can attribute to these developments. It also reveals the need to: broaden application areas, especially to the workplace; broaden end-user participation throughout the full design process; and conduct more in situ evaluation. This work is linked to an online living resource to be shared with the wider community.

A critical component of the worldwide response to the novel coronavirus COVID-19 pandemic has been providing the general public with information about the virus and the health measures designed to slow its spread. Much of this information has been presented as visual graphics. Have people who are blind or have low vision (BLV) been able to gain access to this information through nonvisual media and, if so, how? We investigate this issue using Australia as a case study.

We present an autoethnographic study of an independent blind traveller, Kate. It recounts her preparation for a 28-day cruise and then her experience onboard the ship. Her planning notes, field notes and travel diary were analysed in terms of five main themes: information access, orientation and mobility, tools and technology, cultural and societal issues, and person-centred issues. This analysis provides a deeply personal account of the barriers–in particular information access, orientation and mobility and staff attitudes–that she faced, as well as the skills and tools that she used to overcome these. A particular focus is Kate’s use of technologies to access visual information and the provision of accessible maps and models before the trip to help her build a cognitive map of the ship’s layout.

Visualisations are commonly used to understand social, biological and other kinds of networks. Currently we do not know how to effectively present network data to people who are blind or have low-vision (BLV). We ran a controlled study with 8 BLV participants comparing four tactile representations: organic node-link diagram, grid node-link diagram, adjacency matrix and braille list. We found that the node-link representations were preferred and more effective for path following and cluster identification while the matrix and list were better for adjacency tasks. This is broadly in line with findings for the corresponding visual representations.

Providing people who are blind or have low vision with accessible versions of artworks is important not just for equity, but also for inclusion, greater engagement with the community at large, and raising awareness about these issues. In 2018, a value-sensitive design methodology was used with the Bendigo Art Gallery and key stakeholders to develop a model that provides three different ways of accessing the gallery, depending upon visual acuity and mobility: virtual tours, self-guided tours and guided tours. As a pilot implementation of the model, we developed different tactile representations of key artworks using tactile graphics, laser-cut layered graphics, 3D printed models, soundscapes, role plays, and a website featuring information and representations requested by workshop participants. To highlight the work, this paper will present two of the key works in more detail to highlight different representations that should be considered when presenting accessible artworks.

The first step to literacy is engagement with books and the printed word. This is even more important for children who are blind or have severe low vision, as active touch is required for exposure to meaning through tactile books. ETextiles offer an affordable and innovative method for enhancing tactile book pages with sensory inputs and interaction to encourage engagement. We explored the training requirements for people to incorporate eTextiles into tactile story books, even without prior experience or skills. Through the process of creating sample materials and training adults and children at public workshops, we developed a set of guiding principles for facilitating workshops on creating tactile story books with eTextiles to encourage tactile engagement in children with vision impairments.

The difficulty and consequent fear of travel is one of the most disabling consequences of blindness and severe vision impairment, affecting confidence and quality of life. Traditional tactile graphics are vital in the Orientation and Mobility training process, however 3D printing may have the capacity to enable production of more meaningful and inclusive maps. This study explored the use of 3D printed maps on site at a public event to examine their suitability and to identify guidelines for the design of future 3D maps. An iterative design process was used in the production of the 3D maps, with feedback from visitors who are blind or have low vision informing the recommendations for their design and use. For example, it was found that many representational 3D icons could be recognised by touch without the need for a key and that such a map helped form mental models of the event space. Complex maps, however, require time to explore and should be made available before an event or at the entrance in a comfortable position. The maps were found to support the orientation and mobility process, and importantly to also promote a positive message about inclusion and accessibility.

While there is widespread recognition of the need to provide people with vision impairments (PVI) equitable access to cultural institutions such as art galleries, this is not easy. We present the results of a collaboration with a regional art gallery who wished to open their collection to PVIs in the local community. We describe a novel model that provides three different ways of accessing the gallery, depending upon visual acuity and mobility: virtual tours, self-guided tours and guided tours. As far as possible the model supports autonomous exploration by PVIs. It was informed by a value sensitive design exploration of the values and value conflicts of the primary stakeholders.

This demonstration illustrates the importance of the layout of a keyboard to using braille, which is highly dependent on its spatial arrangement. The design and layout of a keyboard for entering braille changes the mental effort required to transform the dots prior to inputting the braille cells. The design of two keyboards that can be used for entering braille onto an electronic device are contrasted for the demonstration. Keyboard 1 has the dots on the top and Keyboard 2 has the dots underneath. Each has inherent advantages and disadvantages.

Tactile maps are widely used in Orientation and Mobility (O&M) training for people with blindness and severe vision impairment. Commodity 3D printers now offer an alternative way to present accessible graphics, however it is unclear if 3D models offer advantages over tactile equivalents for 2D graphics such as maps. In a controlled study with 16 touch readers, we found that 3D models were preferred, enabled the use of more easily understood icons, facilitated better short term recall and allowed relative height of map elements to be more easily understood. Analysis of hand movements revealed the use of novel strategies for systematic scanning of the 3D model and gaining an overview of the map. Finally, we explored how 3D printed maps can be augmented with interactive audio labels, replacing less practical braille labels. Our findings suggest that 3D printed maps do indeed offer advantages for O&M training.