Tactile Painting:
Assistive Toolbox for Visual Impairment
Term
Course
Instructor
Partner
Program
Course
Instructor
Partner
Program
Spring Harvard GSD 2023
GSD6483: Procedural Fields: Functional Design of Discrete Hyperdimensional Spaces
Jose Luis García del Castillo y López
Yunsong Liu, Quoc Dang
Grasshopper Python, HTML, javascript, CSS, Laser Cut
GSD6483: Procedural Fields: Functional Design of Discrete Hyperdimensional Spaces
Jose Luis García del Castillo y López
Yunsong Liu, Quoc Dang
Grasshopper Python, HTML, javascript, CSS, Laser Cut
The objective of this project is to explore the possibility of creating a tactile experience for individuals with visual impairments by translating artwork into three-dimensional forms. Specifically, the project aims to develop a tool that can convert paintings into three-dimensional models through digital fabrication methods. In addition, the project will investigate the feasibility of translating color into a pattern for laser cutting engraving to create a more comprehensive tactile experience.
The project's significance lies in its potential to provide individuals with visual impairments access to artwork in a way that they can experience and appreciate. The project also has broader implications for the field of art and design, as it seeks to push the boundaries of traditional 2D artwork by creating an interactive and tactile experience. Our focus is specifically on individuals who have previously had vision, allowing them to understand the concept of color. By developing this tool, we hope to contribute to the advancement of art and design accessibility for all individuals.
Part 0
Inspiration
The inspiration for this project came from a workshop the author attended earlier this semester. The workshop was hosted by Perkins School for the Blind and MIT Museum Studio and Compton Gallery, along with Brain & Cognitive Scientist Pawan Sinha and Visual Artist Seth Riskin. It involved the use of an MDF grid relief plate for Spatial Frequencies. This plate was cut with a computer-controlled milling machine and used to represent information of a 3D object reduced to low spatial frequency. As an artist rubbed oil sticks across a paper surface, the bumps on the relief plate underneath steered and influenced the application of the pigment.
During the workshop, Bryan, had previously had vision but now had low vision. He explained that he could picture a perspective when touching the board because the dots were larger on one end and gradually became smaller on the other end. Bryan also shared that 3D printers made it easy to print things and touch them, such as a big house printed in a smaller size. Overall, Bryan's experience highlighted the importance of tactile feedback in helping individuals with low vision or visual impairments to better understand the world around them.
American artist John Bramblitt, who is visually impaired and previously had vision, shared a similar experience to the participants at the workshop. He explained that with his 3D printer, he can print out an object and feel its shape and texture, allowing him to explore the world in a way that he otherwise could not. Bramblitt also mentioned that he uses tactile feedback to distinguish between colors. He explained that he changes the way that colors feel so that he can touch a paint and know what color it is based on its texture. Bramblitt's experience demonstrates how technology and tactile feedback can help individuals with visual impairments to access and engage with the world of art and beyond.
During the workshop, Bryan, had previously had vision but now had low vision. He explained that he could picture a perspective when touching the board because the dots were larger on one end and gradually became smaller on the other end. Bryan also shared that 3D printers made it easy to print things and touch them, such as a big house printed in a smaller size. Overall, Bryan's experience highlighted the importance of tactile feedback in helping individuals with low vision or visual impairments to better understand the world around them.
American artist John Bramblitt, who is visually impaired and previously had vision, shared a similar experience to the participants at the workshop. He explained that with his 3D printer, he can print out an object and feel its shape and texture, allowing him to explore the world in a way that he otherwise could not. Bramblitt also mentioned that he uses tactile feedback to distinguish between colors. He explained that he changes the way that colors feel so that he can touch a paint and know what color it is based on its texture. Bramblitt's experience demonstrates how technology and tactile feedback can help individuals with visual impairments to access and engage with the world of art and beyond.
Part 1
Project
The objective of this project is to explore the possibility of creating a tactile experience for individuals with visual impairments by translating artwork into three-dimensional forms. Specifically, the project aims to develop a tool that can convert paintings into three-dimensional models through digital fabrication methods. In addition, the project will investigate the feasibility of translating color into a pattern for laser cutting engraving to create a more comprehensive tactile experience.
The project's significance lies in its potential to provide individuals with visual impairments access to artwork in a way that they can experience and appreciate. The project also has broader implications for the field of art and design, as it seeks to push the boundaries of traditional 2D artwork by creating an interactive and tactile experience.
Our focus is specifically on individuals who have previously had vision, allowing them to understand the concept of color. By developing this tool, we hope to contribute to the advancement of art and design accessibility for all individuals.
The project's significance lies in its potential to provide individuals with visual impairments access to artwork in a way that they can experience and appreciate. The project also has broader implications for the field of art and design, as it seeks to push the boundaries of traditional 2D artwork by creating an interactive and tactile experience.
Our focus is specifically on individuals who have previously had vision, allowing them to understand the concept of color. By developing this tool, we hope to contribute to the advancement of art and design accessibility for all individuals.
Part 2
Approach
Our project involved transforming images from pixel values to HSV (hue, saturation, value) values and then into tactile patterns. To visualize these patterns, we used a color gradient with different hues and brightness. We used the H value of each pixel to control the appearance of the geometry, while the V value controlled the scale and depth of the pattern. By combining the input from H and V values, we created a pattern that responded to the entire color spectrum.
Part 3
Prototype
We designed a range of patterns with various qualities, such as line weights, surface treatment, and depth. We then fabricated using laser cut engraving with these patterns and drew conclusions based on our experience of touching them. We found that solid geometries worked better than single-lined curves and that the size of the pattern was crucial for ease of understanding. When we associated the V value of the pixel with height, we discovered that changing the height of the pattern created a very distinctive tactile experience. Similarly, when we associated the V value with the size of the pattern, changing the size of the pattern was easily discernible to the touch. We also found that addition (stitching out) felt more compelling than subtraction (stitching in) when we converted the geometry into three-dimensional shapes.
Part 4
Conclusion
Part 5
Transforamtion Rules
Having settled on a final pattern for our future designs through prototyping and validation, we proceeded to apply it to various gradients of colors and paintings. This resulted in a series of tactile artworks that showcase how tactile feedback can create engaging and meaningful art experiences for people with visual impairments. To confirm the validity of our system, we tested it with a range of different paintings, including those with multiple colors, those with only one tone but different shades of red, and monochrome images. We compared each painting with patterns of different sizes to ensure the effectiveness of our system. This testing helped us to refine and improve our approach, making it more reliable for creating meaningful tactile experiences for those with visual impairments.
Part 6
Testing
Part 7
Future
In order to make our project accessible to a wider audience, particularly our targeted community, we recognized that the current pipeline which relies solely on Rhino and Grasshopper may not be feasible for everyone to use. To address this, we developed a web interface that streamlines the process of converting paintings into laser engraving-ready Rhino files. By connecting the web application to the museum API (Harvard Art Museum), users can easily select a painting and have it translated into a tactile form without the need for any specialized software or technical expertise. This approach allows us to democratize access to tactile art and make it more inclusive for people with visual impairments.
In order to further enhance the accessibility and inclusivity of our project, we plan to develop additional multi-sensory experiences that do not rely on digital fabrication tools. For example, we aim to explore the possibility of translating pixel values into different ranges of sounds to provide an auditory component to the tactile experience. Additionally, we hope to partner with museums to expand their current collection into accessible artwork for the disabled community.
Recognizing the potential bias in our current conclusions, we plan to consult with professionals or social workers who have experience working with the disabled community in the future. Furthermore, we intend to gather more accurate feedback from individuals with visual impairments to guide further improvements on our project. Ultimately, our goal is to continuously refine and expand our project to provide a more engaging and meaningful experience for people with visual impairments.
In order to further enhance the accessibility and inclusivity of our project, we plan to develop additional multi-sensory experiences that do not rely on digital fabrication tools. For example, we aim to explore the possibility of translating pixel values into different ranges of sounds to provide an auditory component to the tactile experience. Additionally, we hope to partner with museums to expand their current collection into accessible artwork for the disabled community.
Recognizing the potential bias in our current conclusions, we plan to consult with professionals or social workers who have experience working with the disabled community in the future. Furthermore, we intend to gather more accurate feedback from individuals with visual impairments to guide further improvements on our project. Ultimately, our goal is to continuously refine and expand our project to provide a more engaging and meaningful experience for people with visual impairments.
