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David Osgar looks at the importance of the recent World Unseen event in London and the advice of those who were involved
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.
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.
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 involved in World Unseen, Steve Hardy, managing director at Prosign Print and Display, says: “We live in a world that is technology driven and I believe it’s incredibly important to embrace changes and bring new technology into our businesses. Elevated tactile prints can add so much interest into what can be a boring every day sign or display.
“There are limitations to how small and fine text can be cut on a laser machine so signage can be complemented by using this process.” Like many who attended World Unseen, Hardy was very emotional when attending as he got to see first-hand someone with a guide dog approach a print and “light up” upon touching and feeling the image for the first time.
“This in itself was worth all the effort and it was at this point I knew I had been involved in quite possibly, the most rewarding piece of print that I’m ever likely to be involved in and one that is capable of improving people’s lives - how can that ever be topped?”
Prosign Print and Display first started with a Canon imagePRO which Hardy had set up in his bedroom before investing in a Canon Arizona. Today the business is run by Hardy along with his wife, Angela Hardy, and son, Connor Hardy.
The company defines itself as a visual display company as it can supply various elements of a visual project including print, signage, exhibition stands, and various types of graphic design which it achieves through a myriad of technology including 3D print devices, CAD machines, and laser cutters.
As the world and print and signage industries evolve, businesses must adapt to move away from the typical image of a print or sign company supplying just brochures or built-up letters. Many in the industry can often be described as brand experts as they frequently find themselves building or fulfilling the wishes of a business which wants to convey a brand or message.
Hardy says: “When we started the business I always referred to us as a print company, but I soon thought that this was restricting us when we produced so much more and sometimes the print was a small proportion of a finished project.”
Speaking about the work with Canon and World Unseen, Hardy adds: “When I was approached by Canon with the idea of this project I instantly knew I had to be involved! For many years outside work, my passion has been underwater wildlife and I’ve very often thought to myself how lucky I am to have been able to see these things. Unfortunately for me I’m no longer able to dive as I have to wear hearing aids but once again technology steps in and is helping me to correct my small disability.
“When I saw the images that were going to be part of the exhibition one that stood out to me was the image of coral spawning. That was one of those moments when I thought how lucky I was to see this happening and now be part of something that can help people who don’t have the ability to see what this looks like.”
Canon has promised that more work such as World Unseen will continue to come as the company looks to demonstrate the capabilities of its technology but also share the knowledge of how brands and businesses can shape the future.
It’s evident that technology like tactile printing can make a huge impact, changing the lives of many. The main focus for businesses and brands is to learn about working together with
different organisations and communities in creating more diverse and inclusive spaces.
