Savanna Michelle Falter

Enhancing Museum Experiences: 3D Printing & Visual Impairments

10 August 2017

Edinburgh, Scotland
Institutional Analysis:

Archaeology Scotland is a registered Scottish charity and is involved in multiple

programmes concerning Scotland’s past. The organization works to “inspire communities and

people to discover, explore, and enjoy Scotland’s past.”1 Currently, they organize events for the

Scottish Archaeology Month and DigIt! 2017, coordinate Adopt-a-Monument for different

community groups, and have multiple educational resources for all interested. For how much

Archaeology Scotland is involved in, it may be surprising to learn that their permanent staff is

only eleven people. Through their website, Archaeology Scotland provides many educational

resources such as information about women at war, carved stones, Scottish graveyards, the

Jacobites, and conservation information.

Adopt-a-Monument attempts to support communities attempting to conserve their local

monuments. By educating local community groups and organizations, Archaeology Scotland

equips the group with valuable conservation information and techniques. This project has been

very successful in preserving archaeological monuments throughout Scotland. A few of their

community-based projects included conserving a hut circle at Mellon Udrigle and a chapel and

burial ground in Keil.2

Archaeology Scotland, in addition to the National Museum of Scotland and Historic

Environment Scotland, created DigIt! 2017. DigIt is a yearlong celebration of Scottish

archaeology and heritage. Throughout the year multiple programmes and events take place such

as walks, showcases, exclusive tours, and public digs.3 In conjunction with Immersive Minds,

DigIt! 2017 integrated history and technology by creating an interactive map of Scotland in

1
Archaeology Scotland website- Mission Statement
2
Adopt-a-monument website
3
DigIt! 2017 website
Minecraft. Immersive Minds is a small technology company that integrates history and heritage

with video games. According to Stephen Reid, the leader of Immersive Minds, the Minecraft

initiative for DigIt! 2017 was one of the most successful projects they’ve led.4

Artifact kits are another prime example of how Archaeology Scotland attempts to educate

others. Themed kits, containing original or replica objects, are loaned to classrooms and

community groups throughout Scotland. One of Archaeology Scotland’s most popular kit is the

Ancient Roman kit, which includes a bronze spearhead and other items from the period of

Roman invasion in Scotland.

Archaeology Scotland is a unique organization because of its main purpose—to inspire

an appreciation from Scotland’s history through education. Archaeology Scotland is unlike

Historic Environment Scotland because it does not own any properties. It also holds unique

events that focus on inspiring people not usually targeted by heritage organizations. For example,

Archaeology Scotland’s “Women at War” project collaborated with Ross-shire Women’s Aid to

inspire women who had been victims of domestic abuse. Their efforts focused on conserving the

histories of the Women’s Royal Naval Service at HMS Owl, a training base during WWI.5

Overall, Archaeology Scotland fills a unique niche that allows this small charity a big

voice concerning Scottish archaeology. I believe that what comes with their small size is the

ability to push the boundaries of what heritage and archaeology are. DigIt! 2017 and their other

projects are distinctively unique and inspiring. The Scottish community that they serve is always

at the center of their work—never their egos.

4
Information from conversation I had with Stephen during a Museums and Gaming event
5
Information from ‘Women at War’ brochure produced by Archaeology Scotland
Improving the Museum Experience:

Since the dawning of Postmodernism in the 20th century, museums have become

increasingly aware of their audience—specifically visitors who come from low and working

classes, those who are apart of an ethnic or racial minority, and those with disabilities. Along

with this awareness came the increase in effort to make museum buildings and exhibitions

accessible to people with disabilities. Because of the Disability Rights Movement in the 1990s,

multiple countries passed laws making it illegal to discriminate against someone with

disabilities, including discrimination in housing, employment, education, and accessibility in

buildings. Because of these advancements, heritage organizations and museums in general have

adapted their services to accommodate their visitors. Although they have made progress in

accommodating people with disabilities, they are still considerably lacking in their offerings

concerning educational programing and overall museum experience.

3D Printing:

Along with postmodernism, our society saw the rapid increase in technological

advancements. In the 21st century, 3D printing has now infiltrated the commercial and public

sectors. Three-dimensional printing is a form of manufacturing objects through an additive

process. The most affordable 3D printers melt plastic and add it layer by layer to create the

object.6 A 3D model can be created using multiple different techniques including 3D scanning an

object, using 3D digital modeling software, or using a pre-existing 3D model. The availability of

3D models to print has grown in the last few years and a popular site called Sketchfab has

6
Information about 3D printing can be found on 3Dprinting.com
created a platform for heritage institutions to publish their 3D models for the public to look at

and downloads to print.

3D modeling and printing has an enormous potential to enhance the experiences of all

museum visitors because of its ability to inexpensively print 3D replicas of artifacts. Not only

can it add an new element to all visitors, it has the ability to enhance the experiences of people

with visual impairments (VI) through multiple channels.

UK Disability Law Analysis:

Throughout the late 1980s and 1990s, the Disability Rights Movement gained momentum

in the United States and other countries.7 In 1990 the landmark Americans with Disabilities Act

was passed—prohibited discrimination based on disability. In 1995 a similar, but not as full-

fledged, law was passed in the United Kingdom making it illegal to discriminate against disabled

people in employment. Service providers must make “reasonable adjustments” to allow disabled

people to access their services. In 2001, the Special Educational Needs and Disability Act was

passed to extend anti-discrimination legislation to education providers in the UK. Beginning in

2004, buildings were required to become physically accessible by making reasonable structural

changes. In 2005, an amendment to the Disability Discrimination Act extends to include land,

transport, and small employers. Along with the amendment came the duty for public entities to

promote disabled people’s equality and attempt to involve them when designing laws and

policies. In 2010, the Equality Act is passed by parliament. It outlawed direct or indirect

discrimination and harassment in employment, education, and the provision of goods and

services. It also outlawed discrimination against persons with disabilities, people associated with

7
All information concerning UK Laws is from “A Disability History Timeline; The struggle for
equal rights through the ages”
a disabled person, or the perception of disability. These laws directly affect how accessible

museums are and how people with disabilities experience museums today.

Museums Today: Disability Accommodations and Shortcomings

Today most museums and heritage organizations are physically accessible. Many have

ramps, elevators, extended doorways, automatic doors, and accessible restrooms. Larger

institutions tend to provide wheelchairs when requested and some have gone an extra step by

providing folding chairs for all visitors to use throughout the exhibition rooms. Large museums,

such as the National Museum of Scotland, have attempted to accommodate more than just

physical accessibility. The National Museum has conduction loops at reception areas along with

lifts and audio guides. Many galleries, such as the Glasgow Museum of Modern Art, provide

large print versions of primary source materials. Although not common, some museums do allow

visitors to touch actual artifacts through touch tours and object handling sessions. Audiovisuals

are usually captioned and Braille labels are sometimes provided.

A common accommodation made for people with VI is providing Braille labels for each

artifact in an exhibition. However, providing Braille labels is not fool proof. Today, most people

with VI cannot read Braille, rendering the labels useless and therefore not providing a way for all

visitors to interact with the exhibition in a meaningful way. Providing Braille labels is a good

start but having a sign language interpreter on call and having tour guides trained in giving

descriptive tours is a more effective way of reaching people with VI and providing a meaningful

experience.

Although many museums attempt to accommodate people with disabilities, their

experiences are still not equally worthwhile. Ultimately, changing a museum to be physically

accessible is only half the journey. Everyone’s experiences should be meaningful when going to
a museum. Fiona Candlin, in her controversial essay Blindness, Art and Exclusion in Museums

and Galleries, critiqued art institutional practices concerning people with VI stating, “Blind

people are constituted as a marginal group not because their blindness makes them so, but

because the ocularcentricity of museums and galleries ensures that non-visual engagement with

art and artefacts remains virtually inconceivable in all but the most innovative institutions.” In

Scotland only 7 out of 600 heritage organizations (museums & galleries included) provide some

sort of programme specifically to accommodate people with disabilities.8 If the scope of this

research was widened to the UK overall, we may see the number grow with the addition of large

and innovative museums in London such as the Tate Modern and the Victoria & Albert Museum.

There are many ways to address the issues surrounding accessibility in museums and galleries,

all with positives and negatives.

Museums need to go farther than creating spaces that are physical accessibility. Museums

need to begin by training staff on all levels, developing aids and programmes while consulting

people with visual impairments, and publicly advertising what the museum offers people with

disabilities. The goal of museums should be for any person to be able to come into a museum or

gallery with little to no planning ahead of time and have a meaningful experience. This goal is

hard to achieve because of many obstacles facing heritage organizations—they are centered on

one sense—sight. “Sight structures museum education.” 9 They must begin to think about other

senses that can be utilized in exhibitions. Elizabeth Sweeney, the accessibility educator at the

National Gallery of Canada, stated, “Multisensory interactive participation and reflective

dialogue allows opportunities for participants without previous knowledge of art to participate

8
Research conducted by Edward Dodson, Yilun Zhuang, and myself during our internship with
Archaeology Scotland, Summer 2017
9
Article by Fiona Candlin, “Blindness, art and exclusion in museums and galleries”
equally with those who may.”10 By using new technology, such as 3D printing, museums and

other organizations can create meaningful experiences for all visitors.

Creating a meaningful museum experience must begin with how exhibits are designed. It

is imperative to consult people with disabilities in every stage of planning an exhibition, an

educational programme, or a touch tour. Obviously, the exhibition content must be accessible to

all visitors at multiple levels of intellect. An exhibition must also be physically accessible,

including the objects and how they are presented. It is critical to create color contrast between

items in an exhibition and their backgrounds. People with VI need a 70% contrast between colors

in order to distinguish between the wall & floor and object & background.11 Removing tripping

hazards and providing cane detection rails can improve the physical accessibility for people with

visual impairments in exhibitions. It’s also imperative to provide object and wall labels that are

written in a readable font and text size.

Labels are almost as important as the objects within an exhibition. For many people with

visual impairments, getting the proper historical background and context in an exhibition can be

quite a challenge. Some museums have attempted to accommodate people with VI by installing

Braille labels, however, these are not 100% fool proof. To begin, Braille labels need to be at the

proper height and positioning to accommodate those who can read Braille. The labels should be

laid flat so visitors at all heights can read the text. In the Victoria & Albert Museum braille labels

were designed to pull out from under objects in areas where space was limited.12 It is also

imperative to have someone who can read Braille proofread the text before it is manufactured

10
Elizabeth Sweeney’s article “Walking with Janet Cardiff, Sitting with Massimo…” 2009
11
Smithsonian Guidelines for Accessible Design
12
V&A Article; All information concerning Braille labels
and when the labels are installed in order to assure the correct object is matched with the correct

label. However, there is a very limited audience who can read Braille.

Regardless of the availability of Braille labels, many museums have developed other

means of providing information for people with VI. Descriptive audio guides and tours have

been established as an effective alternative to providing Braille labels. Descriptive audio guides

are guides specifically recorded in order to assist visually impaired visitors through an electronic

device. Descriptive audio guides describe the objects presented in the exhibition and, ideally,

provide information on how to physically navigate through the museum. Many heritage

organizations have moved towards this alternative by providing downloadable audio files on

their websites and creating specific descriptive tours on site.13

Ideally, tactile books and maps can allow people with VI a way to navigate the museum

instead of being shown through the museum. These books can add to the gallery giving the

visitor another way to interpret the exhibition. Making tactile images, such as maps, can be quite

difficult. It is crucial for curators to understand that not every visually impaired person has been

taught how to interpret through touch. Focusing on key descriptions and lines and removing less

important components within a book or map is key to developing an effective tool. Again, in this

situation, conducting focus groups and gathering feedback from visitors with VI can improve

their experiences overall. Tactile books and images must be interesting and informative.

Important elements should be distinguished with raised lines and textures.

Touchable objects are another effective way to provide a heightened experience for a

person with VI. When developing a touch tour or selecting objects to be touched, it’s imperative

to consult people with VI. Conducting focus groups and reaching out to VI organizations can

13
V&A Article; Information about descriptive audio guides
provide insights into the needs and requirements for visitors with VI, such as which objects

would be ideal to touch. Objects should not be chosen simply because they look good to touch.

They must have qualities that allows the visitor to understand the object in relation to the

collection and that fits the narrative of the exhibition. Providing artifact replicas to be handled

can provide an insightful experience for someone with VI. The Museum of Modern Art in New

York City has created a touch tour called “Please Touch the Art.”14 During the tour, visitors are

allowed to touch tactile versions of famous paintings, such as Starry Night by Vincent Van

Gogh. While the visitors feel the painting, the guide provides a descriptive dialogue to guide the

visitor through what they are touching. It’s imperative to choose objects that enhance the

understanding of the exhibit as a whole.

Large museums and heritage organizations offer touch tours or object handling sessions.

However, people with high vision create most of the tours without consulting anyone with VI.

The session cannot simply be to pass around an object quickly through a group of people. There

needs to be descriptive commentary along with each object in order to guide the viewer on which

aspects to focus on. The description needs to provide historical context and place the object

within the exhibition’s main objective. The most successful touch tours involve a curator who

selects the objects to be touched and writes the commentary accompanying them.15 Each visitor

will need time to examine the objects—taking the pace of the visitor is key for a significant

experience. Object handling or loan kits can be an effective means of teaching visitors about the

14
Narratively Culture; Please Touch the Art
15
V&A Article
objects in an exhibition and their history. Only 51 out of 600 heritage organizations in Scotland

provide object handling or loan kits.16

3D printing can provide an inexpensive way to create reproductions that can be handled

without concern from curators. For example, artifacts can be scanned with a 3D laser and then

3D printed using various materials. However, understanding the size, weight, and temperature of

an artifact and being able to recreate those aspects is challenging.17 Creating accurate and

engaging 3D replicas is only one of the challenges for museums. Not only is the technology of

3D printed limited in the materials it can print in,18 many 3D printers are restricted in the size

they can print. Art museums have another challenge to face—how to make paintings interactive.

There have been many initiatives taken on by museums and organizations in the last ten years.

Three projects have gained international awareness for their tactile paintings.19

The Museo del Prado museum held an exhibition called “Touching the Prado” in which

six 3D tactile paintings of masterpieces were specifically created for blind and visually impaired

visitors. The paintings featured raised edges and the use of different textures to describe the

images portrayed. The Prado chose classical paintings by Goya and Leonardo Da Vinci. 20

Fernando Pérez Suescun, the curator of the exhibition, stated, “Non-sighted visitors have been

able to obtain a heightened degree of artistic-aesthetic-creative enjoyment…the displays include

didactic material such as texts in braille, audio guides, and opaque glasses aimed at facilitating

16
Research conducted by Edward Dodson, Yilun Zhuang, and myself during our internship with
Archaeology Scotland, Summer 2017
17
Touch in the museum: Sculpture, art, aesthetics, and visual impairment
18
Inexpensive 3D printers use plastic to print models, while more expensive printers can print in
metal and wood.
19
Tactile Paintings: Prado, VR VIS, & Unseen Art
20
“Touching the Prado”
the experience for fully sighed visitors.”21 Even though the paintings the Prado produced were

tactile, they were not 3 dimensional portrayals of the images. The raised edges of the paintings

could be produced through computer software and 3D printing.

VR VIS is a German technology company that has developed 3D paintings of

masterpieces using computer software and rapid prototyping devices. VR VIS’s project uses

computer-aided design to convert paintings into 3D complex reliefs. Their tactile reliefs identify

important structures, add depth through multiple different layers, and adds texture information

from the original painting.22 Even though VR VIS did not use 3D printing specifically, their

method of constructing the textured reliefs through layering could easily be applied to 3D

printing.

The Unseen Art initiative recreates classical paintings as 3D sculptures by using

computer software and 3D printing technology.23 Their mission states,

“Unseen gets people to re-create classical art paintings in 3D so

they can be printed and experienced through touch—and makes
them available anywhere, from gallery exhibitions to people’s
homes. Creating equal access for art globally is our passion and
goal!”

Unseen Art is an excellent example of how 3D technology can enhance the experiences of

people with VI. Although they are only focusing on classical paintings, such as the Mona Lisa,

any person with a 3D printer can print the model and be able to experience the painting in their

own home.

Conclusions:

21
“Touching the Prado”
22
VR VIS “Tactile Paintings” webpage
23
All information from Unseen Art webpage
 The Disability Rights Movement in the 1990s gained momentum with monumental laws

banning discrimination against people with disabilities and requiring equal access to public

institutions. Heritage organizations in Scotland, and the world for that matter, have a long ways

to go in order to provide equal and meaningful experiences for people with disabilities. Although

there have been advancements in the physical accessibility of museums, too few have

programmes or other accommodations for people with VI. With the increased awareness and

cultural changes of our society, museums and heritage organizations need to begin designing

exhibitions with all visitors in mind. Museums are based on only one sense—sight. In order to

create a more educational and enhanced experience, museums must stop thinking of people with

disabilities as an after thought and start putting their needs at the forefront.
Personal Reflection:

My time here in Scotland has definitely been an adventure. Interning with Archaeology

Scotland was a worth-wild experience and a placement I’m proud to put on my CV. Although

the overall experience was rewarding, parts were quite challenging. The lack of communication

with Arcadia and myself concerning my placement before arriving in Scotland was, personally,

quite irritating. I expected to be told the second Arcadia knew what my placement was so I could

prepare and fill out the proper paperwork with my college. One problem I encountered because

of this mishap was that I was unable to receive 3 credits for the actual internship because I did

not have the proper information, such as where I was interning at, who my supervisor was, and

how many hours I would be working per week. Because I lacked this information I was unable to

fill out the proper paperwork with my college and advisor. However, I did receive 6 credits for

the two courses I took during the first month of the program.

Working abroad was an invaluable experience for me. The work environment was not as

different as I thought it would be. Rather than being offered tea every hour, working at

Archaeology Scotland’s office was pretty comfortable. The office etiquette was quite relaxed,

especially in the attire expectations. I dressed quite professional (black slacks, nice blouse, &

close-toed shoes) while many others in the office (mostly men) dressed quite casual, wearing

jeans and a jumper with sneakers. This experience has only enhanced my career ambitions. I still

want to pursue a job as an art museum curator, but I believe I will definitely incorporate 3D

printing, design, and my research about all visitor experiences. I plan on studying abroad for my

master’s degree and possibly live and work in Europe.

 Works Cited

Braden, Caroline. Guest Accessibility/Special Needs Assistant, The Henry Ford. “Welcoming
All Visitors: Museums Accessibility, and Visitors with Disabilities.” University of Michigan
Museum of Art, 2016.

Candlin, Fiona. “Blindness, art and exclusion in museums and galleries”, International Journal
of Art & Design, 2003, pp. 100-110. Birbeck University of London ePrints.

Denis, Daphnée. “Please Touch the Art”, Narratively Culture, 2013, http://narrative.ly/please-
touch-the-art/

Gallace, Alberto & Charles Spence. “Touch in the museum: Sculpture, art, aesthetics, and visual
impairment”, In Touch with the Future: The sense of touch from cognitive neuroscience to
virtual reality. April 2014, Oxford Scholarship Online.

Grant, Loren. NHS North West. “A Disability History Timeline: The struggle for equal rights
through the ages.” March 2013.

Majewski, Janice. Coordinator, Smithsonian Accessibility Program. “Smithsonian Guidelines for

Accessible Exhibition Design; Smithsonian Accessibility Program.”

Murphy, Adrian. “Touching the Prado: a hands on approach to accessibility”, Museums &
Heritage Advisor, Fall 2015, http://advisor.museumsandheritage.com/features/touching-the-
prado-a-hands-on-approach-to-accessibility/

Sweeney, Elizabeth. “Walking with Janet Cardiff, Sitting with Massimo Guerrera, and Eating
Apples with R. Murrary Schafer: Meaningful Museum Experiences with Participatory Art for
Visitors with and without Visual Impairments”, The Journal of Museum Education, Vol. 34, No.
3, Fall 2009, pp. 235-248.

Unseen Art, http://www.unseenart.org/home/

VR VIS, “Tactile Paintings”, http://www.vrvis.at/research/projects/tactile-

paintings/?set_language=en