Jane Bringolf, Author at - Page 39 of 100

Practitioner views of designing inclusively

The concepts of Diversity, Equity and Inclusion have evolved from different fields of endeavour and therefore there is no single way to explain them. But the concept of universal design can unify them. Debating the differences between inclusive and universal design does little to progress the cause because essentially, they mean the same thing. We don’t need more research and discussion about meaning, we need action – research on implementation. Checking in with practitioners and their views of designing inclusively is a good start.

Aspects of Designing Inclusively from Practitioner Perspectives, reveals how practitioners relate to the concepts and the language. The author begins by articulating their take on the terminology, and then moves on to the study.

Lots of different coloured words reading define. Designing inclusively.

The first thing to note is that this paper comes from the UK where the term “inclusive” is preferred. Most countries use the term “universal” in keeping with the United Nations terminology. However, many writers in the UK like to differentiate between the two words.

The fact that they had difficulty recruiting participants is revealing in itself. Thirty organisations were approached and only 6 agreed to participate. However, this small group provided some useful insights.

The author makes the comment that designing inclusively is an approach to design, which it is, rather than an achievable goal. This is one reason Steinfeld and Maisel developed the 8 Goals of Universal Design. It’s also why universal design practitioners understand you start with principles and create the practical. It’s not a checklist.

Consequently, attempting to delineate differences in inclusive design and universal design is counter-productive. The following quote can be applied to inclusive design, design-for-all, human-centred design and universal design. We are in the era of co-design and continuous improvement. The concept of universal design has evolved since the 1990s

” Inclusion can be viewed as a continually evolving concept addressed incrementally from one project to the next as expertise develops and advancements continue.”
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From the conclusion

“Their insights provided an up-to-date account of inclusive architectural and design practices. Still, their perspectives were not always aligned. This is expected as each person holds different framings and object worlds during a project. For instance, it was expressed that a single mainstream design suitable to every person was not realistic.”

Participants said they prefer bespoke designs, arguing that it is better to design for the individual rather than attend to the mass market with one design. Participants also disliked the lack of quantifiable information.

Universal or bespoke?

Bespoke designs are good where the individual has specific requirements, such as Specialist Disability Housing, and assistive devices. Bespoke makes it easier for the designer because the individual can describe what they want. And sometimes this is necessary. But there are many more places, spaces, services and products that have universal benefit if designed with a universal design approach.

From the abstract

The concept of inclusion in design is increasingly well known and often recognizes value in a greater diversity of people. Still, uptake is said to be limited in practice. The theoretical landscape provides several definitions and concerns, but they are often paradoxical. Rather than disentangle theory, this research turns to practitioners who design inclusively.

This research explores the ways people advocate for inclusion in design projects, prevailing aspects in the negotiations within multi-stakeholder projects, the motivations and mindsets that drive these aspects, and the opportunities they create for the improved uptake of inclusion.

These explorations highlight the value of including a more diverse group of individuals in the negotiations of a design project. Conflicting perspectives on effective uptake prevail in both practice and theory.

Designing bus transit infrastructure with universal design

Norway has a long-held commitment to universal design across all sectors. However, with the best will in the world the concept is still poorly understood in transport infrastructure. When Trondheim initiated its new rapid bus transit system, universal design underpinned the design parameters. But designing bus transit infrastructure requires some joined up thinking and joined up standards.

The Trondheim infrastructure experience

The case study of Trondheim in Norway shows how the best laid plans can go awry if there isn’t joined up thinking at the planning stage. Once this was realised the next step was finding ways to remedy the situation. That’s because Trondheim replaced their whole fleet with the new metro buses.

The new bus transit infrastructure in Trondheim. A long articulated bus in bright lime green and dark grey.

At a late stage in the planning process, with construction of the stations and delivery of the buses well underway, it was discovered that the stations and the buses had been built to different accessibility standards.

Photo of the Trondheim bus transit

In a conference paper Jacob Deichmann outlines the issues and the different ideas and lists them in a handy table. All the stations were built to Norwegian State guidelines for accessible design. The “kneeling” buses were designed and built in Belgium. But there was a big gap between bus and kerb edge. The size of the gap also depended on the skill of the driver in getting as close as possible to the kerb.

Once this discrepancy was discovered advocacy groups complained to the media and to politicians. The response was that they met the access standards, but manual flip ramps would be added. However, this does not provide equitable access as someone has to deploy the ramp taking up valuable travel time. And efficient travel times was a key element of the system.

The paper has a chart giving an overview of the different remedies suggested based on product research. It lists the various ramp systems, gap-fillers and bus pads at kerbside. The chosen solutions were training of drivers in the short term. In the medium term there was to be a trial of motorised ramps, the bus pad and a guiding system. Longer term solutions were the gap-filler method and raised platforms.

When standards and guidelines aren’t enough

Both the platform designer and the bus manufacturer followed valid guidelines and best practice. The lack of consistency in the guidelines makes it difficult for non experts in universal design to make the best choices. In the worst case scenario, following standards can prevent a universal design approach.

More training on universal design is required at the planning and procurement stage. The underlying concept of providing an equitable and accessible means of transport needs to be fully understood.

The title of the conference paper is Universal Design in the Metrobuss System of Trondheim, Norway – Challenges and Solutions.

The short video below shows the convenience of an automated Perth bus ramp deployed for a wheelchair user and then everyone else used it.

Automatic ramp on a Perth bus was used for a wheelchair user and then everyone else.

A better example of universal design is the Bergen Light Rail project.

Accessible and inclusive workplaces

There’s a lot of talk about inclusive workplaces and a diverse workforce, but a policy isn’t enough. The “how-to” is the tricky part. The Australian Human Rights Commission has produced a plain language guide to help employers recruit and include people with disability. The guide is titled IncludeAbility and is 10 pages (in PDF) and therefore sticks to the basics.

People with disability have the right to work on an equal basis with others, and in a work environment that is ‘open, inclusive and accessible to persons with disabilities’.

Graphic from the cover of accessible and inclusive workplaces called include ability.

The guide covers some old ground including the ageing 7 Principles of Universal Design and the Lendlease Design for Dignity Guidelines. And of course existing standards for the built environment. In terms of technology, readers are directed to the WCAG guide. Assistive technology and Employment Fund Assistance also get a mention. Case studies highlight some of the issues many people with disability face when getting work and while at work.

Workplace attitudes are the barriers you can’t see and are therefore the most difficult to overcome. There’s a list of questions employers can ask themselves that mostly relate to organisational policies and staff training. The Human Rights Commission offers staff training in capital cities.

Workplace technology

At an individual level, assistive technology bridges many of the gaps between being able and dis-abled. However, company websites should be accessible for staff as well as customers. Similarly, all key documents should offer accessible formats for staff and customers. the South Australian Government toolkit is referenced with more information on this topic.

Creating an accessible and inclusive workplace is available online where there are links to a PDF version and a Word version. The IncludeAbility website is has additional resources for people with disability and Frequently Asked Questions.

Editor’s comment: This document appears to be a gathering of existing information that’s been around for a while. It would be interesting to see what a co-designed guide would look like. That is, what do employers want to see in a guide and how do they want it presented.? A guide is a product so it can be universally designed too.

Inclusive communication encourages buying

Inclusive communication is key to any purchase for people with and without disability. Whether in written formats, online, or in person, communication is a critical part of the purchasing process. Service based businesses such as tourist attractions, restaurants and banks are difficult to access based on a survey by Business Disability Forum.

“I ended up staying with my current bank because I could not get information in easy read format from any other bank”

Almost half the survey respondents said that booking and/or visiting a restaurant, café or pub posed the most challenges. Booking holiday accommodation was also challenging together with leisure activities. Dealing with banks, insurance providers and utility providers also caused challenges. Buying new technology, software and entertainment media was less problematic for most respondents.

graphic of a page with PDF on it red and white

A lot of companies use PDFs, it is not accessible with screen readers… Allow [me to receive] that information in a Word format so I can read it. Avoid columns, rows and text boxes… You would have thought that by now a lot of these companies might have grasped this.

The Business Disability Forum’s research is UK based, but is useful information for all businesses. Community service organisations and governments also need to heed the call for more inclusive communication methods.

Key findings

The online survey showed there was no clear single preference for means of communication at the decision-making stage. The following quotes from the report need no further explanation.

By email or text. The spoken word is hard for me to understand on the telephone, especially when calling from a call centre.
… you need all of it. Live chat, phone, email. It’s got to be accessible in as many ways as possible and quick to reply otherwise you think “I won’t wait for that product” and they have lost your custom.

For me as a totally blind person, email, phone or face-to-face are my preferred methods of communication. Particularly if face-to-face, I want staff to come and ask if I want help, not be left wandering around. If online, I need pages uncluttered with adverts, products clearly separated, buttons or checkboxes al-texted and graphics clearly labelled.

Interestingly, Amazon online purchasing was identified as having a good communication system. This was because:

A computer screen sits on a desk. It shows a web page

Contact points for queries before and after sales in customers’ preferred format
Being able to find detailed product information needed
Setting up the process for delivery
Quick purchase mechanisms that avoid repeat form filling

Inclusive online events: captioning

Captioning is an important part of making events inclusive, and more people than we realise rely them. People who are hard of hearing can capture words and names that they miss or are unfamiliar. For people who are deaf they are essential, especially if there is no-one to sign. People with English as a second language find captions helpful too.

Although most Australian venues say they have hearing loops for those who can use them, they are often not working or switched on. Or they are set to pick up all ambient sound, which makes them next to useless. So, captioning is essential if you want an inclusive event.

The image shows an additional screen for live captioning at an event. However, newer technology now supports captioning similar to that on a TV screen. This can still be done with live captioning rather than AI.

A speaker stands at a lectern and captioning screen is behind his right shoulder.

The move to hybrid events has taken the live captioner out of the room in favour of AI captioning. Zoom and Teams offer automatic captioning, which often fails to pick up the very words that people miss. For example people’s names and place names. If the listener misses the word or words, it is likely the AI captioning will too. For example, in Australia, AI captioning has no idea of how to translate Aboriginal place names.

8 Steps to a more inclusive event

Sheri Byrne-Haber’s article, Eight steps to a more inclusive event goes through the different things you can do to make captioning really work.

Choose the correct type of captioning: Automatic is free but low quality. Live captioning uses court reporting systems to keep up with speech rates.
Send presentation material to captioners and interpreters before the event. This is so they can prepare product names and technical information in advance.
Send participant’s names in advance. This speeds up the captioning time.
Ask speakers to practice speaking more slowly.
Ask speakers to incorporate pauses to give time for captioners and interpreters to catch up. It gives time for listeners to absorb the information too.
Formalize the approach to land acknowledgement and visual descriptions. For example Mi’kmaq is pronounced ‘meeg-maw’ which is nothing like the English spelling.
Captioners are always behind the scenes but sign language interpreters need to be spotlighted simultaneously with the person they are signing for.

The video below shows how captioning is done.

Video by the Australian Government

Inclusive online conference poster sessions

Screen view of Padlet app for inclusive online conference poster presentations.

Looks like hybrid conferences are here to stay. That means conference organisers are finding new ways of working, and maximising digital capabilities. Conferences with a high academic content usually have poster sessions. Posters are a good way for emerging academics to present and discuss their work. But how to make online conference poster sessions inclusive?

Getting the best from digital presentations is based on both process and technology. Using the most suitable digital platform is part of the story. In their article on inclusive and virtual poster sessions, the authors discuss real time and on-demand presentations. Having both options allows for time zone differences especially for international conferences.

The title of the paper is, A Guide to implementing Inclusive and Accessible Virtual Poster Sessions. There is a separate section in this paper on virtual poster sessions in the undergraduate classroom.

Suggestions for virtual poster sessions

Use combined real-time and on-demand options for sessions
Use short video or audio introductions
Utilise Zoom for breakout rooms for real-time sessions
Provide demonstrations on how to use the poster platform and how to view posters and access Zoom rooms
Give more time between notification and the presentation date to give more time to prepare and submit before the conference

A laptop screen is open showing participants in an online meeting or hybrid event.

The advantage of online posters is the amount and depth of feedback received by presenters. The disadvantage is the lack of opportunity to network.

People who feel uncomfortable in crowds or noisy environments will appreciate this mode of delivery. The cost of paper and print are avoided and the poster can be stored digitally. Virtual sessions allow for captioning, and Auslan interpreters. The authors list several benefits of virtual poster sessions and provide guidance for conference organisers.

From the abstract

Poster sessions are an integral part of conferences. They facilitate networking opportunities and provide a platform for researchers at every career stage to present and get feedback on their work.

In Spring 2020, we designed and implemented a no-cost and accessible, asynchronous, and synchronous virtual poster session. Here, we outline our goals for hosting an inclusive virtual poster session (VPS). We also demonstrate a “backward design” approach and our rationale for using the Padlet and Zoom platforms. At the 2021 Conference we shared lessons learned to help future poster session organisers to be accessible and inclusive.

Virtual poster sessions have great potential to improve collaborations and science communication experiences at scientific conferences and in undergraduate classrooms.

Inclusive imagery and icons

We are seeing more people with disability in films, tv and stories. Both the presence of people with disability and images depicting disability are being integrated into computing. But are the processes for developing inclusive imagery also inclusive?

If the only images available to illustrate accessibility are pictures of wheelchair users, then it becomes difficult to get people to understand and acknowledge the huge range of unique user needs.

Circular graphic showing many different icons related to disability.

A short article by Emory James Edwards addresses some of the issues related to diversity and inclusion in computing. Designers regularly use personas to help them communicate with developers. They each know what the other is talking about. But these ‘design assets’ as they are called, have not included images of people with disability, non-western users, or older adults.

Although people with disability are getting more recognition, the images are still prone to stereotypes. With luck, as we see more images of people with disability we could see increased understanding of the need for accessible technology.

If people who are blind are only depicted as wearing sunglasses or using a guide dog, but never depicted as using a white cane or walking with a sighted guide, it makes invisible the variety of skills and preferences of people who are blind or have low vision

A blind man and his guide dog walk through a shopping mall. Inclusive imagery.

More images of disability is not enough – they could even reinforce stereotypes. It gives people the illusion of knowing what life is like with a disability.

Tips for inclusive image generation

Edwards explains six key points:

Do not reinforce isolated, sad or pitiable stereotypes.
Avoid being overly “sweet” or creating “inspiration porn”.
Show the diversity of the the disability community. That includes gender and nationality.
Consult with people with specific identities.
Make a commitment to long-term engagement with people.
Make inclusion the default position without resorting to tokenism.

The title of the article is, Putting the Disability in DEI Through Inclusive Imagery. Diversity, Equity and Inclusion is about changing the paradigm in computing and other fields. Technology is an essential part of modern life. The reference list at the end is also useful.

A picture can paint the wrong words

For those who understand the issues with the picture shown, there is no need to explain. But there are others who see two good looking young people, one in a wheelchair being pushed by the other. They are wearing bright colours and looking happy as they make their way through an empty shopping mall. For the uninitiated there are three key issues with these companion pictures.

Shutterstock image of a young person being pushed in a hospital wheelchair. The occupant is obviously a model that doesn't look like they have a disability.

First, perpetuates the stereotype that wheelchair users must be helped by being pushed rather than mobilising independently. A person walking alongside would be better.
Second, it is clear that both of them can walk as they change places with each other to be pushed in the chair.
Third, the type of wheelchair is usually found in a hospital setting. It is not one that a person would normally own let alone use it to go shopping. Wheelchair-user models would come with their own wheelchair.

Wheelchair users are not the only way to convey diversity or disability. The majority of disabilities are invisible, e.g. low vision, hearing loss, heart disease. So pictures of groups of people from all walks of life are much better. Too many of these pictures show a lone wheelchair user in places devoid of other humans. This is not real life.

Let’s make sure images convey the right messages.

Colour blindness not just genetic

Colour blindness is an eye condition that changes the way people see colours. It doesn’t seem like a big thing to people who have normal colour vision. But when it comes to reading things like maps, it matters a lot. Graphs, maps, diagrams and other graphic information types often rely on colour to differentiate between elements and features.

With genetic colour blindness, men are about 16 times more likely to be affected than women. Injury or disease can also affect the ability to see certain colours.

A pile of brightly coloured squares sit untidily on top of each other. The colours are very bright.

Apart from genetic reasons, some health conditions increase the risk of developing colour blindness later in life. Macular degeneration, glaucoma, diabetes, dementia, and Parkinson’s disease can all affect colour vision. Because it happens later in life it often gets unnoticed and undiagnosed. Some medications might affect colour vision too. For more, see My Vision guides.

You are at greater risk of colour blindness if you are a white male and have family members with colour blindness.

Red-green colour vision deficiency occurs in 1 in 12 males with Northern European ancestry. For women it’s 1 in 200.

The Axess Lab website has some great tips for making graphics more inclusive. For example, putting text into pie charts, and labelling goods with colours not just showing them. Colour contrast matters too as you can see in the picture below.

Pie chart with different colours and their respective labels. — A pie chart with labels

A group of people standing holding a pink banner with the words You are Not Alone, but you can't see the word NOT because it is in pale red and blends into the background colour — A serious colour contrast fail in real life

Colours that are accessible

Colour diagram showing the three different types of colour vision deficiency

Colour is an important part of designers’ creative work. When it comes to colour accessibility the creative path takes a few twists and turns. That’s because people who say they are ‘colour blind’ are not all the same. Most can see some colours, but not all of them. So how can designers choose colours that are accessible, especially in digital communications?

Adobe has a blog page that explains the importance of choosing colours. Four images show the three different versions of colour vision deficiency, which are:

Protanopia: Referred to as “red weakness,” this variation of red/green color blindness results in individuals being unable to perceive red light.
Deuteranopia: Also known as “green weakness,” this type of red/green color blindness renders people unable to perceive any green light.
Tritanopia: People who suffer from blue/yellow color blindness have difficulty distinguishing between blue and yellow colors. This form of color blindness is far less common than its red and green counterparts.

Graphic designers will appreciate the colour wheels and ways to avoid a conflict of colours. Examples of good colour choices show that designs can still be attractive as well as functional. You can try out the online Material Design accessible colour tool that provides information on colour contrasts for visual material.

Readability and colour choice

Colour choice is also a factor in readability. The video below shows how easily we can be deceived by our eyes. It shows how two different shades of grey are actually the same. That’s why you can’t rely on judging contrast by eye.

Barriers to shopping not good for business

The Business Disability Forum in the UK has an interesting report on the barriers people with disability face as shoppers and consumers. Whether online, by phone or in person, these barriers are not good for business or consumers. And it’s likely it’s difficult for almost everyone if the process is not universally designed.

A small cardboard box sits across a keyboard. The words on the box say online shopping.

The Business Disability Forum asked survey participants about specific barriers to shopping for products and services.

They asked respondents if they have any difficulties with access or engaging in the buying process. The key areas were going to restaurants, cafes and pubs; buying clothes or shoes, and personal and online banking. These were followed by pursuing a hobby, buying insurance and dealing with utility suppliers.

A restaurnt table laid with breakfast foods. It looks out to a water view with small boats.

An online survey and focus groups (around 650 people with disabilities and conditions) found almost everyone was impacted in some way.

The next most challenging activities were booking a holiday, booking tickets, buying large electrical appliances, and buying new devices.

Limitation of design – products, service or venues not being inclusive or lacking accessibility features.
Limitations in available information.
The way in which information was presented.

More than half the respondents said their choice of products or services was limited by design, and by the availability of information. It was also limited by the way it was presented.

A significant number (43%) abandoned the shopping task early or just didn’t buy. It was the same for going into shops in person.

The title of the resource is, What disabled consumers choose to buy and why – Barriers to buying. Forbes online magazine also has an article on the report.

Also have a look at See here: I want to go shopping for the shopping experience of people who are blind.

Design for shopping: a holistic approach

overhead picture of the fresh food section of a supermarket. Shopping - a holistic approach.

The recent pandemic curtailed shopping in the high street and in malls. When the lockdowns were lifted the rush to the shops shows how much people enjoy shopping. Younger people talk of retail therapy, but for older people it is an important social activity, particularly those who live alone. So every part of “design for shopping” needs to be inclusive.

Elnaz Davoudi from the San Francisco State University conducted an in-depth study of older people and their shopping habits. This included shadowing them as they made their way around a supermarket. The whole experience is documented and their are several design conclusions to be drawn from this work.

Shopping carts, check outs, product packaging and much more are open for improved designs. The findings can also be generalised to other design disciplines. It is good to see a holistic approach in this research, not just the design of, say, a shopping trolley, or the product packaging.

The article is titled, Designing a Better Shopping Experience with a Holistic Approach to Ageing in Place. It is on page 21 in the Design for All newsletter from 2016.

Museum design with equity and dignity

The spiral design concept of Guggenheim Art Museum remains one of the most inclusive design concepts. That’s because everyone experiences the museum in the same way. It delivers equity and dignity, and of course accessibility for everyone. It’s universal design.

Designers of the new Olympic and Paralympic Museum in Colorado Springs re-imagined the spiral theme. And they involved Paralympic athletes in the design process.

View of exterior of the museum showing a giant box shape cantilevered over the building's ground level glass facade.

Similarly to the Guggenheim, all visitors enter the museum on the ground floor. They take an elevator to the top of the building, and gradually wind their way down the spiral. The architects say that connectivity was the biggest architectural idea of the project.

Their initial idea was to have the spiral at the centre. The early design concept evolved after consultation with Paralympians and the spiral moved towards the outer edge of the building. This was so the ramps are more gradual and more circulation space was included. And it’s not just about wheelchair users.

The Museum website has a Plan Your Visit page that gives information about accessible media, audio descriptions, wheelchair access, tactile information, open captioning and American Sign Language. There are more personalised services available. The website has a great video giving an overview of the building design and the museum experience.

The title of the article in FastCompany is, The U.S. Olympic and Paralympic Museum, celebrates all athletes – and was deigned for all visitors. Perhaps we need more public buildings designed on the spiral theme. And more public buildings involving users at the design concept stage.

Universal Design for Museums

Many museums and historic buildings were built before anyone thought about accessibility and universal design. So, what’s the best way to keep the heritage values? A group of researchers decided a universal design approach would work.

In their paper, the researchers discuss universal design in the context of historic buildings and evaluation checklists. The 7 Principles of Universal Design are presented in the context of a museum and applied like a checklist.

The origins of museums are linked to one of the basic human activities – collecting.

A view of the historic museum showing single story buildings.

The case study of the Graz Museum Schlossberg is an exemplar of universal design. This is largely due to recent renovations where architects would have current knowledge of access and inclusion. The short video below gives an overview of the building.

The article, Universal Design Principles Applied in Museums’ Historic Buildings has several photographs to illustrate points. There is a chart with the 7 Principles showing what aligns with each of the Principles and what doesn’t.

“This article demonstrates theoretically, and practically, through the case study, that it is possible to apply UD principles even in a difficult terrain and historic environment, and combine it with the effort to preserve the historical value of the place in a very aesthetic way.

Editor’s note: The concepts of the 7 Principles of Universal Design have evolved since their inception in the 1990s.The Principles are a good beginning, but applying them as a checklist defeats the objects of learning through iteration and co-designing with users.

Netflix has taken captioning to the next level

Subtitling and captioning are often used interchangeably when reproducing the spoken word in written form. Subtitles usually mean a language translation for films and television. However, it is often used to mean closed captioning. Whether it’s captioning or subtitling, it now provides an opportunity to describe the sound effects as well as the words. Sound effects and music are a major part of the movie experience, especially the horror and action genres. So Netflix has taken captioning (or subtitles as they call them) to the next level.

A horror scene in shades of blue with a human figure with wrinkled skin and no proper flesh. From Netflix series, Stranger Things.

Netflix’s subtitling gives deaf and hard of hearing viewers the same immersive experience of tentacles squelching and roiling wetly as hearing audiences.
Photo Netflix

An article in Vulture online blog explains how Netflix are keeping up with the ever-changing rules for subtitlers. The subject of the article is the Netflix series, Stranger Things. Apparently the subtitles “became a sensation among fans”.

People writing captions and subtitles are usually in the background working away quietly. The Netflix subtitling team relies on audio but sometimes gets a shooting script which helps with character and location names. What ends up on screen is often different to the script.

A young man is holding a large box of popcorn and has a frightened look on his face.

I didn’t understand the care and diligence that a good subtitler makes and the difference they make within a whole community.
Photo from Pixabay

The subtitlers try to stick to genre-appropriate language as well. “Squelching” in a horror movie is meant to evoke disgust. The sound would be described differently in a Regency-era picture or comedy. It’s all about creating atmosphere.

The title of the Vulture article is, Wet Writhing and Eldritch Gurgling: A Chat With the Stranger Things Subtitles Team. It has more background information on how the team works and thinks.

Editor’s comment. For hearing people, there is a bonus. It’s like reading the book and viewing the story at the same time. It will be good if all subtitlers and captioners follow suit. Audio describers have the task of matching the vision to those sounds to create the same atmosphere.

Author: Jane Bringolf