Double blind test series

Research output: Contribution to conferenceAbstract

Abstract

Braille is a communication tool in decline, in America by 80% since 1950, and in the UK to the extent that only 1% of blind people are now thought to read Braille.1, 2 There are a variety of causal factors, including the phasing out of Braille instruction due to the educational mainstreaming of blind children and the resistance to learning Braille by those who lose sight later in life.3
Braille is a writing system of raised dots that allows blind people to read and write tactilely. Each Braille character comprises a cell of six potentially raised dots, two dots across and three dots down. It is designed only to communicate the message and does not convey the tonality provided by visual fonts.However, in his book Design Meets Disability, Graham Pullin, observes that: “Braille is interesting and beautiful, as abstract visual and tactile decoration, intriguing and indecipherable to the nonreader ” and continues; “…braille could be decorative for sighted people.”4
I assert that the increasing abandonment of Braille frees it from its restrictive constraints, opening it to exploration and experimentation, and that this may result in Braille becoming dynamic expression for the sighted, as well as the partially sighted and blind.
Printmaking is well suited for this exploration. Printmaking processes and techniques can result in prints aesthetically compelling to both senses of sight and touch. Established approaches, such as flocking, varnishes, puff-ink, embossing and die cut, combined with experiments in new techniques in laser cutting and 3D printing, create visually and texturally vibrant prints.
In this paper I will detail my systematic investigation of sensually expressive printmaking concentrating on the issues surrounding Braille as a printmaking design element paying particular attention to the approaches and techniques used not only in producing its visual style but to those techniques used to keep it integrally tactile.
Original languageEnglish
Number of pages1
Publication statusPublished - 29 Aug 2013
EventImpact 8 International Printmaking Conference: Borders & Crossings: the artist as explorer - Duncan of Jordanstone College of Art & Design, Dundee, United Kingdom
Duration: 23 Aug 20131 Sep 2013
Conference number: 8
http://www.conf.dundee.ac.uk/impact8/home/

Conference

ConferenceImpact 8 International Printmaking Conference
Abbreviated titleImpact
CountryUnited Kingdom
CityDundee
Period23/08/131/09/13
Internet address

Fingerprint

Varnish
Ink
Printing
Lasers
Communication
Experiments

Cite this

Lyons, D. (2013). Double blind test series. Abstract from Impact 8 International Printmaking Conference, Dundee, United Kingdom.
Lyons, David. / Double blind test series. Abstract from Impact 8 International Printmaking Conference, Dundee, United Kingdom.1 p.
@conference{7d6203c0da0d4972a12fe0cf88d57f18,
title = "Double blind test series",
abstract = "Braille is a communication tool in decline, in America by 80{\%} since 1950, and in the UK to the extent that only 1{\%} of blind people are now thought to read Braille.1, 2 There are a variety of causal factors, including the phasing out of Braille instruction due to the educational mainstreaming of blind children and the resistance to learning Braille by those who lose sight later in life.3Braille is a writing system of raised dots that allows blind people to read and write tactilely. Each Braille character comprises a cell of six potentially raised dots, two dots across and three dots down. It is designed only to communicate the message and does not convey the tonality provided by visual fonts.However, in his book Design Meets Disability, Graham Pullin, observes that: “Braille is interesting and beautiful, as abstract visual and tactile decoration, intriguing and indecipherable to the nonreader ” and continues; “…braille could be decorative for sighted people.”4I assert that the increasing abandonment of Braille frees it from its restrictive constraints, opening it to exploration and experimentation, and that this may result in Braille becoming dynamic expression for the sighted, as well as the partially sighted and blind.Printmaking is well suited for this exploration. Printmaking processes and techniques can result in prints aesthetically compelling to both senses of sight and touch. Established approaches, such as flocking, varnishes, puff-ink, embossing and die cut, combined with experiments in new techniques in laser cutting and 3D printing, create visually and texturally vibrant prints.In this paper I will detail my systematic investigation of sensually expressive printmaking concentrating on the issues surrounding Braille as a printmaking design element paying particular attention to the approaches and techniques used not only in producing its visual style but to those techniques used to keep it integrally tactile.",
author = "David Lyons",
note = "TITLE: Borders & Crossings: the artist as explorer First Published in the United Kingdom in 2014 by: Duncan of Jordanstone College of Art & Design University of Dundee ISBN: 1 899837 70 1 Edited by: Paul Liam Harrison, Emile Shemilt, Arthur Watson BUT NOT SURE, IF THIS TALK WAS PUBLISHED THERE! PROBABLY NOT!!!; Impact 8 International Printmaking Conference : Borders & Crossings: the artist as explorer, Impact ; Conference date: 23-08-2013 Through 01-09-2013",
year = "2013",
month = "8",
day = "29",
language = "English",
url = "http://www.conf.dundee.ac.uk/impact8/home/",

}

Lyons, D 2013, 'Double blind test series' Impact 8 International Printmaking Conference, Dundee, United Kingdom, 23/08/13 - 1/09/13, .

Double blind test series. / Lyons, David.

2013. Abstract from Impact 8 International Printmaking Conference, Dundee, United Kingdom.

Research output: Contribution to conferenceAbstract

TY - CONF

T1 - Double blind test series

AU - Lyons, David

N1 - TITLE: Borders & Crossings: the artist as explorer First Published in the United Kingdom in 2014 by: Duncan of Jordanstone College of Art & Design University of Dundee ISBN: 1 899837 70 1 Edited by: Paul Liam Harrison, Emile Shemilt, Arthur Watson BUT NOT SURE, IF THIS TALK WAS PUBLISHED THERE! PROBABLY NOT!!!

PY - 2013/8/29

Y1 - 2013/8/29

N2 - Braille is a communication tool in decline, in America by 80% since 1950, and in the UK to the extent that only 1% of blind people are now thought to read Braille.1, 2 There are a variety of causal factors, including the phasing out of Braille instruction due to the educational mainstreaming of blind children and the resistance to learning Braille by those who lose sight later in life.3Braille is a writing system of raised dots that allows blind people to read and write tactilely. Each Braille character comprises a cell of six potentially raised dots, two dots across and three dots down. It is designed only to communicate the message and does not convey the tonality provided by visual fonts.However, in his book Design Meets Disability, Graham Pullin, observes that: “Braille is interesting and beautiful, as abstract visual and tactile decoration, intriguing and indecipherable to the nonreader ” and continues; “…braille could be decorative for sighted people.”4I assert that the increasing abandonment of Braille frees it from its restrictive constraints, opening it to exploration and experimentation, and that this may result in Braille becoming dynamic expression for the sighted, as well as the partially sighted and blind.Printmaking is well suited for this exploration. Printmaking processes and techniques can result in prints aesthetically compelling to both senses of sight and touch. Established approaches, such as flocking, varnishes, puff-ink, embossing and die cut, combined with experiments in new techniques in laser cutting and 3D printing, create visually and texturally vibrant prints.In this paper I will detail my systematic investigation of sensually expressive printmaking concentrating on the issues surrounding Braille as a printmaking design element paying particular attention to the approaches and techniques used not only in producing its visual style but to those techniques used to keep it integrally tactile.

AB - Braille is a communication tool in decline, in America by 80% since 1950, and in the UK to the extent that only 1% of blind people are now thought to read Braille.1, 2 There are a variety of causal factors, including the phasing out of Braille instruction due to the educational mainstreaming of blind children and the resistance to learning Braille by those who lose sight later in life.3Braille is a writing system of raised dots that allows blind people to read and write tactilely. Each Braille character comprises a cell of six potentially raised dots, two dots across and three dots down. It is designed only to communicate the message and does not convey the tonality provided by visual fonts.However, in his book Design Meets Disability, Graham Pullin, observes that: “Braille is interesting and beautiful, as abstract visual and tactile decoration, intriguing and indecipherable to the nonreader ” and continues; “…braille could be decorative for sighted people.”4I assert that the increasing abandonment of Braille frees it from its restrictive constraints, opening it to exploration and experimentation, and that this may result in Braille becoming dynamic expression for the sighted, as well as the partially sighted and blind.Printmaking is well suited for this exploration. Printmaking processes and techniques can result in prints aesthetically compelling to both senses of sight and touch. Established approaches, such as flocking, varnishes, puff-ink, embossing and die cut, combined with experiments in new techniques in laser cutting and 3D printing, create visually and texturally vibrant prints.In this paper I will detail my systematic investigation of sensually expressive printmaking concentrating on the issues surrounding Braille as a printmaking design element paying particular attention to the approaches and techniques used not only in producing its visual style but to those techniques used to keep it integrally tactile.

M3 - Abstract

ER -

Lyons D. Double blind test series. 2013. Abstract from Impact 8 International Printmaking Conference, Dundee, United Kingdom.