|
|
|
|
|
|
Image descriptions are short paragraphs that verbally describe the appearance of images for the benefit of Web visitors who are unable to see them. They serve the same role in the visual arts as audio descriptions do for the performing arts, since both provide participants with a verbal impression of things they cannot perceive visually. As the examples below demonstrate, Access Art provides a description for every image, whether it is a simple graphic or a complex picture.
"This graphic is the Access Art logo. It is a stylized drawing of a computer monitor. On the monitor screen is an icon representing the front roofline and arches of The Dayton Art Institute. Across the bottom of the logo are the words ACCESS ART. The large letters are gold outlined in purple. Beneath that are the words THE DAYTON ART INSTITUTE in smaller purple letters. The computer monitor is purple and the logo itself is on a yellow background."
Japanese Edo period (1615 - 1868)
RABBIT IN THE MOON MENUKI, 18th - 19th century
Gold
Height 1/4 inch Width 1 7/8 inches
Gift of Mrs. Virginia W. Kettering, 1974.52.29
"This small metal object has a smooth, dark gold surface and is shaped to resemble a rabbit. The animal is shown from the front with its long, thin ears extending straight out to the sides. Lines suggesting eyes, a nose and mouth are etched onto the tiny face. Behind the head, the rabbit's plump body rises to a center point like a backbone. Beneath its rounded body are two small front feet with thin lines representing toes."
As is frequently the case with accommodations for people with disabilities, image descriptions are also beneficial for the general public. They are helpful for people who are unable to access images because of computer hardware or software limitations. And as indicated by positive responses from Art Institute patrons, descriptions are appreciated even by people with normal eyesight as they look at works of art. This may be because the descriptions point out details that they might not have noticed, or because people often welcome the perspectives of others on the topic of art.
Although referred to in various Web accessibility guidelines, there is currently no standard practice for incorporating image descriptions into Web pages. The HTML language includes a "longdesc" attribute for image descriptions (similar to the "alt" attribute for image alternatives), though this feature is inconsistently supported in current Web browsers. Another common technique is the "D-link," but it varies widely in its implementation. The WAI Guidelines refer to these and other techniques for including image descriptions, but do not dictate a particular method.
Access Art uses image descriptions as a supplement to text alternatives: a text alternative indicates what the image is, while an image description tells what it looks like. Text alternatives directly accompany the image itself, as described on the Image Alternatives page, while image descriptions are separate text paragraphs found in some other location. If the image is a simple graphic, such as a logo or icon, the description is found on the Graphic Descriptions page. For images of artwork, the description is on the same page that focuses on that individual object. Links to descriptions are prominently placed on a menu alongside links leading to other sources of information about the artwork, thereby presenting them as simply another resource for everyone, not just people with disabilities.
Developing quality image descriptions is a time-consuming task that should be done thoughtfully by individuals with excellent writing and editing skills. No instructions for doing so were available during the creation of Access Art, but in the course of developing the site a standard process emerged. This process is summarized in the six Recommendations below, which can be applied to other Web projects that involve images of artwork.
Recommendation One: Be Objective
The sole function of an image description is to describe the appearance of a work of art. In brief, it should simply answer the question, "What does the object look like?" Descriptions should avoid analytical interpretations or emotional responses. In other words, they need not explore questions like, "What does it mean?" or "How does it make you feel?" Descriptions help visitors to visualize an object, thereby creating a context for other information provided about the work, such as historical background, the artist’s style, or critical commentary.
Since artistic taste varies according to individual, image descriptions should not contain value judgments on the quality of the art object, nor the skill of the artist that created it. Objectivity should also be exercised when referring to characters portrayed in a painting or other work of art. Though it is appropriate to describe their appearance, clothing and actions, image descriptions should not attempt to explain their motivations or feelings, even if these are implied by gestures or context. If the emotions of the characters are obvious in the artwork, then they will likely be apparent in a straightforward description as well.
The following example contains part of the image description for a painting by Edward Hopper. The words used are deliberately objective, yet they convey the isolation of the scene.
Edward Hopper (1882 - 1967) American
HIGH NOON, 1949
Oil on canvas
Height 27 1/2 inches Width 39 1/2 inches
Gift of Mr. and Mrs. Anthony Haswell, 1971.7
"This outdoor scene shows a small house standing alone in a prairie. The house nearly fills the entire canvas, and it is the only object visible to the horizon . . . "Because Access Art provides different perspectives on each work of art, objective image descriptions can be supplemented with more subjective remarks. For example, visitors can access commentary about this painting from the Art Institute's Director, Alexander Lee Nyerges. Unlike the image description, Alex is free to express an emotional response to the work.
" . . . You look at this picture, which is hauntingly vacant, and you find a stillness of time which is so classically Hopper. The isolation, this eternal act of waiting, yet you also find the promise and hope of sunlight . . . "By synthesizing objective image descriptions and subjective commentary, visitors are able to draw their own emotional conclusions about works of art.
Recommendation Two: Be Brief
Although length will vary according to the piece of artwork being described, image descriptions should be as brief as possible. In some gallery settings, descriptions are presented as audio recordings read by a narrator. Other times they are provided as text that visitors have to read by themselves. In either case, extremely long descriptions are tiresome, so they should be limited to 250 to 300 words. Depending on the context, descriptions may be accompanied by catalogue data about the artwork (such as the artist's name and life span, title, artistic medium and dimensions). If so, this information need not be included in the overall word count.
For better word economy, descriptions should exclude redundant phrases like "rectangular in shape" or "blue in color," simply using "rectangular" or "blue" instead. Likewise, obvious statements such as "she wears a necklace around the neck" or "gloves on her hands" should be avoided.
Recommendation Three: Be Descriptive
Image descriptions should utilize a broad vocabulary of vivid terminology to describe various features of art objects. Some common terms are categorized below.
Shapes can be described as: square, cubed, rectangular, flat, straight, circular, spherical, cylindrical, curved, rounded, triangular, conical, pyramidal, angular, irregular, jagged, sloped, diagonal, horizontal and vertical. These words can be used not only to identify the overall shape of the object, but also to describe geometric patterns within it. Words that imply action ought to be avoided, unless the object actually does move; for instance, "curved" is preferable to "curving." Also colloquial terms such as "squiggle" or "zigzag" should not be used.
Size can be described as: small, tiny, short, miniature, large, tall, monumental, thick, thin, narrow, wide, life-size, true to size, large scale and small scale. The object's dimensions, provided with the catalogue data, will inform visitors of its actual size.
Texture can be described as: smooth, glossy, coarse, grainy, rough, worn, weathered, scratched, cracked, broken, rippled, grooved, patterned, striped, dotted and perforated.
Color can be described as: intense, vivid, bright, light, dark, dull, pale, faint, solid or blended. It is unadvisable to omit references to color on the assumption that they will be meaningless to visitors who are blind. First of all, descriptions will be used by people without visual disabilities. Second, many people who are now blind were able to see in the past and are able to recall colors. Third, colors sometimes have symbolic meaning in works of art (although interpretive phrases like "warm gold" or "angry red" should not be used).
Composition (or the arrangement of elements in a work) can be described as: low, high, above, below, parallel, perpendicular, in the foreground (or background), and to the left (or right).
Artistic technique can be described as: realistic, abstract, unnatural, simplified, detailed, precise, imprecise, sharply defined, blurred, splashed, brushed or stroked.
The example below illustrates both Recommendations Two and Three. The entire text is only 91 words, and since there is no recognizable subject, it relies heavily on descriptive language.
Norman Lewis (1909 - 1979) American
PREHISTORY, 1952
Oil on canvas
Height 25 3/4 inches Width 49 3/4 inches
Gift of the James F. Dicke Family, 1996.13
"This abstract painting presents many irregular shapes against an atmospheric background. Its muted color scheme includes light tan, reddish brown, gray and off-white. The top corners of the canvas are cream-colored, but the painting gradually darkens into reddish brown and dark gray near the bottom. In the center of this misty background are many vague forms of gray and reddish brown. Some have jagged points like spines protruding from their top or sides. Scattered among these forms are a few red streaks, and small dots of black, gray and reddish brown."Recommendation Four: Be Logical
In order to be easily understood, image descriptions must describe objects according to a logical sequence. Descriptions should begin with a general overview of what the object is and what it portrays, focusing first on context before providing any details. Depending upon what type of object it is, it may be appropriate at the outset to mention its color and surface texture, and perhaps its construction. Following this overview, the various portions of the object should be described in detail, in some orderly fashion such as left to right or top to bottom. After one portion of the work has been described, an explicit transition should be used to identify the next area and its spatial relationship to the last. In general, give directions from the perspective of the viewer looking at the work of art. For example, refer to the left or right side of a painting as if one was standing in front of it in a gallery. However, when describing characters within a work of art, it is better to use their perspective. This applies when mentioning a subject's "left hand" or "right shoulder."
As shown in the following excerpt, the placement of objects in a painting are described in relation to other elements, providing the visitor with an understanding of the overall composition of the work.
Stuart Davis (1894 - 1964) American
LANDSCAPE WITH BROKEN MACHINE, 1935
Gouache on paper
Height 15 1/4 inches Width 22 1/8 inches
Bequest of Virginia Rike Haswell, 1977.39
" . . . To the left of the barn is an area of crisscrossed black strokes like a shadow. Below the barn is a red and gray machine placed awkwardly on its side. Its large wheels and gears give it the appearance of a piece of farm machinery. To the right of the machine are two brown and angular tree branches that rise upward from the bottom edge of the picture. Between the branches, several small scenes are crudely rendered one above another . . . "Depending on their design, sculptures or other three-dimensional works will likely need to be described from more than one angle. A logical sequence should be used when doing so, as if the viewer was moving in a circle around the object. If part of an object is extremely complex, it is best to describe each segment separately, perhaps in a numbered sequence, as shown below.
Chimu Culture Northern Peru
FUNERARY MASK, ca. A.D. 1100 - 1400
Hammered gold, copper
Height 10 1/2 inches Width 16 1/2 inches
Museum purchase with funds provided by Mr. and Mrs. Ralf Kircher and Mr. Louis Jacobs, 1967.46
" . . . The complex eyes are made of a combination of four elements. First, flat against the surface of the mask are two large areas of dark metal, shaped like teardrops pointing outward. Second, in the center of each teardrop is a gold disk resembling a large pupil. Third, projecting from each disk is a thin metal spike about six inches long, angled slightly away from center. And fourth, pierced by each spike are two small gold balls . . . "When using descriptive words such as adjectives, it is often best to place them after the word they modify, so visitors know what the feature is before they are told what it looks like. For example, it may be preferable to use "his fingers are long and thin" instead of "he has long, thin fingers."
Recommendation Five: Be Accurate
Image descriptions are part of the overall learning experience of art patrons, so they should be factual and consistent with other sources of information about the artwork. Background research may be necessary to correctly identify historical figures, religious personalities, geographical locations, types of clothing, breeds of animals, architectural elements and so on. However, it is best to avoid jargon or specialized terminology that may be unfamiliar to most visitors. For example, the stylistic terms "abstract" and "realistic" are likely to be understood, but "Geometric Astractionist" and "French Academic" are not.
It is strongly recommended that a describer look at the actual object when making initial notes, because color and other details are most accurately observed in person. In other words, be sure to describe the object, not a picture of the object. When these notes are refined into the actual description, slides or photographs may be used as a reminder of the object's appearance and composition.
The works of art in the following two examples portray specific individuals or scenes, so the descriptions must refer to them briefly but accurately.
Andy Warhol (1928 - 1987) American
AMERICAN INDIAN SERIES (RUSSELL MEANS), 1976
Acrylic and silkscreen on canvas
Height 84 inches Width 70 inches
Museum purchase with funds provided by the C. F. Kettering Fund, 1987.153
"This rectangular work is seven feet tall and almost six feet across. It shows a greatly enlarged photograph of the Native American political activist Russell Means . . . "
"More than five-and-a-half feet high and four feet wide, this painting depicts the biblical scene in which Mary Magdalen approaches the resurrected Christ, who warns her to 'touch me not.'"Recommendation Six: Miscellaneous
Because visitors on a Web-based tour may access works of art in any order, writers of image descriptions should not assume that readers have followed a particular sequence. References to other artwork should not be made within a description, not even to works by the same artist or from the same gallery.
For the benefit of Web visitors using screen reading software, numbers should be spelled out as words, as in "nineteenth century" rather than "19th century," and "two and a half" instead of "2 1/2."
Descriptions ought not to assign gender to animals, such as "the dog stands on his hind legs."
If descriptions are going to be recorded by a narrator, some consideration should be given to the difficulty of reading complex phrases aloud.
Since most image descriptions will mention what people are wearing, the terms used to describe clothing can quickly become repetitive. Such redundancy can be minimized by alternating between phrases like "dressed in," "is wearing" and "has on," as shown in this example.
Attributed to the Tamara Master Spanish
THE LAMENTATION OVER THE DEAD CHRIST, ca. 1520
Oil on wood panel
Height 50 1/2 inches Width 45 3/4 inches
Gift of Dr. and Mrs. Hans Schaeffer, 1965.109
" . . . On the left side, Jesus' head is supported by the disciple John, who wears a red cloak and green robe. Like the rest of the mourners, John has thick streams of tears on his face. At the center, Mary the mother of Jesus kneels over the body. She has on a red gown covered by a dark blue hooded cloak. Her head is bent downward and her palms raised. To the right, kneeling near Jesus' feet, is Mary Magdalen, richly dressed in green and gold and wearing an ornate headdress . . . "Once image descriptions have been written and edited, several reviewers (including people with visual disabilities) should provide suggestions for improvement. As a final check, descriptions should be compared in person to the actual works of art in the galleries.