Accessible and multisensory interpretation

Guidelines for subtitling

• All film and video work that includes narrative must be subtitled
• Subtitling is a complex process and requires detailed guidelines. Ofcom/BBC guidelines are available online. We refer to these in producing our house style and aim to provide a consistent experience for viewers
• We aim to provide subtitles that allow viewers to read at the rate and rhythm of speech on screen. We position subtitles on the lower half of the screen and align centrally. We use white text on black background unless colour is needed to help the viewer identify multiple speakers. We use a wide font in sentence case 
• If a work is not subtitled, or not subtitled in an accessible way, when we receive it from an artist or lender, we will transcribe it and produce subtitles in a standard accessible format. This is a time-consuming process that can require close collaboration with the artist and the AV lead to ensure that the artist’s intent is not lost or altered
• Allow sufficient time for the subtitling process to ensure that the text is accurate, readable and well-timed

Guidelines for Braille labels 

• Text-to-Braille transcription should be sourced from a certified provider and should be in line with national guidelines. In the UK these guidelines are available from the UK Association for Accessible Formats
• Transcriptions and specifications for production should be provided to 2D designers and then proofed and approved by the transcriber. Where possible, Braille translations should be user-tested in situ before final sign-off and production
• In long-term installations, Braille translations should be updated and evaluated regularly to ensure accuracy and relevance

Guidelines for British Sign Language and transcription

• Audio-only work should be accompanied by recorded British Sign Language and a written transcript
• If audio is BSL interpreted, the interpretation should follow the same pace as the audio
• All recorded BSL interpretation should be subtitled. Subtitles should be added to the final edit. Consider the pace of subtitles in relation to BSL on screen. Consult with Deaf people in situ before making the content available to the public
• In long-term installations, BSL interpretation should be evaluated and updated regularly to ensure accuracy and relevance
• Screens showing recorded BSL interpretations of audio content, as well as audio and print transcriptions of hard-to-read content, should be co-located with the audio work and easy to access
• Transcripts should be designed and produced to a high standard as standalone items in line with the design and production values of exhibition texts

Download the transcript template:

Wellcome Collection Audio Transcripts template

Guidelines for use of QR codes in the gallery to link to content online

• QR codes should be used as sparingly in galleries as possible
• Every QR code should clearly relate to a physical object or experience
• Every QR code should be clearly labelled with what it does when you scan it, and the language used should be consistent across the gallery
• Every QR code should be non-invasively tracked so that we can measure whether people are actually using them
• QR Codes should be used primarily to support the use of visitors’ own devices
• Content accessible through QR codes should mostly be limited to interpretive and enriching content relating directly to the exhibition or installation that the visitor is in
• QR codes should generally not lead to marketing content or substantial content not immediately related to the gallery experience

Visual stories

A visual story is a way of gathering and visualising key information about what to expect about an experience in advance (such as who, when, what, where, why). It often takes the form of an illustrated narrative that is accessible from an exhibition’s web page. For some visitors, reducing uncertainty through such a narrative can help to reduce anxiety about what to expect during the experience.

Consultation with autistic people has helped us to identify the following features that may be helpful in compiling a visual story for an exhibition:

• Consider mapping and grading the sensory intensity of an exhibition’s content (such as low to loud audio volume, smells, high to low lighting levels, types of tactility)
• Give particular messages or warnings about an exhibition’s content (such as sexually explicit or potentially sensitive content)
• Consider a suggested route to follow. Also indicate opportunities to step out of a route or bypass certain elements
• Mention the frequency or likelihood of particular types of interruption (such as tannoy announcements, public tours and performances)
• Clarify the “rules of engagement” (such as “all activities are optional”, “exhibitions are free of charge”, “food and drink are not allowed”)
• Signal where we invite subtle changes to a ‘typical’ exhibition-viewing experience (such as performative or participatory works in an exhibition)