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Updating happiness, art commission

Inclusive Exhibition Design Toolkit

Thanks

Particular thanks to all individuals who have taken part in consultation sessions. Your responses have been essential in informing and shaping this research. 

We would also like to thank the following contributors, consultants and critical friends:

Helen Hamlyn Centre for Design, Royal College of Art

Research Centre for Museums and Galleries, University of Leicester

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Living with Buildings

Principles for positioning audiovisual work in an exhibition space

Guidelines and measurements for exhibiting audiovisual work

Audiovisual work

A visitor watching a film on a table mounted screen in the ‘Living with Buildings’ exhibition. The angle of the screen can be adjusted to suit the visitor. There is a single seat but also space for a wheelchair to approach.

When deciding the position and installation of AV work, consider the following for each installation:

Whether the work is intended to be viewed by individuals or by groups

AV display size in relation to viewing range. The larger the display, the further back the viewing point and optimum area for sound

Clearly indicate the duration of the piece on the object label

The position of an AV piece in relation to exhibition flow and visitor dwell times. Will it cause bottlenecks? Can it be set aside from the main flow of the exhibition? Does it require an acoustic barrier? Does it require blackout viewing conditions? 

If the work is open-ended and looped, how long do you anticipate visitors will want to spend interacting with it?

Can visitors clearly hear sound connected to AV objects and interactives? Indicate on the interpretation label if there is no sound

Can sound clashes be prevented by the spacing and positioning of AV objects? If not, consider whether acoustic barriers can be created with surrounding ceilings, walls or floors

If AV content requires a separate viewing room, ensure that space for wheelchairs is easy to access and that seating is highlighted and easy to locate. T-loop signage should be displayed on the outside of the booth and the optimum area for T-loop reception should also be clearly highlighted inside the space (for example, on a seat surface)

Entrances to screening spaces should be 1500 mm wide and easy to navigate. Consider how to achieve this while maintaining sufficient blackout and preventing glare on screens or projections

Visitors watching a film installation in the ‘Being Human’ gallery. Bench seating is positioned offset to the centre of the screen to allow a wheelchair alongside.

When deciding the method of display for audiovisual content, it is the collective responsibility of the project team to consider the following:

Seating is required for any time-based work (film, video or sound piece) lasting more than ten minutes. This should include a minimum of two seats, with space for one wheelchair alongside. The position of the seat and the space provided for a wheelchair should have equal vantage point.

A centre line of 1200–1500 mm above the floor is a comfortable height for most visitors to view wall-mounted, ceiling-mounted or freestanding screens and projections

Table-mounted screens and interactives mounted on a tabletop surface of 800 mm above the floor will allow most visitors to interact with the screen from a comfortable position

Table-mounted screens should be angled towards the visitor, ideally on a flexible mount so that angles can be adjusted to different viewpoints

Knee space (approx. H 700 mm x D 400 mm x W 700 mm) under tabletops will allow most wheelchair users to get close to the screen face-on

Controls should be accessible to those with limited dexterity. Consider using simple push buttons or sliders which are well spaced apart. Provide clear instructions with images if appropriate

Induction loops will be provided for work with an audio element. These should be clearly indicated with a T-loop label alongside the object’s label. We use the standard white on blue colourway for T-loop labels

The loop will need to be located near or in the viewing area or bench. Where appropriate, the optimum area for sound (for example, under a directional speaker or T-loop) can be indicated using a floor vinyl

Any AV designed to support or enhance interpretation (such as British Sign Language, enlargements or transcripts on screens) should be co-located with the object that it relates to and clearly signposted.

See the Accessible and multisensory interpretation section for our guidelines on subtitling, British Sign Language interpretation and transcription.

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Misbehaving Bodies gallery guides

Gallery guides and large-print guides

Gallery guides on display at the entrance to the ‘Misbehaving Bodies’ exhibition.

We produce a gallery guide for every exhibition at Wellcome Collection. Certain key elements of style and content are consistent across all exhibition guides:

Fonts have a minimum x height of 1.75 mm (equivalent of Arial 9.5 pt). Leading should be greater than the x height of the letters. Line length should be no longer than 55 characters. Text should be left-aligned, with right margins kept ragged

Paper size is 140 x 210 mm, but the page count can vary

Paper inside the guides is uncoated white 100 gsm. The cover paper stock can be unique to each exhibition 

Position of exhibition title piece, in black or white

Position of the Wellcome Collection logo block, in black or white

Position of the dates of exhibition, in black or white

Beyond that, each gallery guide uses the exhibition’s unique title treatment, graphic identity and fonts. 

There are no further restrictions on the type of content or internal layout contained in a gallery guide, which is to be devised by the exhibition’s curator in collaboration with the graphic designer.

Wellcome Collection Gallery Guide templates

The cover of a large-print guide in the ‘Being Human’ gallery.

We produce a large-print guide for every exhibition at Wellcome Collection. The style and content of these is consistent across all exhibitions:

“Large print guide” clearly printed on front cover

Shaded eye symbol clearly printed on top and bottom corners on front and back covers

Fonts have a minimum x height of 3.3 mm (equivalent of Arial 18 pt). Leading should be greater than the x height of the letters. Line length should be no longer then 55 characters. Text should be left-aligned, with right margins kept ragged

Maximum contrast of type colour on its background

Inclusion of all exhibition texts: introduction, section panels, labels and any other print interpretation (such as transcripts)

“You are here” indicators (for each section) to show the visitor where they are in the exhibition’s flow and map

Indicators for any accessible elements such as touch objects, T-loop symbols, audio description 

Position of the Wellcome Collection logo block

Spiral-bound with stiff backing and card cover

If texts are long, the large-print guide may be heavy and unwieldy. It may be preferable to split the guide into sections, in which case we will need to consider where in the exhibition design to place them.

If a gallery guide’s content is different from the exhibition’s text panels, we will also produce a large-print version of the gallery guide, using the same template as the large-print guide.

Wellcome Collection Large print Guide templates

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Somewhere in Between

Principles for accessible and multisensory interpretation

Guidelines for British Sign Language and transcription

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

Accessible and multisensory interpretation

An interpretation panel in the ‘Somewhere in Between’ exhibition. The interpretation includes text, sound and BSL interpretation on a small screen located with the sound and text.

One size does not fit all, and we aim to provide layered interpretation in a range of formats. 

Consider how you might expand and enhance the ways in which an object or theme can be understood by appealing to different sensory preferences and meeting different abilities.

In some cases this may mean addressing specific barriers by providing interpretation in accessible formats such as Braille transcription and BSL interpretation. This can also mean providing audio transcription, audio description, and tactile and multisensory elements. 

If these are provided, please ensure that they are easy to identify and, ideally, co-located with the objects or themes that they relate to.

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

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

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

Wellcome Collection Audio Transcripts template

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

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)

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Living with Buildings threshold

Locating gallery guides and large-print guides in the exhibition space

Threshold and signage

Image of gallery threshold and introductory text in the ‘Living with Buildings’ exhibition.

We want our visitors to feel welcomed and confident at the threshold of every exhibition.

This means we consistently provide the following key elements:

Visual cues to link the threshold to the marketing campaign so that visitors know they’ve arrived at the right place

Clear and consistent signage to indicate where to enter/exit and whether to push or pull the doors

Communication of gallery rules (no photography, no food/drink, do not touch)

Warnings of sensitive or explicit content or significant environmental effects (low lighting, strobe)

Easy-to-find distribution points for gallery guides, large-print guides and any other handheld interpretation

Good views through the space so that visitors can understand the exhibition layout, including the locations and frequency of rest stops

Gallery 2 has two thresholds. The east lobby is primarily accessed by the spiral stairs and the core lobby is easily accessible by lift. When both entrances are in use, the two thresholds should be given equal status. If it is necessary to use a single entrance, we consider how signage can be used to direct visitors to the exhibition’s start point. 

Gallery guides and large-print guides should be distributed from points that are easy to find (not obstructed, in high contrast with their surroundings and clearly signposted). The two should be co-located and given equal status. 

Guide distribution shelves or boxes should be clearly visible from the exhibition entrance.

If there is a large-print guide for each section of an exhibition, these should be located alongside section text panels throughout the exhibition.

We produce instructional and directional signage in a consistent style for every exhibition at Wellcome Collection:

Sizing can vary for different usage but should be clearly visible 

Maximum contrast in colour should be used

We use a combination of clear text and simple symbols

Consistent messages for all galleries: Entrance/Exit and Push/Pull, No food or drink, No photography (if applicable), CCTV in use

Particular messages or warnings about the exhibition’s content (such as ‘This exhibition includes sexually explicit content’ or ‘This exhibition contains human remains’)

Particular messages about the gallery environment (such as ‘In the interest of object care, low lighting is used across this exhibition’ or ‘This installation includes strobe lighting/loud intermittent sound’)

Consistent signage through the exhibition: Do not touch/Please touch; No photography (if applicable); Induction loop (where applicable).

Download the template for directional signage:

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Being Human object labels

Our design vision

Object labels with text, Braille and a tactile panel in the ‘Being Human’ gallery. The tactile panel allows visitors to touch a representation of the object on display.

This is Wellcome Collection’s toolkit to help project teams make exhibitions that are inclusive and accessible. We have developed these guidelines in consultation with D/deaf, disabled and neurodivergent people with diverse lives, perspectives and experiences.

We see inclusion as an opportunity for creativity and innovation, an opportunity to commission bold and beautiful design that creates a positive experience for all our visitors. We want to work with designers who take the same view.

This toolkit has been developed in the context of our Strategic Direction for Access, Diversity and Inclusion. It has been informed by consulting on prototype designs, evaluating completed exhibitions and learning through feedback. 

Strategic Direction for Access, Diversity and Inclusion

We’ll keep developing it as we learn more, and we offer it for use by anyone who might find it helpful. If you have any comments for how it might be improved, please contact us:

Creates a welcoming and positive experience for all

Is informed by consultation, lived experience and empathy rather than assumptions about preferences and needs

Is underpinned by the social model of disability

Responsibility for access and inclusion is shared by all.

We want everyone in our exhibition project teams to be motivated to advocate for inclusive design throughout the design and development process.

When considering a design solution or content proposal that is new to us, we will prototype and consult with D/deaf, disabled and neurodivergent people. 

Consultation can benefit every stage of exhibition design, and we encourage project teams to build it into their process, especially when developing new or innovative design solutions.

Our exhibitions are aimed at a 14+ audience. We have developed our design guidelines with this audience in mind.

At stages of design that require sign-off, we always assess accessibility and inclusivity (as specified in these guidelines), alongside curatorial vision, object care, and health and safety.

When an exhibition is open, we regularly consult D/deaf, disabled and neurodivergent people to ensure that designs are well realised and that the complete experience is inclusive.

Throughout an exhibition’s run we also analyse visitor comments (seen on social media, directly offered or solicited by our staff). This feedback is wrapped into the project’s evaluation and fed back into these guidelines and our project development process.

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Guidelines and measurements for positioning introduction and section texts 

Guidelines and measurements for object labels 

Exhibition texts

An angled label and a sound handset mounted on an object display case in the ‘Living with Buildings’ exhibition.

Exhibition texts should support visitors in navigating an exhibition, following its flow, understanding its themes and engaging with its content.

We use a clear, concise and consistent approach to the writing and design of exhibition texts.

The design and layout of all exhibition captions and panels is developed by the 2D designer working closely with the curator

The positioning of these texts is the shared responsibility of the curator, 3D designer and 2D designer, and requires careful collaboration 

Text panels and labels should be plotted onto gallery wall elevations and object case design drawings through the design development process 

Exhibition texts usually include a title panel, an introduction, section texts and object labels. This might include labels for clusters or groups of objects

The legibility and clarity of all exhibition graphics should be tested in the gallery, under gallery lights, printed to actual size on the proposed media. It is usually possible to set up a test in a prior exhibition on a day that the gallery is closed to the public

It is the shared responsibility of the 3D designer, 2D designer and the lighting designer to ensure that exhibition texts are well-lit (particularly avoiding shadow and glare) while working within agreed light levels for object conservation. Ensure that lighting designers work from plans and elevations that include the positions of all texts when they design the lighting scheme and specify numbers of lights

Diagrammatic illustration showing a range of wall-mounted text panels and their preferred eyeline measurements.

Introduction and section text panels should easy to identify and should allow multiple visitors to fan out and read at once

Section panels should be mounted in consistent positions at the beginning of each section or theme

Section texts should be centered at 1200–1500 mm above the floor when vertically mounted

Section text fonts should have a minimum x height of 20 mm (equivalent of Arial 60 pt). Leading should be greater than the x height of the letters. Line length should be no longer than 55 characters. Text should be left-aligned, with right margins kept ragged

Text should be in good visual contrast with its background. Backgrounds should be plain and unpatterned. Text and background substrate should be matte

Due to variations across fonts and methods of production, we do not rely on the above as our only measure of legibility. It is important to test sample texts with the Visitor Experience Team at as early a stage as possible

Diagrammatic illustration showing a range of case, plinth and wall mounted labels and preferred eyeline and angle measurements.

Whether producing one label for each object or cluster labels for a group of objects, texts should be placed in consistent and clear relationship to objects and other interpretative materials

Labels for objects on walls should be mounted at a consistent height – with the top line between 1000 mm and 1350 mm from the floor

Labels for objects in cases should also be positioned in consistent relationship to objects, the hood and the case top edge. Case labels should be positioned outside case hoods and should be angled rather than flat. 10–20° is a comfortable angle for many visitors on an 800 mm high case surface

Object label fonts should have a minimum x height of 3.5 mm (equivalent of Arial 18 pt). Leading should be greater than the x height of the letters. Line length should be no longer than 55 characters. Text should be left-aligned, with right margins kept ragged

Text should be in good contrast with its background. Backgrounds should be plain and unpatterned

Due to variations across fonts and methods of production, we do not rely on these as our only measure of legibility. It is important to test sample texts with the Visitor Experience Team at as early a stage as possible.

Research has shown that many visitors wish to access exhibition texts online. This allows text content to be read or converted into speech using preferred accessibility settings embedded on personal devices. This also allows visitors to access the texts before or after their visit. These texts should be provided in accessible formats such as HTML. 

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Inclusive Exhibition Design Toolkit

Our design vision

Threshold and signage

Circulation and rest

Object display

Audiovisual work

Lighting

Exhibition texts

Gallery guides and large-print guides

Accessible and multisensory interpretation

Thanks

Inclusive Exhibition Design Toolkit

Our design vision

Threshold and signage

Circulation and rest

Object display

Audiovisual work

Lighting

Exhibition texts

Gallery guides and large-print guides

Accessible and multisensory interpretation

Thanks

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