Tag Archive for: accessibility

French National Accessible Digital Book Meeting

January 17th, 2019

After the success of the France’s National Day on Access to Books and Reading: Let’s Find Solutions Together , BrailleNet, Auvergne-Rhône-Alpes Book and Reading and The National School of Sciences of the World and libraries (Enssib) join forces again to organize the first National Accessible Digital Book Meeting.

With lectures in the morning and practical workshops in the afternoon, publishing professionals will be able to:

  • stay informed about industry developments to extend accessibility to all
  • become familiar with and / or improve their knowledge of digital accessibility
  • share their experiences and expectations

The event is aimed at all book and reading professionals and includes a session entitled: Ace by Example where Luc Audrain (Hachette Livre) and Fernando Pinto (EDRLab) will look at what the Ace by DAISY tool can test for and at the consequences of nonconformities for the reader.

Date

January 17, 2019

Venue

Enssib, Villerbanne, France

Learn More

Launching the New Edition of Fundamental Accessibility Tests for Reading Systems

A number of devices piled on top of each other

George Kerscher, Chief Innovations Officer at the DAISY Consortium, gives an overview of the newly updated Fundamental Accessibility Tests for Reading Systems, which will launch the January 2019 round of testing.

Over the last four years or so, the DAISY Consortium has been driving the testing of EPUB reading systems and apps. It is quite a challenge, but I think we have a pretty good methodology in place. This short article will give an overview of how the testing works and will provide an analysis of the value it delivers to various communities. Of special interest will be the newly updated Fundamental Accessibility Tests for Reading Systems.

The Methodology

The unique approach lies in the Fundamental Accessibility Tests for Reading Systems, which is an EPUB 3 publication. It is an all-in-one testing system containing uniquely identified pass or fail tasks that a person with a disability performs. The results, which indicate whether the tasks are supported or not, are recorded on epubtest.org. We know this test title is perfect from an EPUB conformance perspective, so if we experience difficulties we don’t need to wonder if there was a mistake in the EPUB. We can therefore confine our testing to the reading system/app and the assistive technology that is being used.

Three disability groups are targeted:

  • Persons who are blind and use screen readers
  • Persons who have low vision and use visual adjustments to make the title easier to see
  • Persons with learning differences such as dyslexia who rely on features such as increasing the line spacing or having the text read to them while the text is highlighted

An Example of a Test That a Person Who Is Blind Would Perform

A blind person like me uses a reading app with a screen reader. This reads the app menus and book contents using TTS (text to speech). Screen readers are available for computers, smartphones, and tablets, but not all apps work with them, including reading apps. This is why we test reading apps to make sure the fundamental accessibility features are supported.

The item below is a single test in the “Non-Visual” Reading chapter. Note, there are three parts:

  • It has the unique identifier for reporting
  • It gives the instructions for the test
  • It provides guidance as to what passes or fails

Reading-010 Initiate “read from here”

Focus on the beginning of a paragraph or a sentence and initiate reading. Reading should continue until interrupted by the user or at the end of the current document, e.g., current chapter.

The text being read should preferably remain in view, but this is not a requirement to pass the test.

Indicate Pass or Fail.

An Example of a Test That a Person with a Specific Learning Difference Would Perform

Individuals with reading differences such as dyslexia rely on personalization, and this can be critical as a learning strategy. For example, documents are printed onto colored paper using preferred fonts and spacing to make it easier to read and understand information. This personalization is now available in reading apps, and our tests for visual adjustments examine these capabilities.

Another essential strategy is reading the text on the screen while it is simultaneously read aloud. This dual mode of reading has been shown to improve comprehension and strengthen reading skills. The read-aloud feature is so important than many apps now include it. Read-aloud also gets its own section in Fundamental Accessibility Tests.

ReadAloud-610 Text is emphasized as it is spoken by read aloud

Activate the Read Aloud feature in the reading system.

When the Read Aloud is activated, the text being spoken should be emphasized visually using a contrasting color or any other means. As the reading continues, the emphasis should also move to the next section of text to be read.

Indicate Pass or Fail.

Who Benefits from all this Testing?

  • Developers of Reading Apps:  We have many developers who rely on our testing to improve their applications. We are happy to work directly with them to create a great reading experience for people who use their vision, audio, or braille (or as we say, with eyes, ears, and fingers!). We do not want to embarrass companies and we will withhold results while they improve their product. However, eventually we have a duty to other communities to publish our results. Fortunately, we are having great success with many developers of apps that are widely used, and they even ingest the title and make it available for use in their system; this has the added benefit of testing some of the advanced annotation capabilities.
  • Education Organizations: Universities and K-12 schools use the information and results that we publish to weed out applications that do not work for students with disabilities. In the US and other countries, it is a legal requirement to purchase accessible software and content. Once the information about the accessibility of specific products is known and made public, it makes it much easier for an educator to select an accessible product over one that could get them in trouble.
  • Assistive Technology (AT) Developers: Because we test using AT such as JAWS, NVDA, VoiceOver, Talkback, and Narrator, we often find that the reading app appears to be behaving properly but the AT is preventing a test from passing. Because we can pinpoint the problem and reproduce it broadly, we provide the information that the AT developer needs to fix the problem on their side.
  • Publishers: Publishers take note of the results. Many times, publishers provide guidance to customers about the applications that work for persons with disabilities and that support the accessibility features they are adding to their titles.
  • Libraries: DAISY Consortium libraries all over the world look at the results to get guidance for use in their services. We are seeing an increase in mainstream public library services being evaluated for their accessibility, and this will include the apps they use.
  • Persons with Disabilities: Of course, persons with disabilities themselves use the results and the guidance we publish to help them to decide which reading app to use. It really helps to get guidance because learning a new reading system can take a lot of time, and starting with one you know will work with your hardware and software configuration is a major benefit.

The Crowd Behind the Testing

We have a two-tiered method for recruiting testers. A core set of experts, including persons with disabilities, drive the development of the test titles and maintain the website and the results.  Most of these people have in their job description a work item to do work with accessibility testing at epubtest.org. Some come from publishing houses or reading system companies. Some are accessibility consultants who are hired by tech companies to test specific reading apps, and these folks often team up with volunteers to confirm their results are accurate. Some of the testers come from the education sector and are skilled with a wide range of AT used on their campus. Most people come from DAISY Consortium member organizations.

We have a second tier of crowd source volunteers. We started this in early 2018 and have been thrilled with the response. We now have more than 70 people signed up who contribute to the published results and we expect the number to increase. For those who love reading, a lot of tips and tricks to have a better reading experience with specific reading app and AT combinations are shared in this group.

We know that apps change frequently, and so does the AT. This usually results in better scores, but sometimes a change to the operating system, reading app, or AT makes things worse. The number of permutations that one can have is staggering, and this is why we love our crowd of testers.

What Happens in January 2019?

When we replace the old “Fundamental Accessible Reading System Tests” with the new one, the results on epubtest.org will change. Because there are new tests, the scores will change, and the site will show that the test needs updating. The last time we did this, the developers freaked out because they want to show off the accessibility work they had done. This time, we gave them advanced warning that a new title was coming out. We also plan to really “hit it” with the testing and update all the current apps ASAP. I certainly hope that by the end of January we will have most of the testing completed.

Resources

EPUB Test website: http://www.epubtest.org—where you can get the new test title from the test suite and you can also see the accessibility test grid.

Inclusive Publishing website: http://www.inclusivepublishing.org—for the Reading App Roundup with specific recommendations.

This article was written for Inclusive Publishing and for BISG where it has been cross-posted.

 

George Kerscher, PhD, began his IT innovations in 1987 and coined the term “print disabled.”  George is dedicated to developing technologies that make information not only accessible, but also fully functional in the hands of persons who are blind or who have a print disability. He believes properly designed digitally published materials and web pages can make information accessible to all people. George is an advocate for semantically rich content that can be used effectively by everybody.

As Chief Innovations Officer of the DAISY Consortium, Senior Advisor, Global Literacy, to Benetech, and member of Publishing Groups in the W3C, Kerscher is a recognized international leader in document access. In addition, he chairs the DAISY/NISO Standards committee and the Steering Council of the Web Accessibility Initiative and serves on the advisory board of the Institute of Museum and Library Services.

 

Inclusive Publishing Seasonal Survey 2018

Silhouette of a tree with colored clipart icons on the branches. The icons denote different types of survey and assesment images which are purely decorativeAs we rapidly approach the end of 2018, it’s the perfect time for us all to reflect on the progress we have made as a global industry in our work towards publications that can be enjoyed by all readers. Our short survey should only take a few minutes to complete and will allow us to share a snapshot of the community in the new year, as well as make progress towards identifying gaps in the current solutions, be they informational, technical, training provision or reference.

The survey can be accessed here —it is intended for publishing organizations. If you are not actively publishing content in digital formats we thank you for visiting, but ask that you do not complete this survey – we look forward to hearing your views another time and always welcome comments and suggestions though our Contact Form.

We very much value your contribution, and respect your privacy. No identifiable information you submit about yourself or your organization will ever be published or shared in any way.

Thank you once again for your participation. We look forward to sharing a general summary of responses on the Inclusive Publishing website in the new year.

The Big 5 US Higher Ed Publishers are Going All-In on Accessibility

AHG conference logo with conference details listed underneath the image of a mountain

I had the pleasure of organizing a session at the 21st Accessing Higher Ground conference in Denver in mid-November—a conference that is attended by a lot of folks from Disability Services Offices (DSOs) from across the US—to help those folks realize how much the big higher education publishers are doing to make their resources accessible, with a focus on accessible EPUBs.

“Born Accessible” is getting closer to the new normal!

The publishers on my panel were from Cengage, Macmillan Learning, McGraw-Hill Education, Pearson and Wiley, and they all had compelling stories to tell. While I don’t have space here to get into everything they had to say (the consolidated presentation is available here), the message was clear: they are not just working hard on accessibility, they’re getting it done. All of them are producing new resources as accessible EPUBs that align with the EPUB Accessibility 1.0 specification.

That means alt text—good alt text, done with an understanding of the nuances required to get it right—and in many cases extended descriptions of complex graphics as well. All of them are ensuring proper structuring and navigation. For resources that include media, most are providing closed captioning and transcripts. And those with math are providing MathML. They’re even working hard to get their tables right!

Cengage Learning logoBut it’s more than just the products themselves. The corporate cultures need to be accessibility aware. Cengage, for example, is putting a major focus on Universal Design for Learning (UDL), including a significant staffing commitment: a Director of Universal Design and Accessible Technologies is already on board, and an Accessibility/UDL Specialist and an Accessibility/UDL Coordinator are soon to be named.

Macmillan learning logo

Macmillan Learning’s presentation was all about the people and the processes, with a realization that just providing specs and expecting vendors to get it right is not sufficient. They have established a wealth of initiatives to foster knowledge of accessibility throughout their organization, with training and workshops that include vendors, creating a judgment free space to encourage motivation, participating in industry events and organizations, building a testing center in-house, and establishing an Advisory Board and Student Focus Groups to involve their constituents.

McGraw Hill Education logo

McGraw-Hill provided an in-depth look at the specifics, detailing both alternative text and extended descriptions not just for alignment but as captions and transcripts for audio and video content, enforcing contrast specs in their designs, use of MathML, using language tags at the page and phrase levels, and even tackling proper structuring of tables.

Pearson logoPearson stressed their end-to-end commitment to accessibility for both their content and platforms, all based on WCAG 2.0 AA conformance and alignment with EPUB Accessibility 1.0. They are putting a special priority on making these accessible resources easy for students to obtain and use, through initiatives like their partnership with VitalSource to establish the Pearson Accessibility Store, all resources of which are guaranteed to be accessible, and partnerships with Kurzweil and T-Base to integrate well with those key technologies.

Wiley logoWiley is doing all these good things too. (They came last due to alphabetical order.) They are addressing accessibility not just for going-forward content, but for legacy content as well, and expanding into other business areas outside of higher ed. Because of the diversity and technical nature of much of their content, they are working on discipline-specific alt text guidelines. And like several of the other speakers, they mentioned that they are working with Benetech on their Global Certified Accessible program, expecting to be certified this summer.

The message was clear: these folks are working hard on accessibility, and many of their products and platforms are much more accessible than students and DSOs realize. They’re doing this by aligning with standards and taking advantage of the right resources, like Ace by DAISY and the Accessible Publishing Knowledge Base. “Born Accessible” is getting closer to the new normal!

This event report was kindly submitted by Bill Kasdorf, Principal, Kasdorf & Associates

Call for Nominations: Accessible Books Consortium International Excellence Award 2019

ABC is now inviting nominations for the 2019 Accessible Books Consortium International Excellence Award for Accessible Publishing. This award recognizes outstanding leadership and achievements in advancing the accessibility of commercial ebooks or other digital publications for persons who are print disabled. Two awards will be presented, one to a publisher and one for an initiative.

You may nominate either your own organization/company or a third party anywhere in the world, and ABC encourages nominations of companies, organizations or individuals based in developing or least developed countries. The two awardees will be presented with trophies at the annual awards event held at the London Book Fair on Tuesday, March 12, 2019.

Please submit your application by Thursday, January 10, 2019 through the London Book Fair site.

CSUN Assistive Technology Conference, 2019

March 11th to 15th, 2019

The CSUN Assistive Technology Conference will be held in March this year and it promises to be as exceptional as ever. More than 5,000 people gathered last year to explore new technologies designed to assist people with disabilities.​ Registration begins on January 8, 2019 and of particular interest to inclusive publishing readers are the following sessions:

  • Accessibility Initiatives and Commitments from Major Higher Ed Publishers—March 13, 10.00am
  • EPUB 101: Essential briefing for all higher education professionals—March 14, 2.20pm
  • Using Microsoft Word to author accessible EPUB 3 publications—March 14, 3.20pm
  • Telling Images: The FOCUS/LOCUS Method for Accessible Image Description—March 14, 3.20pm

Date

March 11-15, 2019

Venue

Anaheim, California

Learn More

For further information and registration details visit the CSUN Conference website or review the complete list of sessions.

ebookcraft 2019

March 18th to 19th, 2019

ebookcraft is a two-day conference dedicated to ebook production—if you’re looking for a mix of practical tips and forward-thinking inspiration, you won’t want to miss it.The main conference day for ebookcraft 2019 will be held on Tuesday, March 19 with workshops on Monday, March 18. for the #eprdctn crowd for whom this conference is designed.

Early bird pricing is available until January 25, 2019 and newsletter updates are also available. Check back here for program highlights for the inclusive publishing community, as they are released by the organizers.

Date

March 18-19, 2019

Venue

Toronto, Canada

Learn More

To access registration and conference details visit the ebookcraft website.

Assistive Technology Industry Association Conference 2019

January 29th to 30th, 2019

The ATIA conference is an extensive assistive technology conference showcasing international excellence in the field. With 350+ sessions covering 10 topic strands the program is varied and exciting.

Date

Jan 29-30, 2019

Venue

Orlando, Florida

Learn More

Registration and conference details are available at the ATIA website

World-Leading Book Accessibility Initiative Creating the Dignity to Read

Handout rom the forum - diagram revelaing the inclusive publishing ecosystem - iinterested parties outlined in the following paragraphThirty individuals from more than 20 organizations met last week at Barangaroo for the third forum of the Australian Inclusive Publishing Initiative (AIPI) which is uniquely comprised of representatives from the ecosystem that makes books accessible to people with print disabilities, including libraries, publishers, authors, editors, print disability peak bodies, copyright experts, and government agencies.

Reflecting on two years of work since the first Marrakesh Treaty Forum, the AIPI mapped the next steps towards an accessible future of creating books to ensure all people, regardless of ability, have the dignity to read.

The AIPI was created in 2016 to address concerns that people are missing out on the joy and learning experience of reading books. It can take up to a year to convert a traditional book into a version that is suitable for someone with vision impairment or a print disability.

International book accessibility expert, Bill Kasdorf, opened the AIPI forum via web cast, commenting that the collaborative efforts of the Australian cohort is world-leading and inspirational. “There are other publishing industry groups across the globe that are further ahead in terms of technology, but the wide group of stakeholders AIPI has is actually world-leading, innovative and will ensure sustainability of outcomes,” Kasdorf said.

Josie Howse, a world authority on braille and large print services from the NSW Department of Education, has “never been so excited” by the developments in the print disability space. “In more than 30 years that I have been working on copyright access to files for people with vision impairment, this is the most exciting time I’ve experienced. The progress and stimulation felt with our third AIPI get-together is significant.”

Historically, print accessibility groups have come together but never with as many organizations under the one banner. “There was a round table for print disability in 1988 and an annual meeting since,” Ms Howse continued, “but the dynamics of now, largely due to the driving force of the Australian Publishing Association, is what’s making the difference.”

The fact we’ve progressed so much in a year, and we have achievable targets involving the widest group of stakeholders from publishing and the disability advocacy space, demonstrates the great momentum and opportunity we currently have.

Sonali Marathe from the Royal Institute for Blind and Deaf Children says this momentum through collaboration wasn’t always the case, “Two years ago, there was a divide between publishers and the print disability sector, but now we are a cohesive group. It’s a game-changer for the goal of creating book formats for all abilities to read and enjoy. The needs of people with a print disability is more widespread than some might think. Data from The Australian Bureau of Statistics highlights that there are one in five people in the community living with a permanent disability. Furthermore, more than 20% of these have some form of print disability which inhibits their experience of a standard print book. This initiative will enable so many more people to read for purpose and enjoyment.”

The AIPI working meeting ,with representatives from both sides, has resulted in a strong set of goals for 2019. Jess Coates from the Australian Digital Alliance said, “This year was particularly productive and has built nicely on previous years. The first year was big and I think we felt trepidation in what we were trying to achieve. The second year we had a lot of enthusiasm as a group and in 2018, we’ve been able to see outcomes. After the meeting today, you can say that things are really happening.One key task the group will work on,” Ms Coates says, “will be to create a digital knowledge hub. People have been asking what AIPI is doing and when this web platform is complete we will have a space to showcase what the group and industry has done. We will be able to share information about the regulatory framework publishers need to work within, guidelines for publishers and disability services personnel, and also conversations from the global context about developments in the inclusion and book accessibility milieu.”

The overarching challenge that the AIPI is working towards is called born-accessible publishing. This is where a master file holds the content of the book, which can then be exported into any format required: braille, audiobook, large font and more. It’s a process that requires new workflows for publishers, but one that has been piloted successfully by Sydney University Press (SUP). AIPI member and SUP Publishing Manager, Agata Mrva-Montoya, has shared her experience of creating born-accessible files through EPUB. One of the most time-consuming aspects of making a book’s content accessible is in describing images through what is called alt-text. “The alt-text of images in our workflow now goes to authors. They are best placed to provide content to describe any images in their books, so we get authors to write the alt-text and then we simply copy it in. It saves a lot of time and ends up being better content,”

Changes to the regulatory framework in which publishers operate are accelerating the need to find solutions. Since 2010, if a publisher has created a book that is not available in formats that consumers require, they are potentially in breach of the Disability Discrimination Act 2005. Lee Walker, President of the Australian Publishers Association and Director of School Publishing at Oxford University Press, says that besides the inherent desire to help more people to read books, “The changes in the legal space are key drivers for publishers to consider how to meet the problem of changing workflows. We want to create texts in various formats with ease—while safeguarding copyright for authors and publishers in the process.The print disabled community is quite vast. When you consider the ageing population, people with degenerative muscle disorders who can’t hold books, people with dyslexia—the market of people requiring books in non-traditional formats is not as narrow as one might first imagine.”

Greg Alchin, a member of AIPI from All Equal, explains the situation the book industry is in: “The book industry has a simple choice. They can either embrace publishing digital books to international accessibility standards or not. Accessible standards and modern formats such as EPUB enable publishers to reach a greater market, maintain better copyright control and diminish legal risks. Conversely publishers who choose to produce electronic books in outdated formats such as PDF fail to comply with accessibility standards and put themselves at great risk of lawsuits for not providing equal access. It’s like airbags with the car industry. By choosing to incorporate substandard airbags it has opened the industry to compensation lawsuits as well as the costly task of retrofitting better quality airbags in. The publishing sector stands to find itself in legal trouble if they don’t make changes soon. On a positive note, Australian publishers are making efforts to make their books more widely accessible and the AIPI group is working together to ensure their changes are fit for purpose,”.

The ultimate goal of AIPI is to make it as easy as possible for publishers to produce born-accessible content to the benefit of all readers. The AIPI group will continue to work towards a number of identified projects across the year. Further updates will be published on the APA News and the, soon to be developed, AIPI Knowledge Hub.

Inclusive Publishing will update its readers on AIPI’s progress and the projects that are identified for the future year.

This report was kindly submitted by The Australian Publishers Association. All images have been supplied courtesy of the Australian Publishers Association

The Sound of Silence

textBOX logo

One of the most challenging aspects of accessible publishing is understanding how to write immersive image descriptions for visually impaired and print disabled readers. Content providers are often uncertain about where to begin and how to integrate description work into their publishing process. The images included within digital content often remain silent to readers listening in audio format through screen readers, thereby negatively impacting learning outcomes and the joy of reading.

Legal, educational and commercial pressures are intensifying for content providers to now prioritize accessibility. Although resources and guidelines are readily available to help content providers establish accessible production workflows, the lack of available image descriptions continues to be a significant barrier to readers.

In a WebAIM survey conducted in December 2017, the most problematic content-related issues were the availability and quality of alternative text (alt-text) for images.(1) In addition, Bill Kasdorf stated in the January 2018 Learned Publishing special accessibility issue that “all of the publishers I interviewed – even extremely large publishers that have done extensive work on accessibility – find image descriptions to be probably the single biggest issue across all types of content.”(2)

For content providers, the decision comes down to choice. Who should create the descriptions for image content? Should it be the author of the work or a member of the editorial staff? Due to the complexity of the methodology, should it be outsourced to a specialist in a similar vein to indexing? Publishers may delay decision-making as a result of this predicament and elect to keep generic, inadequate and incorrect alt-text “image” tags.

There are a variety of resources to meet accessibility challenges and many companies are seeking to develop solutions. However, image description authoring services are still falling short of the detail necessary to capture image complexity. We can better understand the image description predicament by examining Utagawa Hiroshige’s 1857 print Sudden Shower over Shin-Ōhashi Bridge and Atake.(3)

A woodcut print by Utagawa Hiroshige depicts figures scattering during a sudden rainstorm on the Shin-Ōhashi bridge in Edo (now Tokyo) in 1857.

Microsoft Word includes a publishing tool for automated alt-text. For Hiroshige’s image, Word automatically assigns the following description: “A picture containing building, fence. Description generated with very high confidence.” This incomplete image description highlights the current limitations of alt-text automation.

So, what is the solution if publishers are struggling to find the best way forward and automated technologies generate deficient descriptions? textBOX addresses this challenge. We have a long-standing publishing background and a passion for promoting access for all readers.

The industry needs a simple, workable approach to image description and textBOX delivers it.

The objective of textBOX is to marry the art of immersive description with a scientific approach towards data analytics while adhering to industry standards.

textBOX’s solution is focus/LOCUS – a method for producing high-quality image descriptions. This approach deconstructs the image into key elements and builds the description using a pathway through individual components. The description becomes greater than the sum of its parts.

As the sighted reader will know, Hiroshige’s image is not a “building” or a “fence”, as interpreted by Microsoft Word. A more suitable alt-text description is:

A woodcut print by Utagawa Hiroshige depicts figures scattering during a sudden rainstorm on the Shin-Ōhashi bridge in Edo (now Tokyo) in 1857.

Hiroshige’s image may require a longer, more robust description in circumstances where detail is critically important (e.g., art history books or galleries). The focus/LOCUS method has been designed for this type of description:

The foreground is dominated by a wooden bridge on which seven figures are hurrying to avoid a heavy rainstorm. Two brightly-dressed women are traveling from right to left on the bridge, sheltering under their umbrellas. A man is following closely behind them wearing a conical hat and ducking down beneath the downpour. Three figures hurry in the opposite direction, huddled under a single umbrella. Before them walks a hunched-over figure covering his upper body with a cloak.

In the background, a boatman is steering his log raft along the river. A shadowy line of trees marks the bank of the river. The upper reaches of the picture are filled with ominous dark clouds and dark lines of rain streak across the face of the image. The positioning and postures of the figures in the image give a strong sense of movement and flight from the elements.

The reader’s understanding is increased because they feel the image is tangible and they are involved in the story.

“Writing useful alt-text is a bit of an art,” according to Google.(4) The objective of textBOX is to marry the art of immersive description with a scientific approach towards data analytics while adhering to industry standards. textBOX reveals to publishers that there is an opportunity to enrich their content and promote discoverability through image descriptions.

textBOX is the product of late nights, wide-ranging conversations and meticulous research. The foundation of our business is built on listening closely to the issues that content providers are experiencing and learning from the expertise of industry leaders, colleagues and friends. The accessibility community is overflowing with innovation and collaboration and it is this sense of community that has inspired us to embark on this path.

Inclusive Publishing plays a pivotal role within the accessibility community, the publishing industry and as a core resource for textBOX. We are delighted for the opportunity to share our thoughts and future goals through these pages.

Image description is challenging but it is also a fascinating field. We look forward to listening to content providers and working with the accessibility community to develop solutions and build a future where every image tells a story and every reader experience is equal.

For images, the sound of silence is far from golden.

To learn more about textBOX please visit the textBOX website, read our inaugural soapBOX blog post, or write to us at hello@textboxdigital.com.

References

  1. WebAIM Screen Reader User Survey #7 Results: https://webaim.org/projects/screenreadersurvey7/
  2. Kasdorf, B. (2018), Why accessibility is hard and how to make it easier: Lessons from publishers. Learned Publishing, 31: 11-18. doi:10.1002/leap.1146
  3. Utagawa Hiroshige, 1857. Sudden Shower over Shin-Ōhashi Bridge and Atake from the series One Hundred Famous Views of Edo. Public domain image. Metropolitan Museum of Art, New York https://www.metmuseum.org/art/collection/search/36461
  4. Kearney, M., Gash, D. and Boxhall, A., Text Alternatives for Images https://developers.google.com/web/fundamentals/accessibility/semantics-builtin/text-alternatives-for-images

This article was kindly submitted by Huw Alexander and Caroline Desrosiers, Co-Founders of textBOX.