The color blind test

Conceived as an investigation into theories and practices of visual perception, these prints explore the idea that artwork can be intentionally created to be experienced differently dependent on one's visual abilities. The software facilitates the embedding of messages revealed only to those with particular visual acuities or viewed using a smart device to digitally simulate those acuities.

Eye for an eye

Artist David Lyons and computer scientist David Flatla work collaboratively to create art that intentionally targets audiences of varying visual abilities mediated through smart device interfaces. Conceived as an investigation into theories and practices of visual perception, they explore the idea that artwork can be intentionally created to be experienced differently dependent on one’s visual abilities. They have created motion graphics and supporting recolouring and colour vision deficiency (CVD) simulation software. Some of the motion graphics communicate details specifically to those with colour blindness/CVD by containing moving imagery only seen by those with CVD. Others will contain moving images that those with typical colour vision can experience but appear to be unchanging to people with CVD. All the artwork is revealed for both audiences through the use of specially programmed smart devices, fitted with augmented reality recolouring and CVD simulation software. The visual elements come from various sources, including the Ishihara Colour Blind Test, movie marques, and game shows. The software created reflects the perceptual capabilities of most individuals with reduced colour vision. The development of the simulation software and the motion graphic series are examined and discussed from both computer science and artistic positions.

Circle squared: an interactive environment

Circle Squared by David Lyons and Raz Ullah, brings together large-scale projected motion graphics and a dynamic soundscape to create a playful, digitally interactive artwork. The sounds are drawn from heightened and abstracted recordings of the printmaking process, and these – along with the changing CMYK colour palette – are triggered by audience interactions with sensors and projectors within the installation.

Double blind test series

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.