Assisting People Who Are Blind or Have Low Vision

There are approximately 10-11 million blind and visually impaired people in North America (American Foundation for the Blind, October, 2000).

A person who is legally blind can see at 20 feet what a person with vision can see at 200 feet. Total blindness is the complete absence of vision and light perception. Patrons with vision loss will range from those who are completely blind to those who can’t adjust quickly to changes in lighting conditions. However, many people with vision loss have light perception or may see various images or fields of images.

Remember These Basic Tips:

• Introduce yourself. State your name and function at the museum (i.e. docent or staff position, etc.). Use a normal tone of voice, there is no need to yell or exaggerate your speech.
• Use the person’s name, or touch their arm when starting a conversation so they know you are talking to them and they can determine your location in the room. Tell the person if you leave or move away from the conversation.
• It’s always appropriate to offer your help; just don’t be surprised if he’d rather do it himself. And when he does do it, it isn’t necessary to applaud.
• If a person gives you permission to walk with him, don’t grab his arm — let him take yours. After that, it’s something like dancing; from the motion of your body, he can tell when you come to curbs, or steps, or turns. To avoid surprises he may walk a half step behind you.
• When sitting down, guide the person’s hand to the back of the chair and tell him or her whether the chair has arms.
• When giving directions, be as clear and specific as possible. For example: Instruct the individual to “move forward or continue in your path of travel” rather than “go straight” or “straight ahead”. Identify landmarks that their cane may encounter like a potted plant, water fountain, or noises like a humming soda machine. Estimate the distance in steps. Point out obvious obstacles in the direct path of travel as well as changes in surface level such as stairs or ramps, and floor textures such as carpet and wood floors.
• Announce when you come into a room, especially if you’re wearing sneakers. Same for leaving.
  

Assisting People Who Use Dog Guides or Canes

There are basically three ways people who are blind or have low vision travel: With a dog guide, with a cane, and without adaptive assistance.

Dog Guides. While the dog is in harness that dog is “working” and you should never pet, talk to, feed, or otherwise distract it. Some people prefer that you walk behind their left or right shoulder and give verbal direction. Others may wish you to walk on the opposite side, away from the dog. Always ask the patron which he or she prefers.

The patron may opt to have the dog follow you or else ask you to be a sighted guide. If the dog follows you, be aware that it is easy to get separated in a crowd and that it is useful for you to give verbal directions and warnings.

People who use canes will either follow you or ask you to be a sighted guide. Walk on the side opposite the cane. Patrons detect objects and potential obstacles by swinging the cane in a wide arc but cannot detect overhangs (i.e. exhibit cases, wall mounted signs, etc). You need to verbally warn them of these potential obstacles.

People who don’t use dog guides or canes frequently do not appear blind. It is important not to make assumptions concerning how much a person can see simply by the way they look. The person still may benefit from the use of a sighted guide. They may have limited vision or difficulty with light and shadow perception.

When conducting a tour that includes people who are blind or who have low vision remember:

• Make descriptions of art vivid. Use descriptive words, such as snarling tiger, billowing clouds, soft as cotton, angry sea, and cold as ice.
• Whenever possible, allow patrons who are blind or have low vision to touch items on your tour. When this is not possible, collect samples of textiles portrayed in a painting or exhibit such as velvet, burlap, word, marble, brick, etc., so that visitors may touch them.
• You might also include objects or other elements that represent colors, such as a heating pad for color red, cotton for the color white, a blade of grass for the color green, and ice for the color blue.
• Select well-organized, uncluttered exhibits. Persons who are blind or who have low vision may not be able to touch and experience everything typically included in your tour. It is important to have the exhibits which are a part of the tour be meaningful and experiential as possible for the patron.
• Avoid distractions such as patterned clothing. Position yourself in front of a solid background. This will make it easier for the person who has low vision to see you and the object(s) you are displaying.
• Remain generally alert to the visual needs of patrons. Allow them to stand closest to an object; be aware of sunlight creating a glare on glass or plexi-glass cases. Don’t stand in front of a lighted display case as you will appear in silhouette. Always try to have your face in the light.
• Read aloud all main signage of an exhibit, such as the exhibit title or introductory description to an area. Once inside a room, provide a general orientation to the whole area, including the prevailing atmosphere, major theme, or overall ambience, as well as visual details.
  To describe objects in a room, follow the natural order, from left to right across the room. To help the listener move across the room along with the description, you should note changes of location with respect to the patron with expressions such as, “to the left”, and “directly opposite”.
• Provide verbal directions on how to correctly affix an identifier tag (stamps, stickers, wrist bands) indicating whether the patron has paid their admission to a particular exhibit area.

Sighted Guide Technique

Sighted guide technique refers to a method by which a visually impaired person and a sighted person can walk together safely and comfortably. Specific techniques and movements are described to allow the pair to negotiate a variety of travel situations safely, comfortably, and efficiently.

The person who is visually impaired may be someone with partial sight or no sight. Many people who have reduced vision can move independently for the majority of the time but may need assistance in dark or unfamiliar areas.

Sighted guide technique requires a minimal amount of practice to master; however, it does require some time and effort. Once you are at ease with the technique you will be able to negotiate most areas without interrupting your conversation and without unnecessary verbal directions. The experienced follower will be able to teach a novice guide quickly and the experienced guide will be able to guide most visually impaired people with comfort.

NOTE: Throughout these instructions the sighted person will be referred to as the guide and the visually impaired person will be referred to as the follower.

Positioning for Sighted Guide - Contact and Grasp

GUIDE: Touch the follower’s elbow, forearm, or hand with the back of your hand.
FOLLOWER: Grasp the guide’s arm above the elbow with your fingers on the inside of the arm near the guide’s body and your thumb on the outside near you. Use a firm grasp but do not use excessive pressure.

ALTERNATIVE GRASPS

When the follower is:

A Child

FOLLOWER: Grasp the guide’s wrist.

A Person in Need of Physical Support
GUIDE: Bend your arm at the elbow.

A Person Much Taller than the Guide.
FOLLOWER: Rest your hand on the guide’s shoulder.

STANCE

GUIDE: Stand with your arm relaxed at your side or bent at the elbow.
FOLLOWER: Your arm should be bent at the elbow, placing you one half step behind the guide. Keeping the elbow bent for long periods of time can be uncomfortable for the guide. Experienced guides and followers can often travel just as well with the guide’s hand dropped to a vertical position.

NOTE: Walk at a pace that is comfortable for both people. The guide should not be “dragging or towing” the follower and the follower should not be pushing the guide.

NARROW PASSAGE

GUIDE: Continue facing forward, move your arm diagonally across your back..
FOLLOWER: Straighten out your arm and move directly behind the guide thus following effectively in single file.

DOORS

GUIDE: Tell the follower if the door needs to be pushed or pulled and whose side the hinges are on. Begin opening the door. Let the follower hold the door if indicated. A simple statement such as, “Your door,” will alert the follower as to the need for an appropriate action.
FOLLOWER: If the hinges are on your side, maintain your grasp while supporting the door for yourself. If the hinges are on the guide’s side, place your free hand above your original grasp as if you are beginning to change sides. Brace the door with your (newly) freed hand. When you have passed through the door, reverse the process and assume your original grasp.

STAIRS

GUIDE: Stop just before the stairs. Tell the follower if the stairs go up or down. Allow the follower to use the handrail if possible. Move your arm forward, bringing the follower to the edge of the stairs. The follower will be beside you. Step onto the first step ahead of the follower. Stop at the end of the stairs. Tell the follower that you are at the end.
FOLLOWER: Bring your toes to the edge of the stairs. Start a full step after the guide.

NOTE: With time and experience both the guide and the follower will become comfortable with a brief pause instead of full stops and with a minimum of verbal directions. A simple statement such as, “Stairs down or stairs up” will suffice.

TURNING AROUND or ABOUT FACE (To turn in a small space, or to avoid confusing the follower).

GUIDE: Ask the follower to “about face”. Turn in to face the follower. Offer your other arm. Complete the turn once the follower has grasped your arm.
FOLLOWER: Face the guide. Contact the guide’s other arm. Release your original grasp. Assume the normal grasp on the new arm.

CHANGING SIDES (Before stairs or to avoid an obstacle).

GUIDE: Ask the follower to change sides. Bring your arm behind you.
FOLLOWER: Grasp the guide’s arm with your free hand above your other hand. Release your original grasp and slide that hand across the guide’s back to the free arm. Bring your second hand across to the guide’s other arm. Assume the normal grasp position.

SITTING

GUIDE: Position the follower in, so that the follower’s knees touch the front of the chair. For some followers it may be helpful to describe the back and arms of the chair.
FOLLOWER: Bend to the chair, sweep the seat with one hand, locate the arms and sit.

CARS

GUIDE: Guide the follower to the door handle, indicate front or back door, and indicate
which way the car is facing.
FOLLOWER: Locate the frame above the open door with one hand and the door handle with the other. Sweep the seat with your hand before sitting. “BUCKLE UP!!”.

Useful Services

Audio Description: Audio description is the verbal translation of visual information to make exhibits and events more accessible and understandable to people who are blind or have low vision. The describer talks via a small transmitter to listeners anywhere in the audience. Assistive listening devices (ALD) are generally used to broadcast the audio description.

As a museum volunteer, docent or staff person you should know which exhibits are being audio described, where the equipment is located and how it is distributed. Patrons may ask for assistance if the equipment is not functioning properly. You should be familiar with the equipment and how to exchange a non-functioning receiver for one that is functioning properly.

Materials in Alternate Formats: Exhibit literature may be provided in Braille, large print, or audiocassette. Patrons should be able to take these materials home after the tour, if at all possible. Not everyone has time to read all the literature while they are at the museum and many people like to keep these as a memento of their experience. Specific tour information may also be available on the museum’s website.

Making Information Accessible: How to Prepare Large Print, Taped and Braille Materials.

Large Print

• Do not use paper any larger than the standard 8 ½” x 11”.
• Use black ink on white, opaque paper. The paper should have as little glare as possible. Ask for smooth, offset paper if using a professional printing service.
• Use right hand margins that are “ragged” and not flush.
• The minimum font size should be 18 point bold.
• Best typeface is Helvetica or Arial.
• Use lower case letters with initial capital letters rather than all capitals.
• Lines of text should be no longer than six inches.
• Use one-and-one-half or double spacing between lines.
• A minimum of 4 points of extra leading should be used. For example, if type size is 18, leading should be 22.
  

Audio Cassette

The reader should have a clear crisp reading voice and read at a moderate speed, or the material can be read professionally.

Recording should be done in a room without background noise.

Tape duplicators found on a variety of stereo cassette decks made adequate copies easily and inexpensively.

There are volunteer tapes and Braille services all over the country that can help. To find such services in your area, call the American Foundation for the Blind (AFB) Regional Center for your area or the AFB Hotline at (1-800) 232-5463.

Braille

Local volunteer tapes and Braille services can often transcribe copies of brief information in Braille, provided the volume needed is small. Keep in mind that they may need a fair amount of advance notice.

For more information on Braille, large type, and tape-recorded materials, contact the National Braille Association, 1290 University Avenue, Rochester, NY 14607 or (716) 473-0900.

Questions You Should Ask About Your Museum

• While guiding the patron, are there any low-hanging signs or lights or other protruding objects that a dog guide may not detect?
• Are there any obstacles (i.e. trash cans, drinking fountains, chairs, etc.) in the path of travel to the restroom, auditorium, and concession booth, cafeteria or exhibit area?
• Are there alternative formats for print materials? If yes, where are these kept, how Are they distributed, and how does a patron get these materials?
• Does the museum offer Audio Description of performances or taped descriptions of exhibits? What performance and tours, dates and times, will be described?
• Where and how do the patrons check out the equipment for audio described?