In addition to the Getty manual I would take a look at the Smithsonian Accessible Exhibition Design Guidelines:
https://www.sifacilities.si.edu/sites/default/files/Files/Accessibility/accessible-exhibition-design1.pdfFord's Theater has also done a lot of work in this area and could be a great resource. They received a grant to create an advisory committee that guided their practice and reinstallation. Sarah Jenks, Director of Education could be a good resource to speak with.
The attached has also been a useful guide.
Lastly, I would keep in mind web accessibility as you move through this project as it should be developed hand in hand with onsite exhibition material.
https://www.w3.org/WAI/standards-guidelines/wcag/Best
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Mark Osterman, Ed.D.
Digital Experience Manager and Head of Education
Lowe Art Museum, University of Miami
Coal Gables, FL
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Original Message:
Sent: 11-24-2020 01:03 PM
From: Jason Vrooman
Subject: Seeking resources on accessible object labels
Greetings!
Our small team is currently working to reinstall our museum's permanent collection. The major goals of this project include increasing the diversity of artists represented, updating our interpretive strategies, and improving the physical accessibility of our galleries (including increasing seating options and lowering hanging heights by 2-3 inches).
At the moment, we are specifically focused on making our in-gallery object labels as accessible as possible to visitors with low vision. We would be very grateful to receive suggestions or resources (general or specific to your museum) on recommended font, font size, leading/spacing, contrast, printing materials (e.g. paper, clear vinyl, opaque vinyl), etc. for tombstone/chat labels.
We would also be pleased to read style guides shaping the content and language of labels and other interpretive texts at your institution. Any words of encouragement (or cautionary tales) about decreasing interpretive word count in order to increase font size and spacing would likewise be welcome.
On a related note, guidelines for-or examples of-large print label binders (or digital equivalents) would likewise be appreciated, as would any resources on writing effective visual descriptions. (We currently offer both of these resources for a portion of our collection, but would like to expand and improve upon these offerings. Although we have not yet incorporated Braille or other tactile forms of communication into our interpretive strategy, it would be wonderful to learn of resources and success stories.)
With many thanks and kind regards,
Jason
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Jason Vrooman
Chief Curator & Director of Engagement
Middlebury College Museum of Art
jvrooman@middlebury.edu