TIFLOGRAFIKA AKLŲJŲ BIBLIOTEKOSE Tactus ir Lietuvos aklųjų ...

TIFLOGRAFIKA 

AKLØJØ BIBLIOTEKOSE 

Tactus ir 

Lietuvos akløjø bibliotekos 

tarptautinis seminaras 

Praneðimai 

Vilnius, LAB, 

2006 m. balandþio 25 d. 

********** 

TYPHLOGRAPHICS 

AND LIBRARIES 

FOR THE BLIND 

Tactus & LAB workshop 

Proceedings 

Vilnius, 25 th April 2006 

Lietuvos akløjø biblioteka 

Vilnius, 2006

UDK 061.3-056.262 

Tif 33 

ISBN 9955-17-687-3 

Nuotraukos ið Lietuvos akløjø 

istorijos muziejaus archyvo 

© Lietuvos akløjø biblioteka, 2006



Tactus ir 

Lietuvos akløjø bibliotekos 


Praneðimai 

Vilnius, LAB, 

2006 m. balandþio 25 d.

4 

Pratarmë 

2006 m. balandþio mën 25 dienà Lietuvos akløjø bibliotekoje 

ávyko seminaras “Tiflografika akløjø bibliotekose”. Kadangi 

jis sukëlë didelá akløjø mokyklos mokiniø, mokytojø, leidëjø, 

dailininkø ir platesnës visuomenës susidomëjimà, nutarëme 

seminare perskaitytus praneðimus iðleisti atskiru leidiniu. 

Trumpai pristatysiu Lietuvos akløjø bibliotekos dalyvavimà 

Taktus (Tactus) organizacijos veikloje. Apie grupelæ entuziastø, 

kurie leidþia tiflografikos bûdu iliustruotas knygeles akliems 

vaikams, informacija mus pasiekë ið þurnalo “The New Beacon”, 

kurá LAB prenumeruoja jau ne pirmà deðimtmetá. Taktus 

jungia ávairiø aklaisiais besirûpinanèiø organizacijø atstovus ið 

Europos ðaliø. 

2005 metais LAB prisijungë prie Tiflo-Taktus trejø metø kultûrinio 

projekto kaip asocijuota narë, kadangi norint tapti tikràja 

nare reikëjo didelio finansinio indëlio - pagal ES “Kultûros 

2000” programos reikalavimus, reikëjo áneðti 5 proc. visos projekto 

sumos. Tai tikrai pernelyg grieþtas reikalavimas, kadangi 

tokià sumà gali pakelti tik turtingos Europos senbuviø, bet ne 

Rytø Europos valstybiø bibliotekos. 

Tiflo-Taktus projekto autorius - Philippe Claudet, Prancûzija. 

Ðio projekto tikslas - Europoje kasmet organizuoti tiflografika 

iliustruotø knygø akliems ir silpnaregiams vaikams konkursus. 

Tai pirmas Europoje projektas, skirtas pagyvinti knygø su 

reljefinëmis iliustracijomis leidybà, per ðias knygeles skleisti 

skirtingø Europos tautø kultûrà, uþmegzti bendradarbiavimà 

tarp tiflografiniø knygø leidëjø, suaktyvinti mokslinius tiflografikos 

tyrimus. Konkurse knygos skirstomos á dvi kategorijas: akliems 

ir silpnaregiams vaikams iki 7 metø amþiaus, ir 7-12 metø 

amþiaus. Knygos turi atspindëti tos ðalies kultûros paveldà. 

Projektas pradëtas 2000 metais pagal “Europos Kultûra 2000” 

programà, tuomet vadinosi “Tactus”, jis tæsiamas nuo 2005 

metø “Typhlo-Tactus” pavadinimu. Konkurso metu atrinktos geriausios 

knygos apdovanojamos piniginëmis premijomis, didesniu 

tiraþu iðleidþiamos ávairiomis Europos kalbomis ir parduodamos 

ðalyse narëse. Projektà remia Europos komisijos 

ðvietimo ir kultûros skyrius bei Prancûzijos Kultûros ministerija. 

Apdovanojimai teikiami Paryþiuje per knygø mugæ Montreuil 

Children’s Book Fair. Taktus oficiali svetainë: 

www.tactus.org

Tiflo-Taktus organizacijos nariai: 

* Les Doigts Qui (Idqr, Prancûzija) 

* L’Oeuvre Nationale des Aveugles, Belgija (ONA) 

* ClearVision Project, Londonas, Jungtinë Karalystë 

* Royal National Institute for the Blind, Peterborough 

(RNIB, Jungtinë Karalystë) 

* Celia Library for the Visually Impaired (Suomija) 

* Hollman Trust (Italija) 

* Verband der Behinderten e.V Erfurt (Vokietija) 

* Association Nationale des Parents d’Enfants Aveugles 

(ANPEA, Prancûzija) 

Mûsø dalyvavimo Tiflo-Taktus (Typhlo-Tactus) projekte tikslai: 

Susipaþinti su Taktus patirtimi leidþiant akliems vaikams 

skirtas knygutes su reljefinëmis iliustracijomis (tiflografika). 

Pagyvinti iliustruotø knygeliø, skirtø akliems ir silpnaregiams 

vaikams iki 7 metø, leidybà Lietuvoje. Tokio amþiaus 

vaikams knygeliø Lietuvoje labai trûksta. 

Pagal galimybes spausdinti knygutes su reljefinëmis iliustracijomis. 

Dalyvavimo Taktus veikloje rezultatai: 

Bibliotekos atstovës dalyvavo Tiflo-Taktus susirinkime, kuris 

ávyko 2005 m. birþelio mën. 5-7 d. d. Prahoje. Jame pristatë 

iliustruotø knygø akliesiems leidybà Lietuvoje. Tai sukëlë 

susidomëjimà, ir buvo numatyta Lietuvos akløjø bibliotekoje 

pravesti seminarà apie tiflografikà, kuris ir buvo 

surengtas 2006 m. balandþio 25 d. Pagrindinës praneðëjos 

- Taktus tikrosios narës Marion Ripley ið ClearVisionproject 

bibliotekos, Jungtinë Karalystë, ir Päivi Voutilainen 

ið Celia akløjø bibliotekos, Suomija. Seminare dalyvavo 

Estijos, Latvijos ir Lietuvos akløjø bibliotekø bei leidybiniø 

organizacijø atstovai, kurie pristatë knygø su reljefinëmis 

iliustracijomis padëtá savo ðalyse. Praneðimø tekstai ðiame 

leidinyje spausdinami iðtisai. 

Tikimës, kad ðis leidinys padës pildyti mûsø þiniø bagaþà 

apie ðiandieninæ padëtá tiflografikoje bei pagyvins iliustruotø 

knygeliø, skirtø neregiams vaikams, leidybà. 

Audronë Gendvilienë 

Leidinio sudarytoja ir vertëja 

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6 

Jadvyga Kuolienë 


BALTIJOS ÐALYSE 

Lietuvos akløjø bibliotekos direktorë 

Atidarymo kalba 

Pradedant ðá seminarà, leiskite pasveikinti visus jo dalyvius, 

padëkoti tarptautinës Taktus organizacijos atstovëms - Marion 

Ripley (Londonas) ir Päivi Voutilainen (Helsinkis), maloniai 

sutikusioms dalyvauti ðiame renginyje ir perskaityti praneðimus. 

Iliustruotø Brailio raðtu knygø vaikams leidybos klausimas 

ypaè aktualus ne tik Lietuvai, bet ir mûsø kaimynëms Estijai ir 

Latvijai. Nors Sovietø Sàjungoje tiflografikos srityje Lietuva buvo 

viena ið pirmaujanèiø, taèiau, atgavus Nepriklausomybæ, 

dël ekonominiø sunkumø iliustruotø Brailio raðtu knygø spausdinimas 

nutrûko, ir dabar tenka ðià veiklos sritá pradëti ið naujo. 

Lietuvos akløjø ir silpnaregiø sàjungai ir Lietuvos akløjø bibliotekai, 

atliekanèiai vaikø literatûros Brailio raðtu leidëjos misijà, 

iliustruotø knygø Brailio raðtu leidybos problema ðiandien 

tapo neatidëliotinai spræstina. 

Tikimës, kad ðis seminaras pagreitins svarbios problemos 

sprendimà. 

Pradëdama norëèiau palinkëti visiems sëkmingo darbo.

Rasius Makselis 

Lietuvos Respublikos kultûros ministerijos Informacinës 

visuomenës plëtros skyriaus vedëjas 

Labas rytas. Ið tikrøjø, Kultûros ministerijos vardu man labai 

malonu pasveikinti visus susirinkusius á ðá svarbø seminarà, 

ir ypatingai Lietuvos akløjø bibliotekà, kuri inicijavo ðá renginá. 

Að tik norëèiau pasakyti, kad ðiuo metu kalbant apie kultûrà, 

kultûros politikà Lietuvoje ir Europos Sàjungoje, daug kalbama 

apie kultûros ávairovës svarbà. Að manau, kad kalbant 

apie iliustracijas knygose Brailio raðtu siekiama to paties tikslo 

- padaryti, kad akliems þmonëms bûtø lengviau paþinti kuo 

ávairesnæ kultûrà. Todël að Kultûros ministerijos vardu norëèiau 

palinkëti, kad ateityje ávairiausiomis priemonëmis, iðnaudojant 

ávairias technologijas ir valstybës paramos bûdus, taip pat ir 

þmoniø kûrybiðkumà, kuris rengiant tokias iliustracijas yra labai 

svarbus, bûtø galima pasiekti, jog regëjimo sutrikimø turintys 

þmonës geriau jaustøsi ir Lietuvoje, ir kitose ðalyse. Aèiû 

Jums ir linkiu sëkmës dalinantis patirtimi ðiame seminare. 

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8 

Audronë Jozënaitë 

Lietuvos akløjø ir silpnaregiø sàjungos uþsienio ryðiø vedëja 

Labas rytas visiems. Ið tikrøjø að norëèiau perduoti geriausius 

linkëjimus nuo Osvaldo Petrausko, kuris, kaip þinote, yra 

Lietuvos akløjø ir silpnaregiø sàjungos pirmininkas. Jis tikrai 

bûtø dalyvavæs ðitame seminare, bent jau atidaryme, kadangi 

yra tikrai didelis ðios bibliotekos gerbëjas ir puikus skaitytojas. 

Deja, ðá rytà vyksta neágaliøjø departamento posëdis ir ðito posëdþio 

iðvengti jam tikrai nebuvo galima. Todël jis praðë perduoti, 

kad Lietuvos akløjø biblioteka buvo ir, tikimasi, liks viena ið 

geriausiø ir didþiausiø mûsø bendro darbo partneriø. Taip pat 

noriu padëkoti sveèiams ir tikiuosi, kad su Jûsø pagalba, Jûsø 

dëka akløjø biblioteka iðmoks, galbût suras naujø galimybiø 

leisti iliustruotas knygas akliesiems. Linkiu visiems gero darbo.

Priit Kasepalu 

Estijos akløjø bibliotekos direktorius 

Vaiku Seppe 

Estijos depozitinës bibliotekos direktorë 

Labas rytas. Visø pirma noriu pasakyti porà þodþiø apie save. 

Mano pavardë Vaiku Seppe, esu Estijos depozitinës bibliotekos 

direktorë. Nuo 2004 metø Estijos akløjø biblioteka yra 

Estijos depozitinës bibliotekos filialas. Að dirbu ðios bibliotekos 

direktore tik tris mënesius, taigi man viskas èia nauja. Esu 

dëkinga uþ galimybæ dalyvauti ðiame seminare, kadangi tikiuosi, 

jog èia gausiu daug vertingos informacijos. O dabar perskaitysiu 

praneðimà, kurá parengë Estijos akløjø bibliotekos direktorius 

Pritas Kasepalu. Já iðvertë á anglø kalbà ir atliko tam 

tikrus pataisymus kitas Estijos akløjø bibliotekos darbuotojas 

Arvo Folkenbergas. Deja, sveikatos bûklë sutrukdë jam dalyvauti 

ðiame seminare. 

Gerbiami kolegos ir draugai ið uþsienio ðaliø. Norëèiau su 

Jumis pasidalinti Estijos akløjø bibliotekos patirtimi tiflografikos 

leidybos srityje. Su reljefine medþiaga susidûriau prieð 45 

metus, lankydamas akløjø mokyklà. Labai gerai atsimenu miesto 

þemëlapá, to rajono, kuriame buvo mano mokykla. Þemëlapis, 

padarytas dar prieð karà, jau tada buvo gerokai pasenæs, 

taèiau mums buvo pakankamai naudingas. Jis buvo padarytas 

ið puðinës medienos, 1,5 ið 1,5 metro dydþio, ant jo dvi 

lygiagreèios vielos þymëjo gatves, taip pat buvo paþymëti pastatai 

ir baþnyèios. Nuo tø laikø medþiagos labai pasikeitë; dabar 

jø yra ávairiausiø, pradedant iðsipuèianèiu popieriumi ir baigiant 

kitomis ðiuolaikinëmis medþiagomis. Jau daug metø Estijos 

akløjø biblioteka iðnaudoja visas ámanomas galimybes 

siekdama spausdinti reljefinius pieðinius. 2005 metø pabaigoje 

mums pagaliau pavyko ásigyti prietaisà reljefiniams pieðiniams 

ant iðsipuèianèio popieriaus spausdinti. Jau iðbandëme 

já, bet mums vis dar trûksta ágûdþiø. Beje, pastaraisias metais 

Estijos akløjø biblioteka kaupë ir analizavo informacijà apie tiflografikà, 

keitësi informacija su kitomis organizacijomis. Nelabai 

seniai, turbût 2000 metais, mes pirmà kartà iðgirdome apie 

rankø darbo tiflografines knygutes, kurios daromos Suomijoje. 

Mûsø tëvynainë Sülvi Sarapuu, kuri dabar gyvena Suomijoje 

ir pati daro tiflografines knygutes akliesiems, atsiveþë á Es- 

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tijà kelis tokiø savo rankø darbo knyguèiø pavyzdþius. Estijos 

akløjø biblioteka pristatë poros ðalies universitetø taikomojo 

meno fakultetø dëstytojams tiflografines knygeles. Taèiau tik 

tada, kai viena dëstytoja atvyko á mûsø bibliotekà ir atidþiau 

susipaþino su tiflografinëmis knygomis, þinia pradëjo plisti tarp 

ðalies tekstilës dëstytojø. Po to, pagal Europos Sàjungos finansuojamà 

projektà, savaitës trukmës kursuose Suomijoje tiflografiniø 

knygø gamybos mokësi du instruktoriai. Po ðiø kursø 

buvo padaryta viena tiflografinë knygutë. Vëliau viena ið tø instruktoriø 

surengë tiflografiniø knygeliø gamybos kursus Viljandëje. 

Be to, ji padarë dar vienà tiflografinæ knygà, kurioje buvo 

panaudoti vaikø pieðiniai. Pernai mûsø idëja spausdinti reljefinius 

pieðinius pasiekë Talino universiteto meno ir amatø fakulteto 

dëstytojus. Pagal projektà buvo iðleista tiflografinë knyga, 

kurioje iðspausdintos liaudies dainos, o kelias deðimtis reljefiniø 

iliustracijø sukûrë studentai, kurie uþ tai gavo egzamino 

paþymius. Mums labai patinka tose iliustracijose atskleidþiamos 

idëjos. Beje, kai kurie studentai nepakankamai stipriai pritvirtino 

iliustracijø detales, taèiau mes labai vertiname studentø 

darbà ir tvirtai tikime, kad ðià iniciatyvà reikia tæsti. 

Universitetuose padarytos tiflografinës knygos buvo perduotos 

akløjø mokyklai ir akløjø bibliotekai. Suomiø projekto “Nuostabi 

tiflografinë knyga” dalyvës, kuriø daugumà sudaro estës, 

mûsø bibliotekai padovanojo dvi tiflografines knygas. Vienoje 

knygoje vaizduojamos gyvuliø pëdos, o kitoje vaikai supaþindinami 

su geometrinëmis figûromis. Ið Celia akløjø bibliotekos, 

esanèios Helsinkyje, Estijos akløjø biblioteka gavo ir kitokiø 

dovanø - þemëlapiø, knygø Brailio raðtu vaikams, kuriose 

yra tiflografiniø iliustracijø ant plasmasiniø lapø. Kadangi tiflografinës 

knygos yra kur kas brangesnës uþ áprastas Brailio 

raðto knygas, mes finansiðkai nepajëgûs nupirkti jø savo bibliotekai. 

Dar kartà dëkojame uþ pakvietimà, ir aèiû uþ dëmesá. 

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Gunta Bite 

Latvijos akløjø bibliotekos Brailio leidybos skyriaus vedëja 

Labas rytas, ponios ir ponai. Esu Gunta Bite, vadovauju skyriui, 

kuris leidþia knygas Brailio raðtu. Mûsø skyrius buvo ákurtas 

tik pernai lapkritá. Jis pradëjo veikti tik Europos Sàjungos 

struktûriniø fondø finansavimo dëka. Taigi, mes neturime knygø 

Brailio raðtu leidybos patirties, noriu pasakyti, tokios patirties, 

kuria galëtume su Jumis pasidalinti. Todël, dalyvaudami 

ðiame seminare, tikimës gauti naudingø þiniø, kurios padëtø 

mums organizuoti savo darbà. 

Aèiû uþ dëmesá. 

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12 

Sylvi Sarapuu 

Tiflografiniø knygø autorë, Suomija 

Gerbiami seminaro dalyviai! Esu Sylvi Sarapuu. Atstovauju 

darbo grupei “Nuostabi tiflografinë knyga”. 

Pradëjau domëtis tiflografinëmis knygomis 1989 metais, 

kuomet viena draugë ið Suomijos padovanojo man vaikiðkà 

knygelæ su reljefiniais paveikslëliais. Esu neregë, turiu kultûriná 

iðsilavinimà, turiu tris vaikus, o 1989 metais mano namuose 

augo du ikimokyklinio amþiaus vaikai. Nors vaikiðkø knygø netrûko, 

að pati negalëjau skaityti knygø savo vaikams ir kartu su 

jais þiûrinëti paveikslëliø, kadangi tuometinëje Tarybø Estijoje 

tinkamø knygø tiesiog nebuvo. Turbût tokiø knygø nebuvo visoje 

Tarybø Sàjungoje. 

Mano patirtis neturëjo galimybiø iðsiskleisti. 

Baltijos ðalims pasukus nepriklausomybës atgavimo keliu, 

pasitaikë proga sugráþti á savo motinos tëvynæ - Suomijà, ir 

vietinëje akløjø bibliotekoje vël susidûriau su tiflografinëmis knygomis. 

2000-jø pradþioje mane su dukterimi papraðë prisijungti 

prie darbo grupës, kuri ketino pagaminti vienà tiflografinæ knygà 

ir padovanoti jà kaip humanitarinæ paramà Talino Linnupesa 

vaikø darþeliui, kuriame buvo specialios sutrikusio regëjimo 

vaikø grupës. Iki tø metø pavasario buvo padaryta knyga 

“Tõmblukuga kass” (“Katë su uþtrauktuku”). Balandþio mënesá 

Talino nacionalinëje bibliotekoje vykstanèios informacijos dienos 

ðventëje knygà áteikiau Linnupesa vaikø darþelio vedëjai. 

2001 metø pavasará Celia bibliotekoje iðgirdau apie Taktus 

konkursà, kuris turëjo vykti tø metø rudená Prancûzijoje. Kadangi 

konkurso organizatoriai buvo ið Europos Sàjungos ðaliø, 

o Estija dar jai neriklausë, knygà “Katë su uþtrauktuku” nusiunèiau 

á konkursà per Suomijos bibliotekà. Tekstà iðvertëme á anglø 

kalbà ir pabandëme savo laimæ. Knygà teisëjai pavadino 

ádomia, ir tai paskatino mane veikti. 

Darbo grupës 

“Nuostabi tiflografinë knyga” 

gimimas 

Apie ðià knygà papasakojau savo seseriai ir mudvi, að (Sülvi 

Sarapuu), vadovës-ekspertës vaidmenyje, mano duktë (Kadi 

Sarapuu) - tekstø korektorës-vertëjos ir mano sesuo (Astrid

Järvsoo) - amatininkës vaidmenyje sudarëme darbo grupæ 

“Nuostabi tiflografinë knyga”. Paraðëme projektinius pasiûlymus 

Suomijos meno tarybai ir Kultûros fondui. Mûsø nuostabai, 

paramà gavome ir tada padarëme ðias knygas: “Jäljed” 

(“Pëdos”), “Koera haukumine” (“Ðuo loja”), “Lumivalgeke ja seitse 

pöialpoissi” (“Snieguolë ir septyni nykðtukai”), “Kolm 

päkapikku” (“Trys nykðtukai”), “Kikukesed pikukesed” and “Kujundid” 

(“Formos”). Pagal TARU projektà padarëme knygà 

“Sügis” (“Ruduo”). Mus dvejus metus finansavo Suomijos aklø 

vaikø rëmimo fondas, ir per tà laikotarpá mes padarëme ðias 

knygas: “Lapse päev” (“Vaiko diena”), “Kaido kartul” (“Kaido 

bulvë”), “Mutionu pidu” (“Dëdës Muèio balius”), o visai neseniai 

- knygas “Kosilased sauna juures” (“Saunoje”), “Vares ja 

varblane” (“Varna ir þvirblis”) bei “Meie maja” (“Mûsø namas”). 

Kai kurias mûsø knygas galësite apþiûrëti parodoje. 

Nuo 2002 metø mûsø darbo grupës padarytos knygos dalyvauja 

Taktus konkursuose, kurie vyksta Prancûzijoje. Mûsø 

knygos visada patekdavo á finalà, taèiau dauguma jø padarytos 

ið medþiagos, joms padaryti reikia ádëti daug rankø darbo, 

jos netinka masiniam tiraþavimui, todël priziniø vietø neuþimdavo. 

Veikla 

Per tuos metus savo pagamintas knygas mes pristatydavome 

Suomijos ir Estijos bibliotekose bei neágaliøjø globos namuose 

ir bibliotekose. Apie mus raðë Suomijos ir Estijos laikraðèiai. 

Kelias knygas padarëme pagal specialius Norvegijos ir Suomijos 

akløjø bibliotekø uþsakymus. Estijos akløjø biblioteka 2005 

metø vasarà taip pat ið mûsø gavo pirmas tiflografines knygas. 

Nuo pereitø metø uþsimezgë bendradarbiavimas su Tiia 

Artla, Talino universiteto namø ekonomikos ir amatø fakulteto 

dëstytoja. Jau tø metø rudená mus pakvietë á studentës Monikos 

Jaik bakalauro darbo gynimà. Jos diplominis darbas buvo 

tiflografinë knyga “Kits kilu karja” (“Oþys ir kilkiø bûrys”). Ðià 

knygà taip pat galite pamatyti parodoje. 

Ðiuo metu esu áregistravusi savo verslà Sülvi Sarapuu vardu. 

Mes tiraþuojame savo darbo grupës padarytas tiflografines 

knygas pagal ástaigø, aptarnaujanèiø specialiø poreikiø 

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þmones, uþsakymus, taip pat pagal pavieniø þmoniø uþsakymus, 

be to, gauname labdaros lëðø. 

Ir dar, - mes naudojamës ávairiais projektais ir stipendijomis, 

ieðkodamos galimybiø visai naujoms tiflografinëms knygoms 

parengti. 

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Lietuvos akløjø bibiliotekos direktorë 

Tiflografika 

Lietuvoje 

Að dar norëèiau trumpai papildyti, kas yra daroma ðiuo metu 

Lietuvos akløjø bibliotekoje tiflografikos srityje. Labai malonu, 

kad mus supranta ir bendrà reikalà labai gerai suvokia Lietuvos 

akløjø ir silpnaregiø sàjunga, ir pagal mûsø parengtà programà 

“Iliustruotø knygø Brailio raðtu vaikams leidyba” jie mus 

ðiek tiek finansuoja ir tà tæstinæ programà mes vykdom; 2006ji 

- pirmieji metai, tæsim kitais metais. Ðiais metais mes parengsim 

techninæ bazæ ðiai leidybai ir iðleisime gal kokias porà 

knygeliø, o kitais metais numatæ iðleisti penkias knygeles vaikams. 

Ðià programà vykdyti, manome, rëmëjai mums padës. 

2005-siais metais mes buvome paskelbæ iliustruotos Brailio 

raðtu vaikams knygelës parengimo konkursà, ir mus labai 

maloniai nustebino, kad daugelis gyvai atsiliepë á ðità konkurso 

kvietimà. Gavom deðimt parengtø knygeliø, kuriø dalá manome 

panaudoti vykdant iliustruotø knygeliø leidybos programà. 

Su ðiais darbeliais Jûs galësite susipaþinti mûsø periodikos 

skaitykloje antrame aukðte. Ten parengta ekspozicija, kurioje 

labai maloniai sutiko dalyvauti ir mûsø vieðnios ið Suomijos, 

Anglijos atveþusios didelá kieká Taktus, Celia ir Clearvision 

bibliotekø iliustruotø knygeliø vaikams. Taip pat eksponuojamos 

neregës tiflografiniø knygeliø autorës Sylvi Sarapuu pagamintos 

knygutës. Praðom per pertraukà pasidomëti ðita paroda 

ir apþiûrëti. Tikimës, kad mûsø pradëti darbai bus sëkmingi, 

ir prie to prisidës ir ðis seminaras. 

15

16 

Diana Raudonienë 

Vilniaus dailës akademijos magistrantë, meno teorijos ir kritikos 

specialybë 

dijanara@delfi.lt; tel. 8 698 87170 

Mano veikla yra susijusi su Lietuvoje gyvenanèiø ir kurianèiø 

profesonaliø grafikø telkimu kûrybai tiflografinëmis technologijomis. 

Kaip meno teorijos specialistë galiu patvirtinti, kad Lietuvoje 

yra daug puikiø grafikø, pelniusiø pripaþinimà tarptautiniu 

mastu. Deja, praktiðkai në vienas mano kalbintas menininkas 

nieko neþinojo apie taktilinæ grafikà. 

Suprantama, vien teikiamos informacijos apie tiflografines 

technologijas neuþtenka - ne kiekvienas grafikas gali taip pat 

rezultatyviai kurti taktiliniam suvokimui, kaip ir vizualiam. Yra 

svarbûs suvokimo aspektai; man paèiai ádomi ði sritis, ketinu á 

jà toliau gilintis. Tinkamas vizualinës grafikos perkëlimo á taktilinæ 

atlikimas arba tiesiogiai taktilinës grafikos kûrimas reikalauja 

atitinkamos technologijos iðmanymo ir ágûdþiø, suvokimo 

psichologijos þiniø, skirtumø tarp regëjimo ir lytëjimo supratimo. 

Bendravimas su lietuviø grafikais bus plëtojamas, suteikiant 

jiems informacijos apie reljefinës grafikos kûrybai naudojamas 

technologijas bei tuos aspektus, kurie lieèia suvokimo problematikà. 

Pirmas ðios veiklos þingsnis - paroda, kuri bus surengta 

Akløjø bibliotekoje 2006 m.rugsëjo mënesá. Ji apims vilnieèiø 

grafikø, dirbanèiø lino ir medþio raiþiniø technikomis, kliðiø ir 

atspaudø eksponavimà bei bukletø su taktilinës grafikos technologijø 

apraðymu iðleidimu ir platinimu grafikams (pirmiausia 

tiems, su kuriais teks bendrauti parodos sudarymo metu). 

Parodos objektø eksponavimas bus derinamas su edukaciniu 

(supaþindinti aklus ir silpnaregius su grafikos - medþio ir 

lino raiþiniø - kûrimo technikomis), estetiniu (estetiniam suvokimui 

pateikti profesionalaus meno kûrinius) bei specifiniu (panaudoti 

grafikos kûriniø eksponavimo bûdà, adekvatø neágalumo 

situacijai - pritaikyti parodà, atsiþvelgiant á meno kûriniø 

suvokimui akløjø ir silpnaregiø naudojamus pojûèius) uþdaviniais.

Tokiu bûdu dvi grupës - menininkø ir meno kûriniø suvokëjø 

- bus “pristatytos” viena kitai. Pirma, akliesiems ir silpnaregiams 

bus suteikta galimybë naudotis tais paèiais kultûros produktais, 

kuriais naudojasi regintys visuomenës nariai. Antra, 

lietuviø grafikams bus suteikta informacija apie potencialius jø 

kûriniø suvokëjus bei naujas technologijas, leidþianèias tuos 

kûrinius padaryti kuo labiau prieinamus akløjø suvokimui. 

Sekantis þingsnis - grafikës Danutës Graþienës kûriniø, atliktø 

naudojant mikrokapsuliná popieriø, paroda. 

Grafikë Danutë Graþienë - menininkë, intensyviai dirbanti 

tradicinës grafikos srityje. Ji kuria darbus oforto bei oforto ir 

akvatintos technikomis, taip pat kûriniuose naudoja reljefà. Grafikë 

nuo 1977 m. dalyvauja lietuviø, tarptautinëse grafikos - 

ekslibrisø, estampo, pieðiniø, maþosios grafikos parodose, bienalëse, 

trienalëse; nuo 1980 m. iliustruoja knygas. 

Reljefo naudojimas kûriniuose yra nuoseklûs grafikës meniniai 

ieðkojimai ir atradimai. Taèiau tokie lakðtai, be abejo, yra 

skirti þiûrëjimui, o ne lietimui, kadangi reljefas áprastame popieriuje 

yra labai nepatvarus. 

Planuojamo projekto metu grafikë Danutë Graþienë, naudodamasi 

termo-pieðtuku bei mikrokapsuliniu popieriumi, sukurs 

reljefiniø (taktiliniø) grafikos kûriniø ir eksponuos juos surengtoje 

parodoje. Èia jos kûrinius liesdami galës apþiûrëti þmonës 

su regëjimo sutrikimais. 

Tolesnëje veikloje planuojamas simpoziumas, kurio metu 

jau didesnis skaièius Lietuvos grafikø turëtø progà iðbandyti 

mikrokapsuliná popieriø bei kitas reljefinës grafikos kûrimo technologijas. 

17

18 

Vytautas Gendvilas 

Vieðosios ástaigos “Brailio spauda” direktorius 

Esu Vytautas Gendvilas ir vadovauju “Mûsø þodþio” þurnalo 

redakcijai ir spaustuvei akløjø raðtu. Labai smarkiai kuo girtis 

neturime, taèiau keletà knygeliø, naudodami pora technologijø, 

esam savo bazëj iðleidæ. O su iliustracijomis esu susijæs 

tokia prasme, kad vaikas bûdamas labai mëgau pieðti ir labai 

daug laiko praleidau pieðdamas. Bet gal dràsos pritrûko, todël 

netapau dailininku. Kai mokiausi akløjø ir silpnaregiø mokykloj, 

didelis dþiaugsmas bûdavo, kai vadovëlyje arba kokioj nors 

knygoj rasdavau iliustracijà Brailio raðtu. 

Kai Lietuvoj ávyko politiniai pasikeitimai, visas leidybinis iliustracinis 

darbas buvo sustojæs. Taigi, kai nebuvo jokiø iliustracijø, 

buvo lengviau darbà daryti, nes bet kokia padaryta iliustracija 

jau buvo þingsnis á prieká. Iðleidome kelias knygas su iliustracijomis; 

jos buvo padarytos naudojantis spausdintuvu Index 

Everest. O kita rûðis knygø su iliustracijomis atlikta naudojant 

terminá popieriø. Iliustracijas, kurios buvo atliktos su Index 

spausdintuvu, pieðiau pats, o naudojant terminá popieriø, buvo 

pasitelkti ir kiti þmonës, taip pat buvo bandoma nukopijuoti 

vienà kità knygutæ, kuri yra skirta gerai matantiems vaikams. 

Ir pieðiant, ir darant iliustracijas teko susidurti su kai kuriom 

problemom, kurios tà optimizmà daug pieðti, nors tai buvo ir 

nedidelis kiekis, gal ðiek tiek apmaþino. Turiu pasakyti, kad 

visus pieðinius, kuriuos pats nupieðdavau arba pasitelkdavau 

talkininkus nupieðti, visada pasitikrindavau, duodamas juos paþiûrëti 

nematantiems draugams ir bendradarbiams, klausdamas, 

ar jie paþásta, kas yra nupieðta. Na, bendraudamas su 

jais ir pats supratau, kad pieðiant susiduriama su keliomis problemomis, 

á kurias, tikiuosi, ðiandien rasime vienà kità atsakymà. 

Taigi, darant reljefines iliustracijas, susiduriama su keletu 

problemø. Pati didþiausia problema, leidþiant knygas su reljefinëmis 

iliustracijomis, sakyèiau, yra finansinë problema. Jà suprasèiau 

taip, kad tie, kam reikëtø knygø, neturi pinigø uþ jas 

susimokëti, o tie, kas galëtø knygas padaryti, neranda tø, kas 

galëtø uþ tas knygas sumokëti. Tai tiek bûtø apie pinigus. O 

kita problema yra apie paèius pieðinius. Medicinos ir kitø aplinkybiø 

dëka Lietuvoj vienu metu buvo pagausëjæ vaikø, kurie 

yra nematantys nuo gimimo. Að ið anksto atsipraðau, jeigu ap-

juodinsiu pedagogus, bet manau, uþ praeitus laikus tai tiksliai 

galiu pasakyti, bet manau, kad yra ir dabar taip, kad nematanèio 

þmogaus niekas nemoko suprasti nupieðto matanèiøjø pasaulio. 

Todël ir tie, kas pieðiam, kas darom iliustracijas, daþnai 

nupieðiam taip, kaip mes suprantam ir kad mûsø akiai bûtø 

graþu. Na ir manau, kad tie, kam pieðiama, ir tie, kas pieðia, 

pritars, kad kuo daugiau bus pieðiniø ir kuo daugiau bendradarbiavimo, 

susikurs plaèiai paskleistos taisyklës arba bent kaþkokie 

reljefiniø iliustracijø gamybos principai. Tada net ir tie, 

kurie nelabai á ðià sritá ásiliginæ, galëtø pieðinius pieðti akliesiems, 

kad juos suprastø aklieji. Tikiuosi, kad ðiandien bus diskusijø 

ðituo klausimu, ir linkiu visiems sëkmingo aiðkinimosi, sëkmingo 

klausymosi, o po to labai sëkmingo ávairiø naujø idëjø gimimo. 

19

20 

Marion Ripley 


ILIUSTRUOTOS KNYGOS IR 

JØ SKAITYTOJAI 

ClearVision biblioteka, Jungtinë Karalystë 

ClearVision bibliotekos 

pristatymas 

Noriu pasakyti, kad esu labai laiminga, bûdama èia su Jumis, 

ir þinau, kad panaðiai jauèiasi ir Paivë - bûti Lietuvoje jai 

labai malonu. Labai atsipraðau, kad nemoku Jûsø gimtosios 

kalbos. Kaip þinau, anglai yra pagarsëjæ tuo, kad nekalba kitomis 

kalbomis. Neseniai kaþkur girdëjau, kad tris kalbas mokantys 

þmonës yra trikalbiai, dvi kalbas - dvikalbiai, o tie, kurie 

moka tik vienà kalbà - tai anglai. 

Mudvi su Paive priklausome Taktus grupei - Europos tiflografiniø 

knygø leidëjus jungianèiai organizacijai - apie kurià smulkiau 

papasakosiu vëliau. Svarbiausias Taktus organizacijos tikslas 

- keistis idëjomis, patirtimi, ákvëpti vieniems kitus. Todël 

esu labai laiminga, galëdama èia bûti, nes jau spëjau pamatyti 

kelias tikrai puikias knygas, padarytas Lietuvoje. Ir man labai 

rûpëjo iðgirsti, kas tiflografikoje daroma Estijoje ir Latvijoje. Að 

jau supratau, kad visi ðioje srityje turime tø paèiø problemø. 

Mano manymu, su panaðiomis problemomis susiduria visos 

Taktus organizacijos narës, o galbût ir visos pasaulio ðalys. 

Netgi sakyèiau, kad në vienas aklas vaikas, në vienas aklas 

suaugæs þmogus, kur begyventø, neturi pakankamai reljefiniø 

iliustracijø. Manau, kad visos mûsø organizacijos turi tø paèiø 

sunkumø: mes neturime pakankamai pinigø ir neturime pakankamai 

laiko, idant padarytume viskà, kà norëtume padaryti. 

Taèiau geroji ðio darbo pusë yra ta, kad visgi yra dalykø, 

kuriuos mes pajëgûs padaryti, ir bûtent apie tai að ðiandien 

pakalbësiu. 

Pradësiu nuo ClearVision (“Aiðkaus regëjimo”) bibliotekos, 

kurioje dirbu. ClearVision biblioteka yra aklø vaikø biblioteka. 

Tai nacionalinë biblioteka, kuri knygas siuntinëja paðtu. Knygas 

mûsø biblioteka siunèia skaitytojams, iðsibarsèiusiems po 

visà ðalá, nemokamu paðtu. Biblioteka pradëjo veiklà 1986 metais. 

Taip, ðiais metais mes paþymime savo 20-já jubiliejø. Bib-

lioteka ásikûrusi Satfildo akløjø mokykloje, ji yra netoli Vimbledono. 

Galbût girdëjote apie Vimbledono teniso turnyrus, kurie 

kasmet vyksta Vimbledono miestelyje, á pietus nuo Londono? 

Tai vienos garsiausiø tarptautiniø teniso varþybø. Mûsø bibliotekos 

patalpos yra visiðkai greta teniso kortø, kartais girdime, 

kaip dþiûgauja publika. 

Taigi, biblioteka buvo ákurta 1986 metais, kuomet á Linden 

Lodþ mokyklà atëjo dirbti nauja darbuotoja. Anglijos mokyklose 

yra tokia tvarka, kad vaikai po pamokø neðasi knygas namo 

ir skaito su tëvais ir seneliais. Turbût taip yra ir Jûsø mokyklose. 

Pirmas naujos mokyklos darbuotojos klausimas, arba vienas 

ið pirmøjø, buvo toks: kur knygos, ið kuriø akli vaikai mokosi 

Brailio raðto, kurias galima bûtø neðtis namo? Atsakymas 

buvo toks: “Ne, Brailio raðto besimokantys vaikai turi specialias 

knygas, turi specialius mokytojus, tø knygø niekas daugiau 

negalës skaityti, nes ten tik Brailio raðtas”. Visos knygos, 

ið kuriø maþi akli vaikai mokësi Brailio raðto, buvo pilkai rudos 

arba vien rudos spalvos, jos nebuvo ádomios nei regintiems 

vaikams, nei suaugusiems. Ði nauja darbuotoja nesitaikstë su 

padëtimi, nes suprato, kad regintiems vaikams reikia tëvø pagalbos 

ir padràsinimo, taigi, jei ðito reikia regintiems vaikams, 

tai akliems vaikams juo labiau. Ji priëjo iðvados, kad knyga turi 

atrodyti ðitaip, - jà pasiøsiu per rankas, kad visi galëtumët paèiupinëti. 

Tai normali vaikiðka knyga su aká traukianèiu paveikslëliu 

ant virðelio, viduje yra reginèiøjø raðto tekstas ir paveikslëliai; 

taigi, tai áprastinë knyga. Taèiau tarp puslapiø ádëti skaidrios 

plasmasës lapai su Brailio raðto tekstu. Vadinasi, tëvai gali 

skaityti reginèiøjø raðtu, o vaikai - Brailio raðtu; tëvai gali padëti 

suprasti sunkius þodþius ir panaðiai, patys nemokëdami Brailio 

raðto. 

Biblioteka savo veiklà pradëjo dëþëje turëdama vos keletà 

knygø, kurias akli vaikai vakare galëjo neðtis namo. Taèiau tuoj 

pat þmonës, kuriø vaikai nesimokë toje mokykloje, pradëjo praðyti, 

kad ir jiems paskolintume tas knygas. Ir dabar mes jø turime 

trylika tûkstanèiø. Tai pasakø knygos, dalykinës knygos, 

poezija, tai yra visos tos knygos, kokias galima rasti áprastoje 

bibliotekoje. Vëliau ir maþesniø vaikø turintys tëvai pradëjo praðyti 

knygø. Tie vaikai buvo dvejø trejø metø amþiaus. Tada mûsø 

fonduose atsirado ðitos kartoninës knygos su Brailio tekstukais, 

priklijuotais prie puslapiø. Tokio amþiaus akli vaikai turbût 

skaito tiek pat maþai, kiek regintys vaikai, bûdami trejø metu- 

21

kø. Taèiau mes manome, kad labai svarbu jog vaikai, kurie 

kaþkada pradës mokytis Brailio raðto, pradëtø èiupinëti Brailio 

taðkus, kad labai anksti susidurtø su tokiais taðkais knygos puslapiuose. 

Dabar nemaþai áprastiniø knygø turi vienoká ar kitoká reljefiná 

elementà. Ðtai èia pasaka apie maþà rudà viðtytæ. Ar þinote tà 

pasakà? Apie maþà rudà viðtytæ, kuri nudirba visus darbus? 

Ne? Kiti gyvuliai jai nepadeda nei sëti, nei pjauti, nei malti grûdø 

ar kepti duonos, taèiau paragauti duonos nori visi. Kiekviename 

puslapyje yra kaþkoks reljefinis áspaudas. Þinoma, tai 

nëra daug, taèiau tai reiðkia, kad aklas vaikas, èiupinëdamas 

ðià knygà, gali atskirti jà ið kitø. Ir suprasti, kad skaityti yra malonu: 

vaikai verèia puslapius, aptinka juose Brailio raðtà, apsimeta, 

kad skaito, kaip daro regintys vaikai. 

Vyresniems vaikams mes turime Brailio raðtu knygø, telpanèiø 

viename tome, ir prie jos pridedame tà paèià knygà 

reginèiøjø raðtu, kad aklieji galëtø skaityti kartu su reginèiais 

vaikais. Taip pat turime knygø su Mûno raðto tekstais. Neþinau, 

ar Jûs Mûno raðtà naudojate; ðis raðtas buvo sukurtas tuo 

pat metu, kaip Brailio raðtas. Jis neprilygsta Brailio raðtui, bet 

seniems þmonëms já lengviau iðmokti, kadangi raidþiø formos 

primena reginèiøjø raides. Kadangi Mûno raðto langeliai didesni 

uþ Brailio raðto, tam tikra prasme já lengviau iðmokti tiems 

vaikams, kuriems Brailio raðtas yra per smulkus ir per sudëtingas. 

Taigi, turime 13 000 knygø - áprastiniø knygø su áterptu tekstu. 

Jas siunèiame maþdaug tûkstanèiui adresatø visoje Jungtinëje 

Karalystëje. Tai mokyklos, ðeimos, taip pat vieðosios bibliotekos, 

ið kuriø knygos siunèiamos vietos skaitytojams. 

Jungtinëje Karalystëje dauguma sutrikusio regëjimo vaikø 

lanko mokyklas integruotai. Specialià mokyklà paprastai lanko 

vaikai, turintys sunkiø papildomø negaliø. Mûsø biblioteka 

buvo ákurta vaikams, besimokantiems Brailio raðto, aptarnauti, 

taèiau netrukus mes pradëjome iðduoti knygas akliems tëvams 

ir seneliams. Manau, suprantate, kad tos knygos, kuriø 

paskirtis - skaityti jas kartu, vienodai gerai tinka ir vieniems, ir 

kitiems, taigi, tinka ir akliems tëvams, mokantiems skaityti reginèius 

vaikus. Akli tëvai yra geriausi mûsø skaitytojai. Kai kurie 

per savaitæ savo vaikams perskaito po kelias knygas, jie 

keièia knygas paðtu kas savaitæ. 

22

Pakalbësiu apie paèià bibliotekà. Tai labai maþa organizacija. 

Turime daug knygø, bet jei jos visos gráþtø á bibliotekà, 

mes negalëtume atidaryti durø. Mûsø patalpos yra maþdaug 

ketvirtis ðio didelio kambario, kuriame esame (LAB konferencijø 

salë - A.G.). O að esu vienintelë darbuotoja, dirbanti pilnu 

etatu. Kita darbuotoja dirba puse etato, keturi spausdina Brailio 

raðto tekstus namuose, aklas korektorius dirba taip pat namuose, 

be to, naudojamës kalëjimø Brailio raðto skyriais, kai 

prireikia Brailio raðtu iðspausdinti ilgesnes knygas. Þinoma, bûtø 

labai malonu turëti daugiau darbuotojø ir didþiules patalpas. 

23

24 

Päivi Voutilainen 

Celia akløjø bibliotekos Skaitytojø aptarnavimo skyriaus vedëja, 

Suomija 

Suomijos Celia akløjø 

bibliotekos pristatymas 

1890 metais bibliotekà ákûrë Cely Mechelin - senatoriaus 

Leo Mechelino duktë, kuriai tuomet buvo 23 metai. 

1890-1977 metais biblioteka priklausë Akløjø knygos bièiuliø 

draugijai, o nuo 1978 metø biblioteka kaip specialioji biblioteka 

perëjo valstybës þinion. Bibliotekoje yra 60 darbuotojø. 

Vienintelë tokia biblioteka Suomijoje. 

2001 metais bibliotekai buvo suteiktas Celia vardas pagerbiant 

bibliotekos ákûrëjà. 

Biblioteka siekia uþtikrinti neágaliøjø lygybæ literatûros ir informacijos 

prieinamumo srityje. 

Biblioteka leidþia ir skaitytojams iðduoda knygas Brailio raðtu, 

garsines knygas (skaitmenines Daisy formato knygas ir kasetëse 

áraðytas knygas), elektronines knygas ir kitokià specialià 

medþiagà. 

Groþinæ literatûrà, akademinæ literatûrà. 

Garsiniø knygø fonde yra 33 000 pavadinimø knygø, ið kuriø 

skaitytojø pageidavimu 10 % jau perkelta á skaitmeniná Daisy 

pavidalà. 

6 700 Brailio raðtu knygø pavadinimø. 

450 tiflografiniø pieðiniø knygø vaikams. 

12 000 skaitytojø. 

Vaikø aptarnavimas Celia bibliotekoje: 

Skaitmeninës Daisy knygos áraðytos á CD, taip pat kasetëse. 

Brailio raðtu knygos vaikams, be to, yra knygø su termoforminiais 

reljefiniais pieðiniais. 

“Maþoji Celia” - tai vaikø kambarys, kuriame laikomos tiflografika 

iliustruotos knygos, þaislai ir garso áraðai. 

Pasakø valandëlës vaikams ir jø tëvams. 

Celia bibliotekos tiflografinës knygos: 

Pirmosios tiflografinës knygos gautos 1984 metais ið 

Weterhofo amatø ir dizaino mokyklos. 

Tiflografinës iliustracijos yra rankø darbo, padarytos ið 

ávairiø medþiagø ir daiktø, kurie prie medþiaga aptrauktø

puslapiø yra prisiûti, o prie kartono puslapiø - priklijuoti 

(koliaþo technika). 

Skaitoma kartu su suaugusiais, tai suteikia artumo jausmà, 

galimybæ diskutuoti ir mokytis. 

Celia biblioteka per metus ásigyja 10-50 pavadinimø naujø 

tiflografiniø knygø ið ávairiø projektø lëðø arba gauna ið 

jas siuvanèiø entuziastø. 

Ðiuo metu vyksta bendras projektas su Joensuu universitetu: 

amatø ir dizaino specialybës studentai kuria keletà 

tiflografiniø knygø, kurios bus perduotos Celia bibliotekai. 

25

26 

Marion Ripley 


Kas skaito knygas 

su tiflografinëmis iliustracijomis? 

Pasiþiûrëjæ á ClearVision ir Celia bibliotekø turimas tiflografines 

knygas - medþiagines ir koliaþo technika padarytas knygas 

- tuoj pat pagalvojame apie maþus vaikus. Tikrai, ðios knygos 

yra nepaprastai naudingos patiems maþiausiems vaikams, 

nes supaþindina juos su pasauliu, kurio jie nemato. Taip pat 

ðios knygos teikia jiems labai daug dþiaugsmo, labai juos traukia 

ir stimuliuoja. Regintys vaikai, paaugliai ir suaugæ þmonës, 

- visi gauna neapsakomà malonumà þiûrinëdami visokius paveikslus, 

þurnalø, knygø iliustracijas, reklaminius plakatus gatvëse. 

O ðios tiflografinës knygos, kuriose panaudotos ávairiausios 

medþiagos, yra mûsø bandymas padaryti reljefinius pieðinius 

tokius pat ádomius, kaip vizualinës iliustracijos. Tikiuosi, 

kad Jûs per pertraukà aplankysite parodà ir ne tik apþiûrësite, 

bet ir apèiupinësite ten eksponuojamas ið ávairiø ðaliø atveþtas 

knygas. Taip pat tikiuosi, kad sutiksite su manimi, jog visos tos 

knygos skaitytojams teikia nepaprastai maloniø akimirkø, o jas 

skaitydami, gali imti juoktis ne tik vaikai, bet ir suaugusieji. 

Taigi, tiflografinës knygos yra skirtos ne vien vaikams. O 

kitas dalykas, kurá reikia turëti omeny, yra skaièius vaikø su papildoma 

mokymosi negalia. Galiu pacituoti naujausius duomenis, 

kuriuos pateikë dr. Jugnoo Rahi ið Vaikø sveikatos prieþiûros 

instituto: Jungtinëje Karalystëje aklø vaikø skaièius didesnis, 

nei buvo iki tol manyta. Kol sulauks 16 metø, ðeði ið 10 000 

JK vaikø turës sunkià regëjimo negalià arba apaks. Be to, 70 

proc. ið jø turës dar vienà papildomà sunkià negalià. Manau, 

kad tai nepaprastai didelis skaièius. 

Aklø þmoniø kontingentas Jungtinëje Karalystëje pastaraisiais 

metais pasikeitë. Anksèiau buvo daugiau tiesiog aklø vaikø. 

Medicinos paþangos dëka kai kuriø akiø ligø galima iðvengti 

arba jas iðgydyti. Kita vertus, dabar gimsta kur kas daugiau 

neiðneðiotø kûdikiø. Seniau tokie bûtø gimæ negyvi, o dabar jie 

iðgyvena, bet turi kompleksinæ negalià. Taigi, dabar daug aklø 

vaikø turi mokymosi negalià, bûna kurti, turi cerebriná paralyþiø, 

negali susikaupti, ir taip toliau. Netgi galima bûtø pasakyti,

kad kai kuriems tokiems vaikams aklumas yra pati lengviausia 

jø negalia. 

Manau, kad aklaisiais besirûpinanèios Jungtinës Karalystës 

organizacijos dabar skirsto akluosius á turinèius tik aklumà, 

jie laikomi norma, arba normalia situacija, ir á likusius - þmones 

su kompleksine negalia, kurie nesugeba mokytis. Nuo seno 

mes teikiame paslaugas þmonëms, kurie yra tik akli, bet 

ateity mums teks keisti savo darbo kryptá, prisitaikant prie visø 

sutrikusio regëjimo þmoniø poreikiø. Netgi vaikø, kuriø negalia 

yra tik vienos rûðies - aklumas, vystymasis bûna truputá lëtesnis, 

kadangi daug dalykø, kuriuos regintys vaikai iðmoksta stebëdami, 

akli vaikai iðmoksta kitais bûdais, o tai ilgiau trunka. 

Kalbant apie iðmokimà skaityti, dvejø metø atsilikimas laikomas 

norma vaikui, kuris yra tiesiog aklas. 

Visiems vaikams patika þiûrinëti paveikslëlius, tai juos moko, 

skatina mokytis skaityti. Paveikslëliai padeda vaikams paþinti 

pasaulá. Visiems vaikams patinka knygos su paveikslëliais, 

o akliems vaikams jø reikia dar labiau nei regintiems. 

Tai viskas, kà norëjau pasakyti ðia tema. Ar turite klausimø? 

27

28 



Suomija 

Kodël reikia tiflografika 

iliustruotø knygø? 

Moksliniø darbø apie tiflografiniø iliustracijø átakà ikimokyklinio 

amþiaus vaikø ugdymui beveik nëra, todël þemiau iðdëstytos 

mintys didþiàja dalimi paremtos tuo, kà mûsø bibliotekos 

leidybos skyriaus darbuotojai suþinojo ið tiflopedagogø ir 

tëvø, be to, turime sukaupæ ir savo patirties, kadangi skaitytojus 

aptarnaujame tiflografinëmis knygomis jau 20 metø. 

Gyvename atvaizdø, paveikslø ir vizualiniø áspûdþiø pilname 

pasaulyje. Regintys þmonës iðmoksta suprasti paveikslus 

taip anksti, kad nieko apie tai nebeprisimena. Taèiau, nors vaikiðkos 

knygos su paveikslëliais atsirado palyginti neseniai, vargu 

ar galima ðiandien ásivaizduoti normalià vaikams skirtà knygà 

be paveikslëliø arba vaikà, neturintá knygø su paveikslëliais. 

Kaip aklas vaikas suþinos, kà reiðkia nupieðtos formos, spalvos, 

kryptys, jei jam pieðiniø pasaulis yra neprieinamas? Gal 

galime tokiam vaikui padëti, pasitelkæ tiflografinius pieðinius? 

Ið pradþiø vaikiðkos knygos su paveikslëliais turëjo ugdymo 

tikslus. Maþas vaikas geriausiai mokosi per savo vaizduotæ ir 

jausmus. Pasakos ir pasakojimai þadina vaiko vaizduotæ, taip 

pat padeda ugdyti kûrybiná màstymà ir sugebëjimà spræsti ávairius 

abstrakèius uþdavinius vaikui priimtinu bûdu. Todël visos 

vaikiðkos knygos tam tikra prasme yra ugdomosios. 

Anksèiau buvo manoma, kad akliems vaikams ið viso nereikia 

paveikslëliø, arba kad jiems ið tø paveikslëliø nëra jokios 

naudos. Iki 1985 metø Suomijos akløjø biblioteka neturëjo jokiø 

vaikiðkø iliustruotø knygø Brailio raðtu, ir panaði padëtis tebëra 

daugelyje pasaulio ðaliø. Taèiau prieð dvideðimt metø mûsø 

maþøjø aklø skaitytojø tëvai pradëjo praðyti iliustruotø knygø. 

Mums labai pasisekë, kad iniciatyvà parodë amatø ir dizaino 

mokyklos dëstytoja, buvo pradëtos gaminti tiflografika 

iliustruotos knygos, ir ðis darbas tebevyksta iki ðiol. 

Vaikai ir jø tëvai palankiai atsiliepë apie pirmàsias tiflografines 

knygas. Ið tiflografiniø pieðiniø vaikai gaudavo naujos patirties. 

Maþi vaikai labai greitai mokosi, jiems smagu viskà nagrinëti. 

Nagrinëdami savo pirðtukais ir tëvø padedami, akli ir

silpnaregiai vaikai galëjo patirti jaudulá, versdami naujà knygos 

puslapá, kuriame rasdavo kità ádomià iliustracijà, mokydamiesi 

naujø þodþiø. Be to, tokios knygos buvo reikðmingos dar ir 

tuo, kad galëjo tapti vaiko “nuosavybe”, kurià buvo galima padovanoti 

kitiems vaikams. Gerai padaryta tiflografinë knyga atveria 

vaikui turtingà pasakø pasaulá, iliustracijø pasaulá, kuris 

ilgai buvo prieinamas tik regintiems vaikams. 

Dauguma tiflografika iliustruotø knygø siekia mokyti aklà 

vaikà ávairiø ágûdþiø, kuriø jam reiks gyvenime, norint suvokti 

neregimà aplinkiná pasaulá. Tiflografinës iliustracijos gali atverti 

naujø sàvokø pasaulá, iðplësti þodynà, ypaè skaitant knygà kartu 

su suaugusiu þmogumi. Suaugusiojo vaidmuo - paaiðkinti proporcijas 

tarp knygoje pavaizduotø ir tikrø daiktø, papasakoti 

apie spalvas, iðaiðkinti vaikui knygoje apraðomas sàvokas. 

Taèiau lytëjimu informacija gaunama nuosekliai, ir jà reikia 

gerai suprasti. Todël aklam vaikui reikia suaugusiøjø paramos, 

kad jie pasakodami padëtø vaikui suprasti, kà jis tuo metu èiuopia 

savo pirðtukais. Jeigu vaikui paduosime reljefiná pieðiná, jam 

nedera sakyti: “Tai maðina”, bet “Tai yra maðinos modelis arba 

maðinos pieðinys - tikra maðina kur kas didesnë”. Aklas 

vaikas turi suþinoti, koks yra skirtumas tarp pieðinio ir tikrovës. 

Pieðiniai yra trijø matmenø daiktø atvaizdai plokðtumoje. 

Taèiau, kai vaikas tai iðmoksta, tada lytëdamas tiflografinius 

pieðinius arba daiktus jis gali patirti daugybæ daiktø savybiø, 

tokiø kaip ðiltumas, minkðtumas, ðaltumas, kietumas, dydis 

ir forma, ir dar daugelá kitø dalykø, kuriø negalima paaiðkinti 

þodþiais. Iðmokus skaityti tiflografines iliustracijas savo pasakø 

knygutëse, akliems ir silpnaregiams vaikams geriau sekasi 

mokykloje, kai tenka gilintis á plastmasëje atspaustus reljefinius 

pieðinius, iðsipuèianèiame popieriuje atspaustas diagramas, 

mokytis Brailio raðto. 

Kaip be grafikos vaikai galëtø iðmokti daugiau, ne vien aritmetikos? 

Seniau Suomijoje akli vaikai bûdavo atleidþiami nuo 

matematikos ir tiksliøjø mokslø, nes buvo manoma, kad jie tokiø 

dalykø iðmokti negali. Dabar mes turime keletà aklø mokiniø, 

kurie vidurinëje mokykloje mokosi aukðtosios matematikos. 

Mûsø nuomone, taip yra todël, kad tie vaikai ikimokykliniame 

amþiuje skaitë tiflografika iliustruotas pasakø knygas. 

Tie vaikai anksti pradëjo treniruoti savo lytëjimà, anksti tapo 

“raðtingø rankø”. 

29

Apibendrinant reiktø pasakyti, kad akli ir silpnaregiai vaikai 

savo knygose turi turëti tiflografines iliustracijas dël tø paèiø 

prieþasèiø, kaip jø regintys bendraamþiai: kad iliustracijos skatintø 

skaityti toliau, kad jie mokytøsi, tyrinëdami pieðinius pirðtais. 

Kita tokia pat svarbi tø iliustracijø savybë - kad jos vysto 

lytëjimo ágûdþius ir pojûtá, ugdo rankø koordinacijà. Be to, iliustracijos 

skatina vaikà mokytis skaityti - jie susidomi, puslapyje 

aptikæ Brailio raðto taðkus. 

30


KAIP GAMINTI 

TIFLOGRAFINES 

KNYGAS 


Suomija 

Ávairûs tiflografiniø knygø 

gamybos bûdai 

Unikalios tiflografika 

iliustruotos knygos 

Tiflografines iliustracijas galima daryti keliais bûdais. Pirmieji 

akliesiems skirti pieðiniai buvo daromi ið papje maðë arba 

iðraiþomi medinëse lentelëse. Tie pieðiniai buvo rankø darbo 

unikalûs, vieninteliai savo rûðies, darbai. Beje, Suomijoje 

daromos nuostabios medþiaginës tiflografinës knygos su paveikslëliais 

- jos visos padarytos rankomis, ir retai kada daugiau 

kaip vienu egzemplioriumi. Jos siuvamos rankomis arba 

siuvamàja maðina, siuvama ið ávairiø medþiagø, panaudojant 

daiktus, kurie pritvirtinami prie puslapiø, aptrauktø medþiaga 

(audeklu). Kai kurias ðiose knygose esanèias detales galima 

judinti, dalá jø - atlipinti ir vël prilipinti. 

Kartais minëtos knygos labiau primena þaislus nei áprastas 

knygas. Pasitaiko, kad jas pavadina þaislinëmis knygomis. Tokiomis 

knygomis, padarytomis pasakø pagrindu, siekiama panaðumo 

su tradicinëmis pasakø knygomis, kokias skaito regintys 

vaikai. Tiflografiniø knygø privalumas toks, kad jas malonu 

liesti, malonu èiupinëti, jos saugios, detalës tvirtai prisiûtos 

prie puslapio, ilgaamþës, jas netgi galima skalbti. Taèiau 

ðiø knygø siuvimas trunka labai ilgai, be to, reikia mokëti gerai 

siûti. Mûsø skaitytojai vaikai prie tokiø knygø pripratæ, jas mëgsta, 

o mums nepaprastai sekasi ta prasme, kad kasmet mûsø 

fondas jomis pasipildo. Dabar Celia bibliotekoje yra maþdaug 

450 tiflografiniø knygø. 

31

32 

Iliustracijos, padarytos koliaþo bûdu, 

klijuojant popieriø ant popieriaus 

arba naudojant kitas medþiagas 

Reljefinës iliustracijos ið popieriaus gaunamos klijuojant kelis 

popieriaus arba kartono sluoksnius ant kartoninio pagrindo. Atskiros 

figûros iðkerpamos þirklëmis arba iðpjaunamos peiliuku, 

arba su mechanine pjaustykle iðkertamos kelios figûros. 

Pastarasis bûdas tinka masiniam tiraþavimui, taèiau kai kuriuose 

etapuose vis tiek reikia rankø darbo. Dar galima reljefines 

iliustracijas daryti ant kartoninio pagrindo, ant kurio klijuojamos 

figûros ið kartono, ðvitrinio popieriaus, odos, kailio, vielos, 

virvës, juosteliø, molio, visa tai kartu arba atskirai, ir taip 

iðgaunamos ávairios formos ir tekstûros. Skirtingos medþiagos 

duoda ryðkø stimuliuojantá poveiká, jas lytëdami vaikai patiria 

naujø áspûdþiø. Taèiau darant tokias reljefines iliustracijas, bûtinai 

reikia patikrinti naudojamas medþiagas, klijus, spalvoms 

naudotas chemines medþiagas, kad nebûtø nuodingos. Pasitaiko, 

kad klijai nelaiko pakankamai tvirtai priklijuotø detaliø ir 

vaikui á burnà gali patekti maþi reljefinës iliustracijos gabaliukai. 

Todël tiflografines knygas reikia daryti labai kruopðèiai. 

Pastarasis bûdas daþniausiai naudojamas tiraþuojant Taktus 

knygas. Formos ið kai kuriø medþiagø iðpjaunamos pjaustykle, 

taèiau reikia ádëti ir daug rankø darbo, kol padaromi ðimtai 

kiekvienos Taktus konkurse apdovanotos tiflografinës knygos 

egzemplioriø. 

Ðilkografijos technika 

Ðvedijos garsiniø ir Brailio knygø biblioteka turi pasigaminusi 

vaikiðkø tiflografiniø knygø ðilkografijos bûdu. Bûdinga trafaretinio 

spausdinimo technikos savybë ta, kad galima panaudoti 

tirðtesnius daþus arba gumà, kurie uþtepami ant padëklo 

ir prispaudþiami prie pagrindo per trafaretà. Á daþus galima 

pridëti kokios nors plaukuotos medþiagos, taip sukuriant ðvelnø, 

malonø liesti pavirðiø. Problema ta, kad ðios iliustracijos 

palyginti plokðèios ir gana sunku atskirti paveikslo reljefà ir fonà. 

(Pavyzdys - knyga Dick Bruna: Miffy). 

Norint naudotis ðia technika, reikia palaikyti gerus ryðius su 

kokia nors spaustuve.

Kiti tiflografiniø iliustracijø 

gamybos bûdai 

Termoforminës iliustracijos 

Suomiðkuose Brailio vadovëliuose pirmosios reljefinës iliustracijos 

pasirodë maþdaug prieð trisdeðimt metø. Jos tradiciðkai 

buvo vadinamos plasmasiniais reljefiniais pieðiniais, kurie 

buvo padaryti su vakuuminëmis formavimo maðinomis. Turbût 

tai plaèiausiai naudojamas bûdas akliesiems skirtoms reljefinëms 

iliustracijoms gaminti. Pagaminti plasmasinæ kopijà 

ið reljefinio originalo arba formos yra pigu ir greita. Tokios iliustracijos 

puikiai pasiteisina vadovëliuose, pavyzdþiui, kai reikia 

atvaizduoti augalus arba gyvûnus, taip pat ðiuo metodu tinka 

vaizduoti þemëlapius ir diagramas. Plastmasines reljefines 

iliustracijas galima nuspalvinti nenuodingais daþais, kad tiktø 

silpnaregiams. 

Taèiau termoforminës iliustracijos nelabai tinkamos naudoti 

pirmoje aklo vaiko knygoje. Reikia turëti pakankamai gerus 

lytëjimo ágûdþius, kad suprastumët tokias reljefines iliustracijas. 

Jos visuomet bûna dviejø matmenø ir, lieèiant pirðtais 

tokià iliustracijà, visa ji atrodo vienoda. Be to, plastmasë nëra 

labai maloni liesti; kai suðyla, ji pasidaro slidi nuo prakaito, o 

per ilgà laikà iðsipurvina. 

Spausdintinë grafika 

Spausdintinë grafika dar vadinama Brailio grafika. Tai pieðiniai, 

susidedantys ið taðkø, kurie yra padaromi su Brailio 

spausdintuvais arba su specialia maðina, skirta grafikams daryti. 

Yra vaikiðkø knygø, iliustruotø ðiuo bûdu, bet man jos atrodo 

palyginti kuklios, kadangi suteikia tik vienos rûðies lytëjimo 

pojûtá. Taèiau ðis metodas tinka, jei siekiame mokyti Brailio raðto 

arba ugdome rankø koordinacijà. 

Iðsipuèiantis (mikrokapsulinis) 

popierius 

Reljefiniai pieðiniai, padaryti ant iðsipuèianèio popieriaus, 

taip pat daþnai dedami á vadovëlius. Paðildytas mikrokapsulinis 

popierius iðsipuèia. Tai pakankamai ekonomiðka medþiaga, 

ant kurios ið originalaus pieðinio galima pasidaryti vienà 

33

arba kelis paprastus reljefinius pieðinius. Taèiau skaityti tokias 

iliustracijas galima tik gerai águdus, todël jos netinka maþø vaikø 

knygoms. Iki ðiol aptarti metodai geriausiu atveju duoda reljefines 

linijas, tokios iliustracijos nepakankamai sudomina ikimokyklinio 

amþiaus aklus vaikus. 

Suomijoje mes turime vaikiðkø tiflografiniø knygø, padarytø 

naudojant kelias technikas. Didþioji mûsø knygø dalis - rankomis 

pasiûtos medþiaginës knygos, kadangi bûtent tokias pirmàsias 

knygas gavome ið amatø mokyklos. Mûsø bibliotekos 

personalas yra padaræs knygø ir ið medþiagos, ir naudojant 

koliaþo technikà. Jeigu knyga padaroma kruopðèiai, prisilaikant 

tam tikrø taisykliø, ji bûna gerai skaitytojø vertinama ir 

tampa svarbia mûsø fondo dalimi. 

34

Marion Ripley 


Nuo paprastø prie sudëtingø 

tiflografiniø knygø 

Ketinu kalbëti apie ávairaus sudëtingumo tiflografines knygas, 

skirtas maþiems vaikams. Ðiomis knygomis mes siekiame, 

kad vaikai sklandþiai pereitø nuo realiø daiktø, kuriuos galima 

paimti á rankas, lytëjimo prie abstraktesniø dalykø lytëjimo. 

Be ðio tvirto pagrindo, kuris prasideda nuo realiø daiktø, 

negalime tikëtis, kad vaikai sëkmingai ir lengvai vienà dienà 

pereis prie þemëlapiø ir diagramø. Kaip nurodë Francis Aldridge, 

buvæs Sasekso universiteto profesorius, pagal sudëtingumà 

tiflografikà galima skirstyti á dvi kategorijas. Vienas reljefines 

iliustracijas labai lengva apèiuopti, bet nelabai lengva suprasti, 

kas ten yra. Kitas iliustracijas sunku apèiuopti, taèiau 

ten vaizduojama sàvoka yra visai paprasta. 

Pavyzdþiui, ásivaizduokite paprastà grafikà - linijà, kuri vaizduoja, 

kiek keleiviø rytais bûna Vilniaus autobusuose. Að, aiðku, 

spëliosiu, nes rytà autobusu Vilniuje nesu vaþiavusi; bet 

visgi galima manyti, kad penktà ryto bûna visai maþai keleiviø, 

aðtuntà jø bûna labai daug, o deðimtà vël sumaþëja. Taigi, ir 

mûsø reljefinis grafikas bûtø linija, kuri ið pradþiø kyla aukðtyn, 

paskui leidþiasi þemyn. Ðità linijà labai lengva apèiuopti, netgi 

maþas vaikas gali pirðtuku rasti linijà, kuri kyla á virðø ir leidþiasi 

þemyn. Bet suprasti, kad ðita linija reiðkia skaièiø þmoniø, vaþiuojanèiø 

miesto autobusais ávairiu paros metu, yra pernelyg 

sudëtinga maþam vaikui suprasti. 

Taigi, ðiuo atveju turime paprastà reljefiná grafikà, kuriuo vaizduojama 

sudëtinga sàvoka. Kita vertus, paimkime ananasà. 

Reljefinis ananaso pieðinys bûtø labai sudëtingas, jame bûtø 

daug þvyneliø ir smailø lapø, jo pavirðius bûtø labai grublëtas, 

- lieèiant bûtø sunku suprasti, kas tai yra. Jei tokia iliustracija 

pateks vaikui, kuris bus valgæs ananaso, bus já laikæs rankose, 

tada ananaso sàvoka jam atrodys lengva, bet pats reljefinis 

pieðinys bus labai sudëtingas. Tai tik pavyzdys, rodantis, á kà 

reikia atsiþvelgti, kai darome reljefines iliustracijas vaikams arba 

suaugusiems. 

Kitas dalykas, kurá turime atsiminti, yra tai, kad reginèiøjø 

raðto knygose iliustracijos kartais bûna labai paprastos, labai 

35

gerai suprantamos maþiems regintiems vaikams, bet sudaro 

nemaþø sunkumø akliems vaikams, kurie tas iliustracijas tyrinëja 

pirðtukais. Savo rankose laikau reljefiná paveikslëlá, kuriame 

vaizduojama jûra, palmë, saulë danguje ir valtelë horizonte. 

Atrodo visai paprastas paveikslëlis, yra kur kas sudëtingesniø 

uþ já. Bet jeigu dirbtumëte su maþu aklu vaiku, kuris neþinotø, 

kaip atrodo paveikslëliai reginèiøjø knygose, pastebëtumëte, 

kad ðis paveikslëlis tik atrodo paprastas, ið tikrøjø jame 

yra nemaþai dalykø, kuriuos aklam vaikui reikëtø paaiðkinti. 

Saulë danguje: mums ji atrodo tokia áprasta, tai toks visiems 

suprantamas simbolis; saulë vaizduojama kaip ratas su ið jo 

iðeinanèiomis linijomis. Bet ðito simbolio aklas vaikas nesupras, 

jei jam nepaaiðkinsime. Jûra dingsta uþ medþio kamieno, 

bet kur ji prapuolë? Medis stovi prieð jûrà, todël mes jos ir 

nematome. Ir kalva uþstoja jûrà. Ar tai reiðkia, kad kalva iðsikiðusi 

á jûrà? Ne, vëlgi, kalva yra prieð jûrà ir jà uþstoja. Dar èia 

yra didþiulë palmë ir maþytis laivelis. Taigi, perspektyva yra 

dar vienas dalykas, kurá teks paaiðkinti maþam aklam vaikui. 

Pratinant prie tiflografiniø knygø, galima pradëti nuo realiø 

daiktø. Ðtai tokie krepðiai labai populiarûs áprastose Jungtinës 

Karalystës mokyklose. Mokytojai jais daþnai naudojasi, norëdami 

reginèius vaikus sudominti knygomis, siekdami, kad vaikai 

geriau suprastø, kas knygose raðoma. Tokius krepðius mokyklos 

praðymu daþnai pasiuva tëvai ir seneliai. Á toká krepðá 

ádedama po knygà. Èia yra paprastutë knyga apie Dþekà vonioje. 

Ði knyga taip pat moko paþinti spalvas. Krepðyje taip pat 

randame tikrø daiktø, todël vaikai, klausydamiesi pasakojimo, 

gali iðsiimti þalià rankðluostá, maþà antytæ, raudonà laivelá, mëlynà 

þuvytæ. 

Tai paprastas bûdas padaryti knygà gyva, padëti vaikui, kuris 

negali apþiûrëti paveikslëliø; tai paprasta idëja, kurià lengva 

ágyvendinti, siekant sudominti vaikà knyga. 

Paprastai að neprieðtarauju Paivei, bet dabar norëèiau pakalbëti 

apie knygas su termoforminëmis iliustracijomis. Visiðkai 

sutinku, kad dauguma knygø su termoforminëmis iliustracijomis 

skirtos vyresniems vaikams. Taèiau ðitos knygos buvo 

padarytos specialiai labai maþiems vaikams, kuriose termoforminës 

iliustracijos padarytos ið realiø daiktø. Lyginant su termoforminiais 

pieðiniais, þemëlapiais ir diagramomis, tai visiðkai 

kitokia termoforminiø iliustracijø rûðis, nes, pavyzdþiui, ðtai 

ði iliustracija - tai trys lego kaladëlës, o vaikai gerai þino, kas tai 

36

yra. Visos ðioje knygoje esanèios reljefinës iliustracijos atkartoja 

kasdien sutinkamus daiktus, kuriuos vaikas gali paèiupinëti. 

Su ðia knyga galima þaisti toká þaidimà: vaikas turi surasti 

tikrà daiktà, kuris atitinka tiflografinës knygos iliustracijà. 

O ðioje knygoje pasakojama apie milþinà, kuris priverstas 

gráþti namo, nes visus pinigus iðleido Makdonalde. Bet jam 

spaudþia batas, todël jis já nusiima ir jame randa raktà. Jis pasako 

trumpà eilëraðtá, kuriuo iðlieja savo susierzinimà, ir apsiauna. 

Bet vël jam sunku eiti. Nusiauna ir randa bate ðaukðtà. Ir 

taip ðitas pasakojimas kartojasi vël ir vël, o vaikas gali atspëti, 

kad kitame knygos puslapyje milþinas bate dar kaþkà suras. 

Ðità knygà iðbandëme su daugiau kaip ðimtu vaikø; buvo 

vykdomas toks projektas. Knyga vaikams labai patiko, o daugelis 

vaikø , kuriems ji patiko, turëjo mokymosi negalià. Tø vaikø 

mokytojai ið pradþiø parengdavo vaikus, ir tik tada pristatydavo 

knygà. Pavyzdþiui, viena mokytoja á klasæ atsineðë batà, 

kuriame buvo pridëta ávairiø daiktø. Vaikai ëmë tuos daiktus ið 

bato vienà po kito ir sakë, kas tai yra, o keli vaikai apsiavë tà 

batà su ðaukðtu viduje ir vaikðèiojo po klasæ, norëdami patys 

ásitikinti, kad batas spaudþia. 

Taigi, pirmos vaikiðkos tiflografinës knygos yra padarytos 

pagal tikrus daiktus, kuriuos vaikai galbût sugebës atpaþinti. 

Ðtai èia yra tokios knygos pavyzdys. Tai knyga - abëcëlë, lape 

- viena abëcëlës raidë. Jeigu knygoje bûtø visa abëcëlë, ji bûtø 

pernelyg stora, o maþi vaikai negali ilgai iðlaikyti dëmesio. 

Ðtai èia pavaizduoti daiktai, kurie angliðkai prasideda raide “b”; 

lietuviðkai jie prasideda “k” raide: krepðelis, krepðelyje, karoliukai. 

Ðtai èia interaktyvi knyga, pavadinta “Patriukðmaukim”. Vaikas 

gali daryti su knyga ávairius dalykus, jis atranda joje tikrà 

lazdelæ, su kuria galima muðti tikrà bûgnelá; tai tikri daiktai, su 

kuriais vaikas gali þaisti. O paskutiniame puslapyje yra tikros 

kastanjetës, jos primena Ispanijà. 

Kitos knygos yra visiðkai nesudëtingos, bet jose atskleidþiamos 

kur kas sudëtingesnës sàvokos, nei iki tol mano rodytose 

knygose. Ðtai èia turiu mielà paprastà ir tvirtà knygutæ, kurià 

vaikui tikrai bûtø sunku sugadinti. Kiekviename puslapyje vaikas 

turi rasti koká nors skirtumà, kitoká daiktà. 

Ðio amþiaus vaikams turime skaièiavimo knygø, knygø su 

prieðybëmis ir geometrinëmis formomis. Ðtai magnetinë knygutë, 

jos pirmame puslapyje yra magnetas, kurá reikia laikyti 

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ankoje ir iðbandyti, kaip jis pritraukia visokius daiktus. Taip vaikas 

èiupinëja visiðkai tikroviðkus daiktus, ir pamaþu ásisàmonina 

kokià nors truputá sunkesnæ sàvokà. 

Toliau galime pereiti prie knygø su abstraktesnëmis iliustracijomis. 

Ir jos yra palyginti paprastos, jø tekstûra labai tikroviðka, 

bet paimkim kad ir ðià knygutæ apie Raudonkepuraitæ. 

Ar Lietuvoje ðita pasaka þinoma? Jeigu minutëlæ pamàstytumëte, 

kokia reginèiøjø raðtu iðleistoje knygoje apie Raudonkepuraitæ 

turëtø bûti pirma iliustracija, turbût nutartumëte, kad 

joje turëtø bûti pavaizduota virtuvë, kurioje mama kepa pyragëlius 

senelei, ant kilimëlio tupi katë, ðalia stovi Raudonkepuraitë, 

yra stalas, ant palangës - pelargonija.O ðioje paprastutëje 

tiflografinëje knygoje pirmame lape mes turime tik Raudonkepuraitës 

kepurytæ. Kitas puslapis sudëtingesnis, nes jame 

vaizduojami medþiai, bet jie labai supaprastinti, lapai èiuopiasi 

kaip tikri lapai, nes iliustracijos tekstûrà mes stengëmës 

padaryti kuo tikroviðkesnesnæ. Kai Raudonkepuraitë ateina á 

senelës trobelæ, ji pastebi, kad senelës labai didelës ausys (puslapyje 

- didelë ausø iliustracija), labai didelës akys, ir labai dideli 

dantys; taip kiekviename puslapyje vaikas vis kaþkà atranda. 

O ðiame puslapyje mes turime dureles, kurios padarytos ið 

cigarø dëþutës dangtelio, kurio tekstûra yra kaip tik tokia, kokios 

reikia, ir skleidþia kaip tik toká garsà, kokio reikia, kai á tas 

dureles beldþiama. O kitame puslapyje pavaizduotas pro duris 

bëganèio vilko uþpakalis. Senelë buvo kà tik iðëjusi nupirkti 

sausainiø, o kai sugráþo, labai apsidþiaugë, kad atëjo jos anûkë. 

Èia pavaizduoti sausainiai, jie padaryti ið molio. Mes nutarëme 

pasinaudoti proga ir padaryti ávairiø formø sausainius - 

apvalø, staèiakampá, kvadratiná. 

Kita nesudëtinga knygutë yra apie augalus, kurioje vaikas 

atranda paprastø sàvokø. Ðtai èia, pirmame puslapyje, yra kieta 

sëkla. 

O ðtai èia viena ið apdovanotø Taktus knygø. Joje yra pagrindinës 

herojës portretas, bet visos tekstûros labai tikroviðkos. 

Mes tikimës, kad toliau vaikai pereis prie dar abstraktesniø 

knygø, tokiø kaip “Klaros suknelë”, kurioje vaikui yra dar 

daugiau kà èiupinëti. Ir ði knygutë visai paprasta, bet èia greièiau 

paveikslëliai, o ne tikroviðki daiktai. Ir bûtinai pasiþiûrëkite 

á paskutiná puslapá, kuriame ant virvutës dþiûsta karvës kelnaitës. 

38

Paskutinë knygutë, kurià noriu parodyti, yra kita Taktus konkurse 

apdovanota knyga, skirta vyresniems vaikams, kurioje 

labai daug skirtingø tekstûrø, ji labai labai stilizuota, o tekstas 

pakankamai subtilus. Tai ganëtinai simboliðka knyga, ádomi 

saulë, þvaigþdës ir visa kita. 

Norëèiau pastebëti, kad kai akli vaikai èiupinëja ðias knygas, 

jie neturi jaustis lyg per egzaminà. Paivë kalbëjo apie tai, 

kaip svarbu, kad tiflografinëmis knygomis vaikai galëtø dalintis, 

o tas dalijimasis turëtø vykti ðitaip: “Þiûrëkime kartu”. Tiflografinë 

knyga turëtø bûti tokia, kad aklas vaikas niekada neliktø 

nesupratæs, kas pavaizduota reljefinëje iliustracijoje. 

O dabar norëèiau, kad Jûs pasijustumëte vaiko, tyrinëjanèio 

reljefinæ iliustracijà, kailyje, þinoma, jeigu pageidaujate. Jeigu 

norite, kiekvienam paduosiu po reljefinæ iliustracijà. Paduosiu 

iliustracijas apverstas, lyg per egzaminà. Ir norëèiau, kad uþsimerktumëte, 

jei reikia, ir tik tada atverstumëte jas. Jei þvilgtelësite 

á iliustracijà, vos sekundei, viskà tuoj suprasite. Taigi, jei 

norite dalyvauti, iðdalinsiu iliustracijas ir pasakysiu “gerai”, tada 

uþsimerkite ir atverskite. Gerai. (Seminaro dalyviai pirðtais 

tyrinëja iðdalintas iliustracijas). O dabar galite á jas pasiþiûrëti. 

Jeigu sëdite ðalia neregio, galite jam pasakyti, kas ten vaizduojama. 

Turbût jau supratote, jog nelengva atspëti, kas pavaizduota 

reljefinëje iliustracijoje? Ar kuris nors klausytojas gali 

man pasakyti, kas buvo jo iliustracijoje? Ne? Betgi jums iðdalinau 

reljefines iliustracijas, kurios skirtos ikimokyklinio amþiaus 

vaikams, kai jie skaito “Miffy” knygutes - trejø-ketveriø-penkeriø 

metø vaikams. Vaikams, kurie nëra matæ paveikslëliø, nëra 

matæ gyvo dramblio. 

39

40 

Marion Ripley 


Kokios turi bûti reljefinës iliustracijos, 

kad jas suprastø akli vaikai? 

Dabar visi drauge pagalvokime, kà mes galime padaryti, 

kad maþiems akliems vaikams skirtos reljefinës iliustracijos bûtø 

lengviau suprantamos. Labai sunku suprasti kontûrinius pieðinius, 

nes neþinote, kurià pavaizduoto daikto pusæ èiuopiate. 

Kur kas lengviau suvokti reljefinæ iliustracijà, jei ji yra uþpildyta. 

Þymiai lengviau, jei puslapyje bus keletas skirtingø tekstûrø, 

bet jø viename puslapyje neturi bûti per daug. Tos tekstûros 

turi tarpusavyje skirtis. Labai svarbu tekstûras nuolat tikrinti 

jas èiupinëjant, kadangi yra tokiø, kurios akiai atrodo visiðkai 

skirtingos, bet pirðtai jauèia palyginti panaðø pavirðiø. Tiesiog 

viename puslapyje vaizduokite vienà arba du objektus, nedëkite 

daug ir ávairiø. 

Ðioje reljefinëje iliustracijoje vaizduojamos dvi þirafos. Ásivaizduokite, 

kad esate vaikas, kuris neþino, kaip atrodo þirafa. 

Kà suþinotumëte ið ðios iliustracijos? Turbût kad þirafa turi dvi 

galvas. Ðios dvi þirafos pavaizduotos sukryþiuotais kaklais, todël 

atrodo, tarsi èia bûtø gyvûnas su aðtuoniomis kojomis ir 

dviem galvom. Sakau, kad ðis gyvûnas turi aðtuonias kojas, 

bet þinoma, jums nepavyktø suskaièiuoti tø aðtuoniø kojø, nes 

uþ jø parodyta tvorelë. Manau, kad niekas ðios iliustracijos gerai 

nesupras, netgi su paðaliniø pagalba. 

Visi puslapyje vaizduojami daiktai turi bûti atskirti vienas 

nuo kito nedideliu tarpeliu tam, kad kiekvienà daiktà galëtumëte 

apèiupinëti atskirai. Ðio amþiaus vaikams skirtose iliustracijose 

reikia proporcingai vaizduoti daiktus, negalima rodyti 

didelio medþio pirmame plane ir maþo laivelio - iliustracijos 

fone. Venkite perspektyvos: mes galime suprasti, kad kelias 

tolumoje siaurëja, taèiau apie ðá dalykà aklas vaikas suþinos 

vëliau. 

Stenkitës nevaizduoti objektø, kuriuos uþstoja kiti objektai. 

Ðiame paveikslëlyje pavaizduoti du kiðkiai, kurie þiûri pro traukinio 

langà. Taèiau gaila, kad traukinio rëmas eina skersai per 

kiðkio ausis ir jas uþstoja. Ausys galëjo bûti vienintelis dalykas, 

ið kurio bûtø galima atpaþinti kiðká, taèiau tø ausø negalima 

apèiuopti, nes trukdo skersinis lango rëmas.

Þmogø arba gyvûnà kur kas lengviau atpaþinti, jei galima 

suskaièiuoti rankas arba kojas. Reginèiøjø raðto knygose paprastai 

gyvûnai vaizduojami tik su dviem kojomis. Mes suprantame, 

kad deðinë koja slepiasi uþ kairës. Bet reljefinëje iliustracijoje 

gyvûnà bûna lengviau atpaþinti, jei galima suskaièiuoti 

visas keturias kojas, ir jeigu uþpakalyje aiðkiai styro uodega. 

Apaèioje, parodoje, yra keletas puikiø knygø, kuriose teisingai 

pavaizduoti gyvûnai. Kaip gerà pavyzdá noriu paminëti Lietuvoje 

surengto konkurso pirmàjà vietà uþëmusià knygà, bei kelias 

Sylvi, mûsø kolegës ið Suomijos, padarytas knygas. 

Panaðiai reikia vaizduoti ir veidus. Kur kas lengviau apèiuopti 

veidà, jei jis apvalus ir uþpildytas; jei galima suskaièiuoti akis, 

rasti nosá, paèiupinëti lûpas ir plaukus; jei veidas simetriðkas, 

lengviau tyrinëti jo bruoþus. Arba ið profilio, kad bûtø galima 

paèiupinëti nosá, smakrà, kaklà. Kur kas sunkiau, jei vaizduojate 

veidà trijø ketvirèiø kampu, tada jis nebûna simetriðkas, viena 

akis bûna didelë, kita maþa, o burna - keistos formos. 

Taigi, tokios yra taisyklës, kaip reljefines iliustracijas padaryti 

suprantamesnes. Ið kokios medþiagos bedarytumëte iliustracijas 

- siûtumëte ið medþiagos arba darytumëte koliaþo bûdu, 

- ðios taisyklës tinka visoms reljefinëms iliustracijoms. 

Ðalia to, yra dar ðeðios auksinës tiflografiniø knygø gamybos 

taisyklës, kurios angliðkai prasideda raide “s”, bet lietuviðkai, 

þinoma, jos prasidës kitokiomis raidëmis. Tiflografinës knygos 

turi bûti: 

Saugios. Kartoju tai, apie kà jau kalbëjo Paivë, bet manau, 

kad apie tai verta dar kartà pakalbëti. Nepaprastai svarbu, 

kad tiflografinës knygos bûtø saugios, kad netinkamos knygos 

nepatektø tokiems vaikams, kurie gali nuo puslapiø nuplëðti 

ir praryti kokius nors daiktus. Ðia prasme ið medþiagos 

pasiûtos knygos paprastai bûna labai saugios, nes galima daiktus 

taip tvirtai prisiûti prie pulsapiø, kad net visiðkai nevaldomi 

vaikai negalës jø nudrëksti. 

Paprastos. Maþiems vaikams skirtos knygos turi bûti itin 

paprastos. Jei knyga jiems patinka ir jie jà greitai perskaito, tai 

geras dalykas, vaikai pasijunta, kad sugeba ðá bei tà suprasti. 

Taèiau dauguma tiflografiniø knygø yra per daug sudëtingos. 

Kyla pavojus, kad vaikus atbaidysime, jei jie nesupras, kà vaizduoja 

reljefinës iliustracijos. Juk mums nereikia ilgai galvoti, 

kas pavaizduota mûsø (reginèiøjø) knygose, todël neverskime 

ir aklø vaikø átemptai galvoti, kas vaizduojama jø knygose. 

41

Maþos. Knygos turi bûti palyginti maþos. Juk vaikai maþi, 

jø maþos rankytës, maþi delniukai, maþi keliukai, ant kuriø jie 

deda savo knygutes. Svarbu, kad vaikas galëtø viskà pats pasiekti, 

apèiupinëti knygà savo rankomis. Taèiau, jeigu tiflografinë 

knyga didelë, tai nëra nepataisoma nelaimë. 

Trumpos. Tiflografinës knygos turi bûti trumpos. Dabar jûs 

visi tyrinëjate reljefines iliustracijas. Þinote, kiek laiko reikia, norint 

pirðtais iðtyrinëti vienà puslapá. Ðitie vaikai nenori iðtisà pusvalandá 

skaityti savo knygà. Ir regintis vaikas nenori ilgai skaityti 

vienos knygos. Todël pakanka keturiø - penkiø puslapiø. 

Tvirtos. Tai reiðkia stiprios ir patvarios, kurias nelengva sugadinti. 

Kai vaikai pasiima knygà á rankas, normalu, kad jie bando 

kaþkà nuo puslapio atplëðti. Netgi labai tvarkingi vaikai tampo 

reljefines detales, norëdami patikrinti, ar jos atplyð, ar ne. O 

yra vaikø, kuriø tvarkingais apskritai negalima pavadinti. Yra 

tokiø vaikø, kurie ið pradþiø pamëgina knygà perplëðti pusiau, 

ir tik tada apsiramina ir susidomi, kas vaizduojama jos puslapiuose. 

Ðtai èia vël pasiteisina medþiaginës knygos, nes vaikai 

jas gali plëðyti ið visø jëgø, ir nieko neatsitiks. 

Lavinanèios. Norëdami lavinti ðiø vaikø pojûèius, mes stengiamës 

naudoti ávairias tekstûras, ir ne visos jos bûna ðvelnios 

ir malonios liesti, bûna kietø ir ðiurkðèiø, plaukuotø, ðaltø pavirðiø. 

Parodoje yra viena gauruota knyga. Tai nuostabi idëja, ásivaizduokime 

vaikà, paimantá jà á rankas ir tuoj pat pagalvojantá: 

“Ðita knyga labai ádomi, ji visa gauruota!” Ðios knygos pavirðiaus 

tekstûros paskirtis lygiai tokia pati, kaip ir ryðkaus reginèiøjø 

raðtu knygos virðelio. 

Ðalia dalykø, kuriuos vaikai turës èiupinëti, mes galime pridëti 

garsø ir kvapø. Þinau, kad Paivë savo bibliotekoje turi nuostabià 

knygà, kurios puslapiuose yra glamþyto popieriaus ir 

akmenukø, todël, verèiant puslapius, jie ðlama kaip jûra. Galite 

prie puslapiø pritvirtinti ðvilpukus arba mygtukus, kuriuos 

paspaudus pasigirsta melodija. Kvapai: keletoje knygø yra prisiûti 

maiðeliai su levandomis, antiseptiku, cinamonu. Viena mûsø 

turima knyga vadinasi “Pasidarykime valgyti” . Joje yra daug 

medþiaginiø maiðeliø, prisiûtø prie knygos, kurie pilni visokiø 

aðtriø prieskoniø. Paskutiniame puslapyje yra maiðelis su ryþiais, 

þinoma, nevirtais. Nevirti ryþiai labai maloniai girgþda tarp 

pirðtø. 

Norëdami sudominti vaikus, kurie ðiek tiek mato, galite panaudoti 

kontrastingas spalvas. Beveik nematantiems vaikams 

42

skirtose knygose galima naudoti juodà ir baltà spalvas. Á puslapá 

galima ádëti blizganèiø detaliø, nes atsiras tokiø vaikø, kuriems 

tai bus viskas, kà jie pamatys. 

43

44 

Marion Ripley 


Tiflografiniø knygø 

temos 

O apie kà gali bûti tiflografinës knygos? Paivë jau minëjo, 

kad yra tradicinës temos, nes kiekviena ðalis turi daugybæ liaudies 

pasakø. Labai gerai, jei padarysite tiflografinæ knygà, kurioje 

iliustracijomis papasakosite kokià nors pasakà, eilëraðtá 

ar baladæ. Yra labai daug temø, tinkamø ikimokyklinio amþiaus 

vaikams. Labai nesunku padaryti skaièiavimo sknygà su ádomiomis 

iliustracijomis, abëcëlës pradþiamokslio knygutæ, geometriniø 

formø knygutæ - jose parodysite tuos dalykus, kuriø 

mokosi regintys vaikai. Galite daryti knygas apie vaiko buitá - 

kad rytais reikia nusiprausti, apsirengti, apie pasivaikðèiojimà 

parke, apie kitus paprastus kasdieniðkus darbelius. Galite kurti 

pasakojimus patys. Èia mes nekalbame apie Hará Poterá, kalbame 

apie paprastuèius pasakojimus. Galiu pasiûlyti tokià knygos 

temà: “atversk mane ir nustebsi”. Joje kiekvienas puslapis 

gali bûti uþsegtas kitokiu segtuku, kurá reikia atsegti, atversti 

atlankà ir pasirodys siurprizas. 

Yra þmoniø, kurie mëgsta paimti reginèiøjø raðto knygà ir 

jos pagrindu parengti tiflografinæ knygà. Tam tikra prasme taip 

yra lengviau, kadangi nereikia sukti galvos, apie kà bus knyga, 

t.y. dël teksto. Taèiau mano patirtis rodo, kad parengti gerà 

tiflografinæ knygà ðitokiu bûdu yra þymiai sunkiau, kadangi reikia 

adaptuoti reginèiøjø raðto knygos iliustracijas, o tai ne visuomet 

lengvas darbas. 

Geriausia iðeitis bûtø surinkti kuo daugiau visokiø daikèiukø 

ir tada palaukti ákvëpimo - padaryti knygà ið to, kà turite. O 

dabar nusigræþkite, jei bijote vorø. Kai parduotuvëje pamaèiau 

ðità didþiulá vorà, man toptelëjo, kad já galima panaudoti knygoje 

“Maþi ir dideli”. Pagal principà “maþi ir dideli” galima padaryti 

iðtisà knygà. 

Panaðiai galima naudoti ir varpelius - jø yra paèiø ávairiausiø. 

Gana ádomu tai, kad didelis varpelis skamba visai kitaip 

nei maþas. Todël tokioje knygoje galëtumëte ne tik apèiupinëti 

didelá ir maþà, bet ir iðgirsti, kaip skamba didelis varpelis ir 

kaip skamba maþas. Taigi, ðituos du varpelius galima bûtø panaudoti 

paprastoje tiflografinëje knygutëje.

O ðitas cypimà skleidþiantis þaisliukas galëtø tikti knygai 

apie garsus. Jeigu knygutëje bûtø pasakojama apie pelytæ, kurià 

Jûs galbût padarysite ir pavadinsite “Maþoji pelytë”, tas þaisliukas 

tiktø pelytës cypimui pailiustruoti. O èia turiu kelias tikrai 

puikias kastanjetes. Plastmasinës, pigios kastenjetës, kurias 

galima prisiûti prie knygos ir gauti puikià reljefinæ iliustracijà. 

Daiktus, kuriuos sunku pritvirtinti prie puslapio arba kurie labai 

smulkûs, galima sudëti á nedidelá maiðelá ið plonytës medþiagos, 

kad vaikas galëtø juos paèiupinëti. Maiðelá reikia tvirtai 

prisiûti prie puslapio, ir vaikas gali per medþiagà apèiupinëti 

maiðelyje esanèius daiktus. Mano rankose labai plona, slidi medþiaga, 

kuri èiuopiant atrodo kaip celofanas, ið kurio daromi 

saldainiø maiðeliai. 

Kartà vienoje pigioje parduotuvëje atradau ðituos padëkliukus, 

ant kuriø statomas alus ir kitokie gërimai, jie kainavo 

graðius, ir man toptelëjo, kad juos galima panaudoti knygoje 

apie geometrines formas. Ðitas padëkliukas gali vaizduoti kvadratà, 

arba galima á vienà puslapá sudëti du kvadratinius ir vienà 

apvalø padëkliukà, t.y. kad viena forma bûtø kitokia. Arba galima 

sudëti dvi lygaus pavirðiaus geometrines formas, o vienà 

- ðiurkðèià. Jeigu darysite knygà apie prieðybes, galite naudoti 

vienà lygià formà, o kità - ðiurkðèià. Arba, jeigu rengsite knygà 

apie tris parðiukus, tai galëtø tikti ðiaudiniam nameliui iliustruoti. 

Tai tik keli pavyzdþiai, kaip ádomûs daiktai gali pasufleruoti 

tiflografinës knygos idëjà, knygos, kuri bus ádomesnë ir 

geresnë uþ parengtà pagal reginèiøjø raðtu iðleistà knygà. 

Jungtinëje Karalystëje yra pigiø parduotuviø, kuriose galima 

rasti daug daiktø, tinkamø tiflografinëms knygoms. Ðtai ðis 

daiktas ið pradþiø buvo kalëdinis papuoðalas; kai já iðardþiau, 

gavau daug lengvai apèiuopiamø lapø, elglës ðakuèiø, kurios 

neduria, taigi nëra pavojingos, bet pakankamai smailos ir todël 

ádomios, tinkamos tiflografinei knygutei. 

Taèiau labai sunku sugalvoti, apie kà galëtø bûti vyresniems 

vaikams skirtos tiflografinës knygos. Yra nemaþai paaugliø, kuriems 

taip pat reiktø tiflografiniø knygø, bet surasti jiems tinkamà 

temà labai sunku. Mes mielai siøstume jiems paprastutes 

tiflografines knygas, nes jos atitiktø tø vaikø iðsivystymà, bet 

nenorime siøsti maþameèiams skirtø knygø, nes tai juos áþeistø. 

Ypaè jei jie mokosi integruotai, ðalia reginèiø vaikø. Tai tikrai 

sunki uþduotis, ir turiu prisipaþinti, kad dar nesugalvojome, 

45

kaip jà iðspræsti, bet tikuosi, kad mûsø kolekcija plësis bûtent 

ðita kryptimi. 

Temos, tiksianèios paaugliø tiflografinëms knygoms, galëtø 

bûti tokios: apie madingus drabuþius, ðukuosenas, ëjimà á 

parduotuvæ, galbût sportà, anekdotus, másles, futbolà, laivus, 

stovyklavimà gamtoje, jodinëjimà. Jeigu Jûs galëtumëte dar 

kà nors pasiûlyti, mielai iðklausyèiau (auditorija pasiûlë: þvejyba, 

automobiliai, medþioklë). Medþioklë? Jungtinëje Karalystëje 

á medþioklæ þiûrima gana kreivai. 

Turbût tai viskas, kà norëjau papasakoti ðia tema, todël dabar 

praðome uþduoti klausimus. 

46

Marion Ripley 


ILIUSTRUOTOS KNYGOS 




bibliotekos steigimas 

Pirma rodþiau Jums knygas, kurias turime savo bibliotekos 

fonduose - reginèiøjø raðto knygas, kurias mes adaptavome, 

áterpdami tekstà Brailio raðtu. Didelis tø knygø privalumas tas, 

kad tai tos paèios knygos, kurias skaito regintys vaikai, o tai 

daug prisideda prie aklø vaikø integracijos á normalias klases. 

Bet nuo pat ClearVision bibliotekos veiklos pradþios skaitytojai 

pradëjo mus praðyti specialiai padarytø tiflografiniø knygø. 

Jiems tø knygø reikëjo dël ávairiausiø prieþasèiø, apie kurias 

ðiandien jau kalbëjo Paivë. Daugelá metø mes jiems sakydavome, 

kad tokiø knygø mûsø biblioteka neturi ir kaþin, ar turës. 

Pirmoji prieþastis buvo ta, kad tokiø knygø niekur nebuvo 

galima nusipirkti. Tiesiog neþinojome, ið kur jø bûtø galima gauti. 

O kita svarbi prieþastis buvo susijusi su skaitytojø sveikata ir 

saugumu. Jungtinëje Karalystëje sveikatos ir saugumo reikalavimø 

laikomasi labai grieþtai, ir tai sudarë toká klimatà, kad 

mes visi bijome ne tik to, kad kuris nors vaikas gali mirtinai 

paspringti kokiu daiktu, bet ir to, kad mums iðkels bylà ir privers 

mokëti milijonø svarø sterlingø dydþio kompensacijà, o 

tai reikð, kad biblioteka turës uþsidaryti. 

Gali pasirodyti keista, kad mes baiminamës dël tokiø dalykø, 

taèiau tai realus, praktiðkas rûpestis. Todël ilgus metus sakydavome 

“ne, mes niekada negalësime á bibliotekos fondus 

átraukti specialiai padarytø tiflografiniø knygø”. Ir vienà kartà 

iðgirdau, kad Suomijoje veikia tiflografiniø knygø biblioteka, taip 

pat suþinojau, kad tokia pati biblioteka veikia ir Naujojoje Zelandijoje. 

Tuomet pradëjau galvoti, kad jei Suomija ir Naujoji 

Zelandija turi tokià bibliotekà, gal tuomet ir Jungtinë Karalystë 

gali tokià bibliotekà turëti? Tad 2000 metais pradëjome skaitytojams 

atsakinëti ðitaip: “Mes teiksime tokià paslaugà, ketiname 

sudaryti tiflografiniø knygø fondà”. 

47

Pirmas mûsø þingsnis buvo apie tai pasakyti kuo daugiau 

þmoniø, kad nebegalëtume persigalvoti. Man labai pasisekë, 

kad pasitaikë proga aplankyti Celia bibliotekà Suomijoje, pasiþiûrëti 

á jø knygas, prisirinkti idëjø ir pasisemti patirties apie 

tai, kaip steigti tiflografiniø knygø bibliotekà ir formuoti tokiø 

knygø fondà. Taip pat kreipiausi á labdaros organizacijas praðydama 

finansavimo, nes þinojau, kad prireiks nemenkos sumos, 

norint sukomplektuoti tiflografiniø knygø fondà. Ásivaizdavau, 

kad didelæ sumà iðleisime knygoms ið viso pasaulio 

pirkti, bet vëliau paaiðkëjo, kad ðito nereiks. 

Daugumà tiflografiniø knygø mums padarë savanoriai. Todël 

pinigus iðleidome ne knygoms pirkti, bet bukletams leisti, 

kuriuose iðdëstëme, kaip reikia daryti tiflografines knygas. Dabar 

jø turime daugiau kaip 800. Ir nors visiems buvau þadëjusi, 

kad per trejus metus ásigysime tûkstantá knygø, esu visai patenkinta, 

kad per penkerius metus ásigijome 800. 

Mûsø turimos tiflografinës knygos atliktos ávairia technika, 

bet didesnë pusë yra siûtos medþiaginës knygos. Ðio sumanymo 

pradþioje nemaniau, kad taip atsitiks. Turime koliaþo technika 

padarytø knygø, kurias gavome ið Taktus organizacijos 

ir ið pavieniø asmenø. Taip pat turime labai paprastø termoforminiø 

knygø, pavyzdþiu gali bûti “Milþino batas” - jà Jums 

rodþiau anksèiau. 

O dabar daug laiko skiriu pokalbiams su þmonëmis, tiksliau 

sakant, su moterø grupëmis. Jungtinëje Karalystëje veikia 

moterø grupës, yra viena didelë organizacija pasivadinusi “Moterø 

institutu”, kuri veikia visoje Anglijoje, turi daug filialø kaimuose. 

Dauguma jos nariø yra senyvos moterys - virð penkiasdeðimties, 

ðeðiasdeðimties, septyniasdeðimties metø, - 

daugybë pensijon iðëjusiø moterø. Tos moterys labai entuziastiðkos, 

mûsø projektas tiesiog pavergë jø vaizduotæ. Ir dauguma 

jø turi kaip tik tokius sugebëjimus, kokiø mums reikia. Jos 

priklauso tai kartai, kuri gerai moka siûti. Jos neturi bûti ypatingai 

geros siuvinëtojos, jos turi mokëti taip prisiûti sagà, kad ði 

nenutrûktø. Dauguma ðiø moterø iðaugino krûvà vaikø, dabar 

turi anûkø, todël jos þino, kas patinka maþiems vaikams. Tarp 

jø nemaþai buvusiø mokytojø, bibliotekininkiø, specialiøjø pedagogiø. 

Tarp jø yra labai kûrybingø ir meniðkø moterø, kurios 

trykðta idëjomis. Daþnai susirenka dvi-trys moterys ir siuva vienà 

knygà. 

48

Pastebëjau, kad jos tà darbà labai mëgsta, kadangi turi 

daugiau laisvo laiko nei aklø vaikø tëvai arba mokytojai. Yra 

daugybë moterø, kurios gerai moka siûti ir tiesiog laukia, kad 

joms pasiûlytume imtis darbo. Joms labai patinka þinoti, kad 

jø sugebëjimai panaudojami labai naudingam tikslui. Yra þmoniø, 

mananèiø, kad mokëti siûti nebemadinga; manau, kad ðis 

ágûdis dabar nepagrástai nuvertintas. Taigi, atsistoju prieð jas ir 

sakau: 

- Akliems vaikams reikia to, kà Jûs mokate. 

Bet mums padeda ne vien moterø organizacijos. Dar mes 

turime kelias studentes ið universiteto mados fakulteto, kurios 

padarë kelias tiflografines knygas pagal mokymo programà. 

Taip pat yra kelios entuziasèiø grupës prie baþnyèiø, o dar ádomiau, 

bent jau man taip atrodo, kad mums knygas siuva kalëjime 

sëdinèios moterys. Kaliniø praðau nukopijuoti knygas, todël, 

jei kas nors pasiuva graþià knygutæ, nuneðu tà knygutæ ir 

reikalingas medþiagas á kalëjimà ir sakau: “Ar galite pasiûti 

kelias tokias paèias knygutes?” Ir jos padaro deðimt tos knygutës 

egzemplioriø. 

Britanijoje nuo seno kalëjimuose veikia siuvyklos. Neþinau, 

ar ði tradicija tebegyvuoja, bet paprastai kaliniai siûdavo maiðus 

paðto reikalams. Mûsø laikais kalinës tikrai siuva piþamas 

ir apatines kelnes kalintiems vyrams. Todël galite ásivaizduoti, 

su kokiu malonumu jos imasi siûti tiflografines knygas akliems 

vaikams. Á vienà kalëjimà nuëjau neðina trimis knygomis, kad 

jos galëtø iðsirinkti, kurià knygà tiraþuoti. Jos ilgai ginèijosi, kurià 

knygà bûtø lengviau pasiûti, kuri ið jø graþiausia, ir galø gale 

iðsirinko vienà, kurià nutarë tiraþuoti. Kampe sëdëjusi moteris 

visà laikà tylëjo, ir po kurio laiko prabilo: “Antradiená mane 

paleidþia. Norëèiau dar truputá pasëdëti kalëjime”. Manau, kad 

ji juokavo, bet esu tikra, kad ji uþsikrëtë entuziazmu, kuris tvyrojo 

kambaryje tuo metu. 

Laikui bëgant pastebëjau, kad kuo daugiau informacijos suteikiu, 

tuo geresnes knygas moterys pasiuva. Ið pradþiø buvo 

labai sunku, kadangi turëjau vos dvi ar tris knygas, kurias buvo 

padovanojusi Celia biblioteka, todël neturëjau knygø pavyzdþiø, 

kuriuos bûtø galima parodyti þmonëms tuo metu, kai pasakodavau 

apie knygas. Dabar, kalbëdama grupei þmoniø, iðdalinu 

lankstinukus, kuriuose apraðyta visa tai, kà Jums jau 

pasakojau - apie knygø dydá, puslapiø skaièiø, kad jos turi bûti 

saugios ir paprastos. Atsineðu á paskaità keletà knygø, kad au- 

49

ditorija galëtø pasiþiûrëti, kà jau yra padariusios kitos moterys 

ir galëtø pasisemti idëjø. Taip pat atsineðu vienà puslapio pavyzdá, 

kuris pasiûtas ið medþiagos, neuþbaigtas, kad jos galëtø 

iðnagrinëti, kaip ádëtas pakietinimas ir kad vienas lapo kraðtas 

turi bûti minkðtas. Taip pat pastebëjau, kad moterims tikrai 

patinka viskà paèiupinëti paèioms, iðtyrinëti, kaip viskas padaryta, 

kad ið dviejø staèiakampiø audeklo gabalø galima pasiûti 

puslapá, á kurá ákiðamas koks nors pakietinimas. 

Þmonës dovanoja mums knygas. Kartais savo organizacijose 

jie surengia knygø konkursus, nariai siuva knygas, tada 

kas nors teisëjauja ir atrenka geriausias, ir visa tai vyksta labai 

sklandþiai. Po to tos knygos mums padovanojamos. 

Kartais gauname knygà ir suprantame, kad ji nevykusi. Taèiau 

að visada sugebu rasti kur tokià knygà dëti - perduodu 

vaikui, kuris palyginti gerai mato. Dauguma knygø bûna geros, 

o kai kurios tiesiog nuostabios. 

Gavæ tiflografinæ knygà, pridedame tekstà Brailio raðtu. Mes 

nenorime, kad tekstà Brailio raðtu bandytø raðyti þmonës, kurie 

jo gerai nemoka, nes priveltø klaidø, todël stengiamës paraðyti 

patys. Tekstà ávedame á kompiuterá, pridedame brûkðniná 

kodà, priskiriame knygai kurià nors kategorijà pagal tai, kaip 

lengvai ta knyga plyðta. Tai nëra labai sudëtinga bibliotekinë 

klasifikacija, bet mums tai pats svarbiausias dalykas. 

Mûsø bibliotekos skaitytojai vaikai (arba suaugæs þmogus, 

kuris ima knygas jø vardu) privalo apibûdinti tà vaikà ir jo poreikius. 

Skaitytojo anketoje mokytojas turi paraðyti, ar vaikas 

tvarkingas, ar nelabai tvarkingas, pernelyg entuziastingas, ar 

padûkæs - pastarasis þodis yra ðvelnus þodis, kuriuo mandagiai 

apibûdiname toká vaikà, kuris mielai suplëðytø knygà, jei 

tik pajëgtø. Svarbiausias dalykas - nesiøsti trapios knygos vaikui, 

kuris jà gali suplëðyti. Ðtai taip ir mûsø knygos, ir vaikai 

suskirstomi á keturias kategorijas. Tada ið atitinkamø dëþiø imame 

knygas ir siunèiame vaikams, atsiþvelgdami á jø amþiø ir 

iðsivystymà. 

Pakalbësiu apie tai, kaip sprendþiame sveikatos ir saugumo 

problemà. Taikome tris bûdus: 

Pirma, þmoniø, kurie siuva knygas, praðome, kad pasiûtø 

jas labai gerai, kad nenaudotø aðtriø, nuodingø, maþø detaliø 

ir pan. Antra, apatinëje knygos pusëje uþklijuojame didelæ etiketæ, 

kurioje paþymime, kad knygà reikia skaityti nuolatinëje 

suaugusiøjø prieþiûroje. Treèia, knygas iðduodame tik mokyk- 

50

loms ir kitoms ðvietimo ástaigoms. Kai mokykla tampa mûsø 

skaitytoja, jie turi paraðyti pareiðkimà, kad priþiûrës knygas ir 

jomis rûpinsis. Tokiu bûdu mes stengiamës iðvengti nelaimingø 

atsitikimø. 

Tiflografines knygas vaikai labai mëgsta, gauname labai 

mielø laiðkø ið savo skaitytojø. Jie negali patikëti, kad nuo ðiol 

jie paðtu gali gauti ðitokias puikias knygas. 

Turbût tiek galiu pasakoti ðia tema. Dabar perduodu þodá 

Paivei, ji papasakos apie tiflografiniø knygø bibliotekos veiklà. 

51

52 



Suomija 

Tiflografika iliustruotø knygø 

bibliotekos veikla 

Kaip jau sakiau, mûsø biblioteka, t.y. Celia biblioteka, jau 

dvideðimt metø iðduoda skaitytojams tiflografinæ medþiagà. 

Ðiuo metu turime apie 450 tiflografiniø knygø. Jos yra þenkli ir 

natûrali mûsø knygø fondo dalis. Tiflografinës knygos ávestos á 

katalogà ir skaitytojams iðduodamos per kompiuterizuotà knygø 

iðdavimo sistemà. Skaitytojai gali perþiûrëti popieriuje iðspausdintus 

katalogus, be to katalogus galima pasiþiûrëti mûsø 

interneto svetainëje. Be to, mes ketiname á internetà patalpinti 

ðiø knygø katalogà su nuotraukomis. Taèiau man labai patiko 

Marijonos mintis kataloguoti knygas pagal vaikø charakterá - 

pagal tai, kaip tikëtina, kad jie sugadins knygas. 

Mes turime tiflografiniø knygø duomenø bazæ - toká archyvà, 

kur nufotografuota kiekviena knyga, puslapis po puslapio. 

Taip yra todël, kad kartais vaikai su knygomis elgiasi visiðkai 

negraþiai, sugadina iliustracijas arba nuo puslapio nuplëðia kokià 

nors detalæ. Pasiþiûrëjæ á archyve laikomà iliustracijos nuotraukà, 

mes galime tiksliai restauruoti knygà. 

Knygos iðduodamos á namus paðtu, paprastai po 1-2 knygas 

vienu kartu. Knygas reikia gràþinti po dviejø mënesiø. Á 

kiekvienà knygø siuntà dedame raðtu iðdëstytas taisykles, kaip 

naudotis tiflografine knyga. Tai trumpi ir visai paprasti patarimai, 

pavyzdþiui: 

Skaityk knygà kartu su suaugusiuoju; 

Nusiplauk rankas, nevalgyk skaitydamas; 

Nepamirðk knygos gràþinti. (Kartais knyga vaikams taip 

patinka, kad jie nebenori jos gràþinti). 

Kartais knygos apgadinamos, taèiau mes nepraðome uþ 

tai sumokëti ir nebaudþiame. Bibliotekoje mes paèios knygas 

valome ir taisome, nes turime labai daug medþiaginiø knygø. 

Turime dulkiø siurblá ir siuvamàjà maðinà, taip pat ávairiø maþmoþiø 

atsargà - saguèiø, juosteliø ir medþiagëliø, skirtø knygoms 

taisyti. Tos knygos tokios reikalingos mûsø skaitytojams 

vaikams, kad mes stengiamës jas iðlaikyti geros bûklës kaip

galima ilgiau. Tebeturime dvideðimties metø senumo knygø, 

nes pirmosios mûsø gautos knygos buvo labai stiprios. 

Retsykiais apklausiame savo skaitytojø tëvus, domëdamiesi 

knygø kokybe. Iki ðiol atsiliepimai daþniausiai bûdavo labai geri, 

bet mums naudinga iðgirsti ir neigiamas pastabas. Jø dëka 

tobuliname tiflografines knygas, stengiamës jas padaryti dar 

geresnes. Ðiais metais viena Joensuu universiteto studentë mûsø 

skaitytojø atsiliepimø pagrindu raðo baigiamàjá darbà. 

Reikia nuolat bendradarbiauti su knygø leidëjais. Suomijoje 

tikrai nëra daug leidëjø. Mûsø kolegë estë minëjo amatø 

koledþà; mes su juo palaikome labai glaudþius ryðius. Jie turi 

labai energingà dëstytojà, kuri pasirûpino, kad tiflografinës knygos 

bûtø átrauktos á mokymo programà. Ðiuo metu tampriai 

bendradarbiaujame su Joensuu universitetu, kur rengiami amatø 

ir dizaino mokytojai. Mûsø bibliotekos darbuotojai studentams 

aiðkina ir dalina bukletus apie tai, kaip daryti tiflografines 

knygutes, teikia informacijà apie aklus vaikus, jø poreikius ir 

vystymàsi. Knygø gamintojus informuojame apie Tiflo ir Taktus 

konkursà, siunèiame knygas á Suomijoje organizuojamas knygø 

parodas, tikëdamiesi rasti naujø þmoniø, norinèiø tas knygas 

daryti, uþmegzti kontaktà su amatø ir dizaino koledþais. 

Taèiau, kadangi mes negalime mokëti visos kainos uþ darbà ir 

medþiagas, o ta kaina, þinoma, yra nemaþa, tai esame priklausomi 

nuo dizaino specialybës studentø ir savanoriø, kurie 

siuva tiflografines knygas ið malonumo. 

Labai gera mintis naudotis kaliniø paslaugomis, kaip tai daroma 

Anglijoje, bet að manau, kad Suomijoje mums nepavyktø 

to padaryti. Kiekviena ðalis ir kiekviena organizacija turi atrasti 

savo bûdà, kaip gaminti tiflografines knygas, be to, turi 

surasti tinkamø þmoniø, kurie norëtø tà daryti. 

53

54 

Marion Ripley 


“Tiflo-Taktus” projektas 

Ðiandien jau kelis kartus paminëjome Taktus pavadinimà. 

“Tactus” yra organizacija, jungianti tiflografiniø knygø leidëjus 

ið Europos. Organizacija veikia jau ðeðtus metus, dabar ji pasivadino 

“Tiflo - Taktus”. Taktus organizacijai priklauso ir Jungtinës 

Karalystës, ir Suomijos akløjø bibliotekos. 

Taktus ákûrimo tikslas - keistis tiflografiniø knygø idëjomis, 

materialiais iðtekliais ir gamybos patirtimi, gerinti ðiø knygø kokybæ, 

skatinti vieniems kitus. Du kartus per metus mes organizuojame 

susirinkimus, per kuriuos aptariame ávairius tiflografiniø 

knygø klausimus. Bet geriausiai þinoma mûsø darbo pusë 

- kasmet rengiamas tiflografinës knygos konkursas. Konkurso 

tikslas - skleisti informacijà apie ðias knygas, kad kuo daugiau 

þmoniø apie jas suþinotø, netgi tie þmonës, kurie apskritai nëra 

apie jas girdëjæ ir neþino, kad jiems jos praverstø. Kasmet 

konkurse atrenkamos dvi geriausios knygos - joms abiems paskiriamos 

pirmosios vietos - kurias prancûzai masiðkai tiraþuoja 

vienoje dirbtuvëje Diþone. Knygos iðverèiamos á kalbas 

tø ðaliø, kurios dalyvauja Taktus veikloje, ir vëliau parduodamos. 

Tiflografiniø knygø kaina dalinai dengiama ið Europos Sàjungos 

lëðø. Knygø tiraþavimo bare naudojama daug rankø darbo. 

Ten ádarbinami þmonës, kuriems sunku kitur rasti darbo, 

tai yra psichikos ligomis sergantys þmonës ir panaðiai. Didþioji 

darbo dalis atrodo ðitaip: þmonës sëdi prie ilgø stalø su þirklëmis 

ir klijais rankose ir klijuoja gabalëlius ir detales. Kaip sakë 

Paivë, ten jie turi mechaninæ pjaustyklæ formoms iðkirsti, su ja 

galima iðkirsti ðimtus vienodø formø. Brailio raðtas atspausdinamas 

labai kokybiðkai, tai daro specialistai. Taip pat jie turi 

labai gerà áriðimo maðinà. Svarbiausia, jie turi þmoniø, kurie 

valandø valandas konstruoja kiekvienà knygà. Jeigu ne Europos 

Sàjungos subsidija, tokia tiflografinë knyga bûtø neáperkama. 

Tikiuosi, apaèioje parodoje nepraleidote progos apþiûrëti 

eksponuojamø Taktus konkurse apdovanotø knygø. 

Konkursai organizuojami kasmet. Teisëjai renkasi lapkrièio 

pabaigoje arba gruodþio pradþioje Diþone, Prancûzijoje. Kiekviena 

ðalis narë siunèia du teisëjus: vienà sutrikusio regëjimo ir 

vienà regintá. Teisëjø darbas be galo sunkus, bet ádomus, nes

jie turi per dienà patikrinti 60-70 tiflografiniø knygø, sudaryti 

geriausiøjø sàraðà, ir ið jo iðrinkti dvi paèias geriausias. Ðitaip 

þmonës keièiasi idëjomis, nes, apþiûrinëdami knygas, padarytas 

skirtingose ðalyse, jie susipaþásta su skirtingomis kultûromis. 

Kasmet iðleidþiamas plakatas, kuriame ádedamos geriausiø 

tais metais konkurse dalyvavusiø knygø nuotraukos. Tikiuosi, 

kad pasiëmëte plakatus, kuriuos buvau iðdëliojusi parodoje. 

Ðiuo metu Taktus organizacijai priklauso Jungtinë Karalystë, 

Belgija, Suomija, Vokietija, Nyderlandai, Italija ir Lenkija. Èekijos 

Respublika ðiais metais dalyvauja kaip sveèias. 

Per ðiuos trejus metus stengsimës pabrëþti kultûriniø mainø 

tarp valstybiø svarbà, todël mes ir organizuojame tokius 

seminarus, ið kuriø ðis yra pirmasis. Per sekanèius dvejus metus 

panaðûs seminarai bus surengti Slovënijoje ir Rumunijoje. 

Tai vis graþioji Taktus organizacijos pusë, taèiau yra ir tamsioji 

pusë; tikiuosi, kad Paivë su manimi sutiks, jog ne visuomet 

bûna lengva dirbti grupëje, sudarytoje ið skirtingø Europos valstybiø 

atstovø. Turime laikytis Europos Sàjungos nuostatø, kurios 

yra nepaprastai grieþtos ir nelanksèios, ir viena ið dalyvavimo 

Taktus organizacijoje sàlygø reikalauja, kad kiekviena ðalis 

sumokëtø penkis procentus skaièiuojant nuo viso Taktus projekto 

biudþeto. Tai reiðkia, kad kai kurios ðalys, nors ir labai 

norëtø dalyvauti, negali ðito padaryti. Að manau, ir turbût Paivë 

su manimi sutiks, kad tai yra didþiulis ðio projekto trûkumas. 

Mes labai gerai tarpusavyje sutariame, vieni kitus mëgstame, 

bet dirbti kartu mums nelengva. Namuose kiekvienas dirbame 

pagal savo tvarkà, turime savo apribojimus, savo sunkumus, 

savo finansinæ padëtá, o dirbti drauge reiðkia, kad visi 

turime laikytis vienodø taisykliø. O tai yra nepaprastai sunku. 

Taèiau mes orientuojamës á geràjà dalyko pusæ, kurios iðdava 

yra ta, kad dabar turime daugybæ mielø tiflografiniø knygø, kurias 

Taktus konkurso dëka esame iðleidæ masiniu tiraþu. Nors 

mes visi ið skirtingø ðaliø, bet në vienas nesijauèiame, kad dirbtume 

izoliuotai; mes turime galimybæ keistis idëjomis, ir mums 

labai patinka dirbti kartu su bendraminèiais. 

55

56 



Baigiamoji kalba 

Að norëèiau padëkoti, visø pirma praneðëjoms Marion Ripley 

ið Jungtinës Karalystës ir Päivi Voutilainen ið Suomijos, o 

taip pat ir antrajai Suomijos atstovei, Sülvi Sarapuu, tokiø ádomiø 

knyguèiø kûrëjai. Tiflografinës knygutës, pademonstruotos 

bibliotekos skaitykloje, sukëlë didþiulá mûsø tiflopedagogø 

ir visø dalyviø susidomëjimà. 

Manome, kad ðis seminaras tikrai prisidës prie iliustruotø 

knygeliø Brailio raðtu vaikams leidybos, ir tikrai padës mums 

organizuoti ðità darbà ateityje, - ne vien tik Lietuvos, bet ir visø 

trijø Baltijos ðaliø atstovams - estams, latviams ir lietuviams. 

Labai labai Jums aèiû uþ tokià didelæ paramà. Taip pat dëkojame 

visiems seminaro dalyviams.

2006.04.24 apdovanojami LAB organizuoto tiflografika 

iliustruotø knygø konkurso nugalëtojai. 

Jadvyga Kuolienë presents awards for the Lithuanian 

Tactile Book Contest winners on 24 April 2006. 

Seminaro sveèias - Lietuvos Respublikos Kultûros 

ministerijos Informacinës visuomenës plëtros skyriaus 

vedëjas Rasius Makselis. 

Guest of the workshop: Rasius Makselis, head of the 

Information society development department, Ministry of 

Culture of the Republic of Lithuania.

Pagrindinës seminaro praneðëjos: Marion Ripley, skaitanti 

praneðimà, ir Päivi Voutilainen, klausanti. 

Key speakers of the workshop: Marion Ripley, delivering 

her speech, and Päivi Voutilainen, listening. 

Tiflografikos tema sudomino didelá bûrá klausytojø. 

The topic of Tactile books aroused a keen interest of the 

audience.

Päivi Voutilainen ir Marion Ripley surengë gausià 

tiflografika iliustruotø knygeliø parodà. 

Päivi Voutilainen and Marion Ripley brought a plentitude 

of Tactile books from Finland and UK for display. 

Sylvi Sarapuu atidþiai tyrinëja vienà knygutæ. 

Sylvi Sarapuu explores one of Tactile books.

Tiflografika ypaè sudomino aklus ir silpnaregius vaikus. 

What attracted the visually impaired children most was 

the chance to explore Tactile books.

TYPHLOGRAPHICS 

AND LIBRARIES 

FOR THE BLIND 


Proceedings 

Vilnius, 25 th April 2006

62 


TACTILE BOOKS IN 

THE BALTIC COUNTRIES 

Director, Lithuanian Library for the Blind 

Opening address 

By declaring the workshop opened, let me greet all its delegates 

and thank the Tactus representatives - Marion Ripley 

from London, UK, and Päivi Voutilainen from Helsinki, Finland - 

for initiating this meeting. The issue of production of Braille 

books with tactile pictures is an urgent one for Lithuania, as 

well as for our neighbouring countries Estonia and Latvia. 

During the Soviet period, Lithuanian organisation of the blind 

was one of the leaders in typhlographics, but soon after 

restoring the independent state, our country’s economy has 

fallen into decline and illustrated Braille production also 

suffered. It is painfully obvious that we need to start it anew. 

Two organisations are interested in fostering the production of 

tactile illustrations: Lithuanian Association of the Blind and 

Visually Handicapped, and Lithuanian Library for the Blind, as 

long as its mission is to produce Braille books for children. 

It is my hope that this workshop will broaden our 

understanding on how to make tactile illustrations. 

I would like to wish everyone the most fruitful and 

successful work.


Head of the Information society development department, Ministry 

of Culture of the Republic of Lithuania 

Good morning. On behalf of the Ministry of Culture, it is my 

pleasure to greet all who are present at this important 

workshop, and especially the staff of the Lithuanian Library for 

the Blind who are hosting this meeting. I would like just to say 

that nowadays, while talking about culture and the policy of 

culture in Lithuania and the EU, the importance of cultural 

diversity is often stressed. To my mind, by means of relief 

pictures in Braille books we may attain the same goal - to 

pave the way for the blind; to make access to different 

cultures easier. On behalf of the Ministry of Culture, I would like 

to wish that in the future, using various means, various 

technologies and state support, as well as using the creativity 

of staff, which is the key factor for producing such illustrations, 

you could achieve your goals thus easing physical challenges 

of the blind in Lithuania and other countries. Thank you for your 

attention and have a successful workshop. 

63

64 


Foreign affairs’ manager, Lithuanian Association of the Blind and 

Visually Handicapped (LASS) 

Good morning everybody. In fact, I would like to pass over 

the greetings from Osvaldas Petrauskas who is, as you know, 

the Chairman of the Lithuanian Association of the Blind and 

Visually Handicapped. He would have been delighted to be 

here today, at least in its opening part, as he is a real and true 

admirer of this library and an avid reader. But this very 

morning the meeting of the disability department is taking 

place, the meeting he could not evade. Thus he asked me to 

tell you that the Lithuanian Library for the Blind has always 

been, and it is hoped, will remain one of the best and most 

enthusiastic partners in our joint projects. I would also like to 

thank our guest speakers for coming and I hope that with your 

assistance the staff of the library for the blind will learn, and 

perhaps will find new opportunities of producing tactile books 

for the blind. Have a fruitful day.


Director of the Estonian Library for the Blind 

Vaiku Seppe 

Director of the Estonian Repository Library 

Good morning everybody. First of all a couple of words to 

introduce myself. My name is Vaiku Seppe, I am director of the 

Estonian Repository Library. Since 2004, the Estonian Library 

for the Blind is a branch library for the Estonian Repository 

Library. I have been the director of the Estonian Repository 

library for only three months, so I am quite new in this job. I am 

very thankful for this opportunity to be here today because I 

am very hopeful that I will get a lot of valuable information out 

of this workshop. Now I am going to read the presentation that 

has been prepared by Priit Kasepalu, the director of the 

Estonian library for the blind. It has been translated and some 

personal additions have been made by another staff member 

of the Estonian Library for the Blind Arvo Folkenberg. 

Unfortunately, he didn’t feel well and he couldn’t participate 

here today. 

Dear colleagues and friends from other countries. I would 

like to share with you the experience of the Estonian Library for 

the Blind has on tactile and embossed pictures’ production. 

I first came into contact with tactile items 45 years ago while 

attending school for the blind. I can remember quite clearly 

the map of the city where the school was located. The map, 

made before the war already, had by that time become 

out-of-date, but for us it was rather useful. It was made of a 

large piece of pinewood, 1.5 meter x 1.5 meter in size, and on 

it along two parallel wires which marked streets, buildings and 

churches were mapped. Since these times materials have gone 

through considerable changes, there is a wide variety from 

swell paper to other materials of today. For years, the Estonian 

Library for the blind has been using opportunities to produce 

embossed pictures. At the end of 2005 we finally succeeded 

in getting an appliance that enabled us to make Braille 

pictures on swell-paper. Now after our first attempts to 

produce pictures on swell-paper have been made, we are still 

searching for know-how for handling these materials. 

However, in the recent years the Estonian Library for the Blind 

65

has been collecting and analysing the information about 

tactile pictures and books and sharing information with other 

institutions. It was not too long ago, most likely, around the 

year 2000, when we first heard about tactile books made as 

handicraft items in Finland. Our compatriot Sülvi Sarapuu who 

currently lives in Finland and makes tactile books for blind 

people brought to Estonia some examples of her handicraft 

books. The Estonian Library for the Blind introduced the idea 

of making tactile books to instructors and professors of 

national handicraft departments of a couple of Estonian 

Universities in the hope to invoke their interest. It was not until 

one of the professors visited our library and studied tactile books 

more thoroughly when the idea started to spread among the 

professors of the chair of national textiles. Then, supported by 

the EU project, two instructors were trained to make tactile 

books in a week-long course in Finland. As a result of the 

course, a tactile book was produced. Later, one of these 

trained professors organised a tactile book making course for 

Estonians in Viljande. She has also made another tactile book 

based on children’s drawings. Last year our idea of making 

embossed pictures reached professors of art and handicraft 

department of the University of Tallinn. Tactile book based on 

folk songs was made as part of project and dozens of different 

tactile pictures have been produced as the result of student 

exam papers. We are fond of excellent ideas found in these 

works. There were also students using inappropriate unfit 

fixing, however, we highly appreciate the activities of students 

and firmly believe that it is worth to be continued. These tactile 

books and materials made at universities have found their place 

at the school for the blind and also at the library. The members 

of “The Beautiful Tactile book” project in Finland, consisting 

mostly of Estonians, have donated two tactile books to our 

library. One of them shows animal footprints, and the other 

teaches children geometrical figures. The Estonian Library 

for the Blind has also got gifts from the Celia library in 

Helsinki, such as various maps and Braille books for children 

containing embossery on plastic sheets. As tactile books are 

considerably more expensive than ordinary Braille books, we 

are financially unable to buy them for our library. 

Thank you again for inviting us here, and thank you for your 

attention. 

66

Gunta Bite 

Head of Braille Production Department, 

Latvian Library for the Blind 

Good morning, ladies and gentlemen. I am Gunta Bite, and 

I am head of the department producing books in Braille. Only 

last year in November our department was founded. The 

department could start working only thanks to the European 

Union structural funds’ financing. That is why we have no 

experience in producing books in Braille, I mean experience 

we can share with you. So taking part in this workshop we 

hope to acquire some precious information that will help us to 

organise our work. Thank you for your attention. 

67

68 

Sylvi Sarapuu 

Tactile book-maker, Finland 

Dear participants! 

I am Sylvi Sarapuu and I represent a work group “Beautiful 

Touchable book”. 

My contact with Touchable books started in 1989 when my 

friend from Finland gave me a tactile children’s picture-book 

as a present. I am visually impaired, with cultural education, a 

mother of three and in 1989 I had two pre-schoolers at home. 

Although there were plenty of children’s books, I personally 

wasn’t able to read to my children and look pictures with them 

independently because there simply weren’t any these kind of 

books in Soviet Estonia of that time. Probably, the whole 

Soviet Union didn’t have them. 

Experience was left there to sprout. 

At the threshold of re-independence of the Baltic States I 

had a chance to return to my mother’s home-country - 

Finland, and in the local library for the blind I had a further 

contact with touchable books. In the beginning of 2000, my 

daughter and me were asked to join a work group that had a 

goal of making and giving one touchable book as a 

humanitarian assistance to Linnupesa kindegarten in Tallinn, 

Estonia, where special groups of visually impaired children were 

operating. The book “Tõmblukuga kass” (Cat with a zipper) 

was completed by the spring of the same year. In April I 

handed over the book to the manager of Linnupesa on 

information day in Tallinn National Library. In spring of 2001 I 

also heard from Celia library about Tactus-contest that was 

held at the end of the same year in France. Because the 

organisers of the contest were the members of the European 

Union and Estonia was not part of the European Union yet, I 

sent the book “Cat with a zipper” to the contest through the 

Finnish library. We translated the text into English and tried our 

luck. The book was found interesting and it encouraged me to 

take action.

The birth of a work group 

“Beautiful touchable book” 

I told about this book also to my sister and we, I (Sülvi 

Sarapuu) as the leader/expert, my daughter (Kadi Sarapuu) as 

the reviser/translator of the texts and my sister (Astrid Järvsoo) 

as the craftsmen formed the work group “Beautiful touchable 

book”. We wrote project proposals to Finnish Art Council and 

Culture Foundation. 

To our surprise we got sponsored and we made the books 

“Jäljed” (Footprints), “Koera haukumine” (Dog’s Barking), 

“Lumivalgeke ja seitse pöialpoissi” (Snow White and 

the Seven Dwarfs), “Kolm päkapikku” (Three Gnomes), 

“Kikukesed pikukesed” and “Kujundid” (Shapes). Within 

TARU-project the book “Sügis” (Autumn) was completed. We 

got sponsored by Finnish Blind Children Support Foundation 

by scholarship for two years and we made the books “Lapse 

päev” (Day of a Child), “Kaido kartul” (Kaido’s Potato), 

“Mutionu pidu” (Uncle Mole’s party), and recently the books 

“Kosilased sauna juures” (Suitors Near the Sauna), “Vares ja 

varblane” (Crow and Sparrow) and “Meie maja” (Our House). 

You can see some of our books here at the exhibition. 

Since 2002 the books made by our work group have taken 

part in Tactus contest in France. Our books have always made 

it to the final, but since our books are mainly made of fabrics 

and have a high work capacity, but are more resistant to 

touching, they haven’t been suitable for mass-production and 

the places in the contest haven’t reached the awards. 

Activities 

During those years we have presented the books we made 

in the libraries in Finland, and in Estonia in the libraries and 

centres for people with disabilities. Articles have been 

published in newspapers in Finland as well as in Estonia. 

We have made books as special orders for Norwegian and 

Finnish libraries for the blind. Estonian library for the blind also 

received the first touchable books in summer of 2005. Since 

the last year the co-operation has been improved with Tiia 

Artla, lecturer of home economics and with the handicraft 

69

department of the University of Tallinn, and in autumn we were 

already invited to listen how Moonika Jaik defends her 

bachelor’s paper, which resulted in completion of touchable 

book “Kits kilu karja” (Goat to a Sprat Flock). You can see this 

here as well. 

I am registered as sole proprietor Sülvi Sarapuu at the 

moment. We prepare Touchable books already completed by 

our work group to institutions servicing people with special 

needs and to individuals on request and also with the help of 

endowments. 

We are also continuously looking for opportunities to 

prepare completely new tactile books with the help of 

project-scholarships. 

70



Typhlographics in Lithuania 

I would like to give a short introduction on what has been 

done in typhlographics by the Lithuanian Library for the Blind. 

We are very lucky that our efforts have been encouraged and 

backed by the Lithuanian Association of the Blind and Visually 

Impaired (LASS). LAB’s project “Production of Illustrated 

Braille Books for Children” has been partially financed by LASS. 

This project started this year and will continue into the next 

year. This year, after organising the technical basis for the 

production, we are going to produce a couple of books with 

tactile illustrations for children, and the next year we hope to 

produce five more books. We still need to get the financing, 

but we hope for the best. 

This year in April, a competition of illustrated Braille books 

for children was held. We were amazed to receive as much as 

ten books. The winning books will be produced in several 

copies under our project “Production of Illustrated Braille Books 

for Children”. Today you will have an opportunity to see all ten 

books dispayed in our reading room on the first floor. Also on 

display there are Tactus tactile books, Celia books, and 

ClearVision tactile books brought by Päivi Voutilainen and 

Marion Ripley, and also books produced by blind tactile book 

maker Sylvi Sarapuu. 

We hope that this seminar will give us knowledge required 

to carry out our project. 

71

72 


Vilnius Academy of Art student, 

majoring in art theory and critics 

I am studying at the Vilnius Academy of Art and I am 

personally interested in blind perceivers’ problems 

encountered while experiencing works of art. I am intending to 

impart these problematic aspects to Lithuanian graphic 

artists who will be collaborating in producing tactile graphics. 

There are many professional Lithuanian graphic artists who 

receive international recognition. However, almost no one of 

them knew about tactile graphics. Of course, it is not enough 

to have information about techniques; the problem is to 

produce relief pictures for tactile reading. These specific 

aspects of perceiving them are very important. The proper 

producing of tactile graphics or transferring of visual work of 

art to a tactile medium needs corresponding skills and 

knowledge of technologies and also understanding about 

differences between visual and tactile. 

The first step of intended activity will be an exhibition in the 

library of the blind. The woodcuts by artists working in Vilnius 

will be exhibited, and also clishes as tactile objects and 

enlarged prints with descriptions. All the information about the 

technologies used for producing tactile graphics will be 

published and distributed among graphic artists. 

So two groups will meet - visually impaired people will 

enjoy the same product of culture as sighted people, and the 

graphic artists will learn about potential perceivers of their 

works. 

The next step is a planned project. Danutë Graþienë, 

graphic artist, will create some tactile works using 

microcapsule technology. Danutë Graþienë is a Lithuanian 

artist working in the field of traditional graphics. Her prints are 

predominantly etchings or a combination of etching and 

aquatint. Sometimes she uses relief printing in her works. 

Danutë participates in international exhibitions, biennials and 

triannials of small graphics forms since 1977 and she 

illustrates books since 1980.

The relief details in prints by Danutë Graþienë are of course 

visual elements, but she will try microcapsule technology and 

will create works for tactile reading. 

Also, we are planning a symposium, where an opportunity 

to use microcapsule paper will be given for more Lithuanian 

graphic artists. 

Thank you. 

73

74 


Director, public institution Brailio Spauda 

My name is Vytautas Gendvilas, and I am the manager both 

of the Mûsø Þodis magazine editorial office and of the Braille 

printing house. We do not have much to take pride in, 

nevertheless, we have produced a number of books with 

tactile illustrations in our institution. And I am related to tactile 

illustrations in the sense that as a child I liked drawing very 

much and used to spend a lot of time drawing. However, I did 

not have the courage to study art to become a professional 

painter. While attending the school for the blind and visually 

impaired, I remember what a huge pleasure it was to 

encounter an occasional tactile illustration in a Braille textbook 

or fiction book. 

And when the political changes in Lithuania took place in 

1990-ies, all publishing and illustrative work came into standstill. 

During the years when there were no tactile pictures at all, in a 

sense it was easier to start the work as any new illustration 

already was a step forward. Thus we made several Braille books 

supplied with tactile pictures using IndexEverest Braille 

Embosser. Another type of tactile pictures was made on 

swell-paper. The illustrations for printing on Index Braille 

embosser I draw myself, and drawings for swell-paper were 

made by other people; also we tried our hand at printing 

several books with tactile pictures copied from mainstream 

children’s books. 

While drawing and producing tactile illustrations I 

encountered certain obstacles which somewhat cooled my 

desire to draw. I would always check my own drawings or 

drawings made by other people by showing them to my 

sightless friends or staff members and seeing whether they 

would understand what has been depicted. And what I have 

learned from their feedback was that while making tactile 

drawings we have to pay attention to certain things, and I 

hope today to hear more about that. 

While making tactile picture books we encounter several 

problems. I would say that among these problems the 

financial problem is number one. To my view, those who need 

these books are not able to pay for them, and those who can

produce these books, can’t find people who would pay for their 

production. That is all about money matters. And still another 

problem is about the nature of pictures. Due to medical failure 

and other reasons the number of congenitally blind children 

has increased dramatically in Lithuania. And there has been 

no teaching of a blind child to understand the world of the 

sighted as depicted in pictures; I hope teachers of the blind 

will forgive me for my being so straightforward, but I know what 

I am saying. To my mind nothing has changed until now. That 

is why we who make drawings and illustrations often draw in a 

way that is atractive just to our own eye. I hope that people 

who make drawings and people for whom we draw will agree 

that the more tactile pictures we produce and the more we 

collaborate, the more chances there will be for canonical rules 

or principles on tactile picture production to appear. Then even 

people who have little knowledge about tactile pictures will be 

able to make tactile illustrations in a way accessible for the 

blind. 

I hope that today there will be extensive discussions on this 

topic, and I wish everybody efficient work, attentive listening, 

and, consequently, coming up with new ideas. 

75

76 

Marion Ripley 

ClearVision Library, UK 

TACTILE BOOKS 

AND THEIR USERS 

Introduction to the 

ClearVision Library 

I would like to say that I am very happy to be here today, 

and the same I know is true for Päivi. It is a great pleasure to 

be here in Lithuania. I am very sorry that I can’t speak to you in 

your own language, and I know that English people are 

famous for not being able to speak to people in their own 

language. Somebody said recently that people who speak 

three languages are trilingual, who speak two languages are 

called bilingual, and people who speak just one language are 

English. 

Päivi and I are both members of the Tactus group, which is 

a European organisation of tactile book producers, which I will 

be speaking about in more detail later. The main object of the 

Tactus group is the exchange of ideas, and expertise, and 

inspiration. I am very happy to be here for this purpose today, 

and I’ve already seen some lovely examples of the work being 

done in Lithuania. And I was very interested to hear about the 

work being done in Estonia and Latvia. Already I understand 

that we all share the same problems in this area. And I think 

these problems apply to all the countries which participate in 

Tactus, and probably to all the countries in the world. I would 

even say that no blind child, no blind adult has enough tactile 

illustrations wherever they live. I think all our organisations share 

the same difficulties: we don’t have enough money, we don’t 

have enough time to do all the things that we would like to do. 

But on the positive side, there are things that we can do, and 

that is what we will concentrate on today. 

I am going to start by talking about the ClearVision Library 

where I work. ClearVision is a library, a lending library for blind 

children. It is a national postal lending library. All the books are 

sent from our library post-free to people all over the country. 

The library started in 1986; yes, this year we are celebrating

our 20th anniversary. The library is based at a school for 

visually impaired children in Southfields which is near 

Wimbledon. Some of you may have heard about Wimbledon 

tennis tournament which takes place every year in Wimbledon, 

south London, which is one of the most important 

international tennis events. Our premises are very very close 

to the tennis courts of Wimbledon. Sometimes we can even 

hear the crowds cheering. 

The library started in 1986 when a new member of staff 

came to work at Linden Lodge School. The normal thing in 

English schools, and probably in your schools as well, is for 

children to take books home with them in the evening for their 

parents and grandparents to read with them. A new member 

of staff came to the school and her first question, or one of her 

first questions, was where are the books that blind children 

learning Braille take home to share with their families. The 

answer was no, children who are learning Braille have special 

books and they have special teachers and nobody can share 

their books; these are Braille-only books. All books that are for 

young children learning Braille were beige in colour, brown in 

colour, of no interest to sighted children or sighted adults. This 

member of staff would not accept this answer because she 

could appreciate that sighted children need help from their 

families, help and encouragement, and if they need help, then 

blind children need as much and more help from their 

families. The format of book that she came up with was like 

this; I will pass it around for you to feel. This is an ordinary 

children’s picture book with an attractive picture on the cover, 

and inside it has print and pictures; it’s an ordinary book. But 

interleaved with the print pages, it has clear plastic pages with 

the Braille text. This means that parents can read the print, 

and children can read the Braille, and parents can help with 

difficult words, etc. without knowing Braille themselves. 

The library started with just a few books in a box for the 

children at the school to take home in the evenings. But 

immediately, people from outside the school wanted to start 

borrowing these books. And now we have thirteen thousand 

of them. These are storybooks and topic books, poetry books, 

all sorts of books that you would expect to find in an ordinary 

library. Then people with younger children started asking for 

books. These children were two or three years old. And we 

77

added lots of these board-books with the Braille stuck onto 

the page. At this age, blind children are probably not reading 

any more than a sighted child is reading at the age of three. 

But we consider it very important that young blind children 

who will one day learn Braille should start feeling Braille dots 

and finding Braille on a page at a very early age. 

A lot of mainstream books now have some tactile element 

in them. This is a story of the Little Red Hen. Is this story 

familiar to you? A Little Red Hen who does all the work? No? 

The other animals won’t help with planting the wheat, 

harvesting, grinding the flour or baking the bread but they all 

want to participate when it comes to eating the loaf. On each 

page, there is a small amount of tactile interest. It’s not very 

much, but it does mean that blind children can identify the 

book by touch. And they can get the idea that reading is fun: 

they turn the page, they can find the Braille on the page, and 

they can pretend that they are reading it like sighted children 

do. 

For older children we have books in one Braille volume, 

and a print copy of the book that can be shared with sighted 

children. We also have books labelled in Moon. I don’t know 

whether Moon is something you use. It’s an alternative to Braille 

which was invented at the same time as Braille. It is not as 

good as Braille, but it’s much easier for old people to learn 

because the shapes are similar to print letters. Because the 

cells are larger than Braille, it is in some ways easier for 

children who cannot learn Braille because it’s too small and 

too complex as a system. 

So we have 13,000 books, mainstream books with added 

text. And we lend them to over a thousand places in the UK. 

This is schools and families and to public libraries so that they 

can lend them out locally. 

Most visually impaired children in the UK are in mainstream 

schools. The children who are in special school generally have 

significant additional disabilities. The library was set up for 

children who are learning Braille but very soon we started 

lending books to blind parents and grandparents. I am sure 

you can appreciate that these books designed for sharing work 

just as well if it is a blind parent teaching a sighted child to 

read print. Blind parents are some of our most enthusiastic 

78

orrowers. Some of them read several books a week to their 

children and change the books by post every week. 

In terms of the library, it’s a very small organisation. We 

have lots of books, but if they all came back to the office we 

wouldn’t be able to open the door. Our premises are about 

quarter of the size of this room. And I am the only full-time 

member of staff. We have one part-time member of staff, four 

people producing Braille from home, a blind proof-reader who 

proof-reads all the books who also works from home, and we 

use prison Braille units for production of longer books. It would 

be very nice to have more staff and enormous premises. 

I think that is all about ClearVision Library, and now Päivi 

Voutilainen will introduce Celia Library. 

79

80 


Head of library services, Celia Library for the Visually Impaired, 

Finland 

Introduction to the Celia Library 

for the visually impaired 

- Founded in 1890 in Helsinki by Cely Mechelin, a 23 years 

old daughter of senator Leo Mechelin 

- Years 1890-1977 owned by the Society of Books for the 

Blind, since 1978 state owned special library, staff of 60 

persons 

- Only library of its kind in Finland 

- In 2001, the library was renamed CELIA after its founder 

- The purpose of the library is to increase equality for the 

disabled in terms of access to literature and information 

- The library produces and lends Braille books, talking books 

(digital books in Daisy format, c-cassette books), electronic 

books and other special materials 

- Books for leisure reading and studies 

- Talking book collection of 33 000 titles, now 10% in the 

new digital archive for Daisy on-demand lending 

- 6 700 Braille titles 

- 450 tactile picture books for children 

- 12 000 library users 

Celia’s services for children 

- Digital Daisy-books on CD-Rom, c-cassette books 

- Braille-books for children, also books with thermoform 

relief pictures 

- Little Celia - children’s room in the library with tactile 

picture books, toys and recordings 

- Fairy-tale hours for children and families 

Tactile books in Celia 

- First tactile books in 1984 from the Wetterhoff School of 

Crafts and Design 

- Illustrations are made by hand, using different kinds of 

materials and objects that are attached by sewing onto pages

covered with fabric, or gluing in cardboard pages (collage 

technique) 

- Reading together with an adult, closeness, discussion, 

exploring 

- Celia has no regular production of tactile books, but 

annual acquisition is 10-50 new titles depending on projects 

and voluntary producers 

- Now a tactile book project with Joensuu University, 

students of handicraft and design make several tactile books 

for the library. 

81

82 

Marion Ripley 


Who uses tactile books? 

I think when we look at the sort of tactile books which 

ClearVision stocks and the Celia library stocks, the fabric books 

and collage books, we automatically think of young children. 

Certainly these books are invaluable for the youngest children 

for introducing them to all aspects of the world which they don’t 

see. These books are also enormous fun, they are very 

attractive, very stimulating, very entertaining. Sighted 

children, teenagers and adults all get enormous pleasure from 

a wonderful variety of pictures: magazine pictures, pictures in 

books and publicity advertisements in the street. And these 

tactile books with a rich variety of textures are our attempts to 

make tactile pictures just as glorious as printed pictures. I 

hope you will all take advantage of the opportunity at lunch 

time to come and look at the lovely books from various 

countries displayed downstairs. I hope you will all take 

advantage of the opportunity to feel these books as well as 

look at them. And I hope you will all agree that they offer a 

wonderfully entertaining experience, which may well make 

adults laugh as well as children. 

So tactile books are not just for children. And another fact 

to be borne in mind is the number of children who have 

additional learning difficulties. I can give the recent figures from 

Dr. Jugnoo Rahi at the Institute of Child Health which show 

that childhood blindness is more common in the UK than was 

previously thought. By the age of sixteen, six per 10,000 

children in the UK will have extreme sight problems or 

blindness. Of these, and I think this is an interesting figure, 70 

percent will have an additional significant disability. I think this 

is a surprisingly high figure. 

The blind population in the UK has changed in recent years. 

In the past, there were more children who were just blind. 

Medical advances mean that some eye conditions can be 

treated or avoided. On the other hand, there are many more 

children surviving premature birth or serious medical 

conditions who in the past would have died. Many of these 

children are surviving with multiple disabilities. So a child who

is blind may also have learning difficulties, may also be deaf, 

or have cerebral palsy, or attention deficit, all sorts of problems. 

For some of these children one might even say that blindness 

is the least of their problems. I think organisations for the blind 

in the UK tend to think of blind people as being the norm, as 

the normal situation, and then there are some who have 

additional learning difficulties. We have traditionally provided 

services for people who were just blind, but in the future we 

will have to change the services we provide so that they are 

appropriate for the needs of the whole population of the 

visually impaired. Even children who are just blind are likely to 

suffer from some developmental delay because so much of 

what the sighted child learns by sight has to be learned more 

slowly in other ways. In terms of reading ability, a delay of two 

years is considered normal for a child who is just blind. 

All children need pictures to entertain them, to motivate 

them, and help them towards literacy. They need them to 

understand concepts and to find out about the world. All 

children need books with illustrations, and blind children need 

them even more. That’s all I have to say on that topic. Does 

anybody have any questions? 

83

84 



Finland 

Why are the tactile books needed? 

There are very few researches done about the influence of 

tactile illustrations among the pre-school children, and the 

following is mainly based on what the editors of educational 

materials of our library have learned from the teachers and 

parents of blind children, and what experience of 20 years of 

lending tactile books has given us. 

We are living in a world full of images, pictures and visual 

impressions. Sighted persons learn to understand pictures so 

early that nobody remembers it. Even though the history of 

illustrated children’s books is not yet very long, only a few can 

today imagine a regular children’s book without illustrations or 

children without picture books. 

How can a blind child learn what pictures, forms, colours, 

directions mean, if he/she has no access to this kind of world? 

Maybe we could help them understand through the use of 

tactile pictures? 

Originally children’s picture books had educational 

purposes. A small child learns best through imagination and 

emotions. Fairy tales and stories arouse imagination of a child, 

but also help in creative thinking and in ability to handle 

various abstract things in a child-friendly way. Therefore all 

children’s books are of educational purposes, in a sense. 

Earlier it was believed that blind children did not need any 

picture books or at least that they had no use of them. In 

Finland before 1985 there were no picture books of any kind 

for the child patrons of the Library for the Visually Impaired, 

and the situation is still very similar in many countries. But 

twenty years ago parents of our child patrons began asking 

the library for picture books for their children. We were lucky, 

on an initiative of a teacher at a school of arts and design, the 

co-operation in producing them started in these schools and 

continued for years. 

The feedback received from children and their parents was 

rewarding and important. Through the tactile pictures the

children received new and stimulating experiences. Young 

children are quick to learn, eager to explore. Exploring with 

their fingers and with a help of their parents, visually impaired 

children could experience the excitement of turning a new 

page, finding a new entertaining illustration, learning new 

words. Also the books have become important as well, as the 

child’s own “thing”, that he or she may have happily 

presented to other children. A well-made tactile book presents 

the blind child with the rich world of fairy-tales and picture books 

that has long been available for sighted children. 

Many of the tactile picture books contain the idea of 

training the blind child in different skills she or he is going to 

need to conceptualise the surrounding invisible world and to 

acquire information from it. Tactile illustrations can open up a 

world of new concepts and vocabulary, especially while 

reading them with an adult. The adult’s role is to explain the 

proportions between the objects in the book and their real-life 

counterparts, to describe colours and to help the child 

understand concepts related to the topic of the book. 

But information obtained by touch is sequential and has to 

be first integrated by the mind. Therefore a blind child needs 

an adults to give verbal information to help the child to 

understand the information he is getting from his fingers. When 

a child is given a tactile model of a picture, he should never be 

told, “This is a car”, but “This is a model or a picture of a car - 

a real car is much larger”. A blind child should learn the 

difference between a picture and reality. Pictures are only flat 

versions of three-dimensional objects. 

But when this is learned, through touching a tactile picture 

or object a child can learn and absorb many properties or 

characteristics of things, like warmth, softness, coldness, 

hardness or size and shape, and many, many other things, 

which cannot be verbally explained. After familiarising 

themselves with tactile illustrations in their story-books, it is 

easier for a visually impaired pupil at school to comprehend 

images and relief pictures, maps and graphics attached to 

text-books. Once the child is familiar with tactile illustrations it 

is easier for him or her to start exploring plastic relief pictures 

and swell paper diagrams and to learn Braille at school. 

85

How would it be possible to learn more than elementary 

mathematics without graphics? Earlier in Finland the blind 

pupils in higher education were exempted from mathematics 

and sciences as it was considered impossible for them to learn. 

Now we have several students who are learning high level 

maths in high school. This we consider to be an outcome of 

reading tactile story-books for years before the school-age. 

These children had their “touch training” already and became 

“touch literate from a very early age”. 

To summarise, visually impaired children need illustrations 

in their books for the same reason as their sighted peers, to 

stimulate the reading experience and to learn by exploring the 

pictures by touching. Equally important is that these pictures 

develop tactile skills and sense, and develop the 

co-ordination of hands. They also arouse the child’s curiosity 

to reading while finding exciting dots of Braille on the pages. 

86


HOW TO MAKE 

TACTILE BOOKS 


Finland 

Different ways of 

making tactile books 

Unique tactile illustration books 

There are several techniques for making tactile illustrations. 

The very first tactile pictures for the blind were made of papier 

m?ché or carved wood. They were handmade unique pieces. 

Also the beautiful textile picture books in Finland are 

handmade and they are seldom produced in more than one 

copy. These books are made by hand or sewing machine, 

using different kinds of materials and objects that are 

attached to pages usually covered with cloth/fabric. In these 

books objects and elements inserted in the book can be 

moved, and parts of the materials included can be stuck and 

unstuck. 

Some of these books are more like toys than traditional 

books. They are sometimes called toy-books or fun-books. This 

type of storybook seeks the similarity in reading experience 

with the traditional storybook used by sighted children. Their 

advantage is that they are pleasant to touch, feel good in the 

hands, they are safe, objects are securely sewn onto a page, 

and books are durable and even washable. But they are also 

very labour-demanding, and require good sewing skills. Our 

children are used to this kind of books, they love them and so 

far we have been lucky to receive new books annually. In Celia 

library we have now around 450 of tactile books. 

Collage illustrations / Paper-on-paper build-up 

illustrations with additional materials 

Paper-on-paper build-up illustrations are made by gluing 

layers of paper or cardboard forms to a paper or cardboard 

background. The individual forms are cut with scissors 

87

or a hobby knife, or for several pieces on a mechanic 

cutting-machine. This method can be used even for mass 

production, but in some stages human work is necessary. This 

system involves making an illustration on a cardboard base by 

using materials such as cardboard, sandpaper, leather, fur, 

cloth, wire, string or clay, together or individually, to create 

shapes and textures. Various materials give a very stimulating 

effect and make it possible to get exciting and varied tactual 

sensation. However, it is important in these illustrations to check 

the materials and stuff involved, glue, colouring chemicals etc. 

Everything must be highly non-toxic and safe. Sometimes 

glue is not strong enough attachment and small pieces of 

removed objects can get into the mouth of a child. So, a great 

deal of carefulness is needed with these books. 

This method is mainly used in Tactus-books, too. Cutting 

machines are used in some materials, but also a lot of 

handwork is done in producing hundreds of copies of rewarded 

Tactus-titles. 

88 

Silk screening technique 

The Swedish Library of Talking Books and Braille have 

produced children’s tactile books on silk screen printing. A 

characteristic of screen printing is that a greater thickness of 

the ink or resin can be applied to substrate and it embosses 

the picture from the background. Also some hairy material can 

be added in order to provide a soft tactual sensation. The 

problem is that illustrations are still very flat and it is difficult to 

sense the difference with the background paper. (Dick Bruna: 

Miffy). 

Use of this technique requires a good co-operation with a 

willing printing house. 

Other techniques for tactile illustrations 

Thermoform pictures 

The first relief pictures appeared in Finnish Braille textbooks 

about 30 years ago. These pictures were so-called traditional 

plastic relief pictures made by using vacuum-forming

machines. This method is probably the most widely used 

method for making relief pictures for the blind. Reproduction 

of a plastic copy from a relief master or mould is rapid and 

cheap. These pictures are useful attachments in textbooks, 

for example pictures of plants and animals as well as maps 

and diagrams. The plastic pictures can be also painted with 

non-toxic colours for partially sighted users. 

Thermoform pictures are not very suitable for first books of 

a child. You must have a certain amount of training in tactile 

skills, before you can understand these relief displays. 

Illustration is always two-dimensional and the tactual 

sensation is always similar through the whole picture. Plastic 

is not very finger-friendly, when warm, it becomes slippery with 

perspiration and dirty after long use. 

Embossed graphics 

Embossed graphics are also known as Braille graphics. They 

are images made up from dots and usually produced by using 

a Braille embosser or a machine specially designed to 

produce graphics. Also there exist some children’s books 

made on this technique, but they look to me quite modest 

because of their one-sided tactual sensation. On the other hand 

this method can be useful in training Braille or hand co-ordination. 

Swell-paper 

Swell paper pictures are often used in textbooks, too. 

Micro-capsule paper, which expands when heated, is quite 

economical material for producing one or many simple relief 

displays from a printed diagram or an original drawing. 

Understanding of these is possible only after a long training 

and they are not therefore suitable in small children’s books. 

These previous methods mostly produce a raised line and don’t 

provide enough tactile interest for pre-school children. 

In Finland we have children’s books made in several 

techniques. Major part of our books is hand-made fabric books, 

because they were the kind of books we received from the 

handicraft school. Our own library staff has made both textile 

89

ooks and collage books. As long as the book is made 

carefully and along certain regulations, they are well 

appreciated and important items of our library collection. 

90

Marion Ripley 


Different levels of difficulty 

I am going to talk about different levels of difficulty within 

these tactile books for children at the early stage. What we 

are hoping to provide is a smooth transition from real objects 

that the child holds in their hand to something more 

representational. Without this good grounding which starts with 

real objects we can’t hope for children to successfully and 

easily move on one day to maps and diagrams. There are two 

sorts of difficulty which have been identified by Frances 

Aldridge who was a professor at the University of Sussex. 

Some things are very easy to feel, but not very easy to 

understand. Some things are very difficult to understand by 

touch, but the concept is easy. 

Let us think, for example, of a very simple graph, a line 

showing the number of travellers on buses in Vilnius in the 

morning. I am guessing, of course, because I have never 

travelled on a bus in Vilnius in the morning, but I’m guessing 

that at five o’clock in the morning there are very few travellers; 

at eight o’clock there are lots of travellers, and at ten o’clock 

there are less travellers. And so a tactile graphic for this would 

be a line which goes up and then down. This line is easy to 

feel; a small child could feel a line which goes up and goes 

down. But the understanding that this line is representing 

numbers of people on a bus in a town at different times of day 

is very much too complicated for a small child. 

So here you have tactile simplicity, but conceptual 

difficulty. On the other hand, if you think of a pineapple, you 

might have a very complicated tactile picture of a pineapple 

with lots of bristles and points, and pointy leaves, and 

interesting texture - very difficult to work out what it is. So for a 

child who has held a pineapple and eaten a pineapple, the 

concept is easy, but the tactile picture is very difficult. This is 

just an interesting thing to bear in mind when we are making 

tactile illustrations for children or for anybody. 

Another thing to bear in mind is the fact that print pictures 

can be very simple and very obvious for young sighted 

91

children, but present particular difficulties to children 

exploring the picture by touch. I have in my hand a picture, a 

seaside scene with a palm-tree and the sun in the sky and a 

boat on the horizon. It looks like quite a simple picture, and 

there are certainly more difficult pictures than this one. But if 

you were working with young blind child who had no sight, no 

experience of print pictures, you would need to be aware of 

the fact that this picture appears simple but presents a 

number of items which would need explaining. The sun in the 

sky - it’s so obvious to us, it’s such a common symbol, the sun 

as a circle with lines coming out. But it is not something a blind 

child could recognize without that symbol being taught to him. 

The sea disappears behind the tree, but where has it gone? 

The tree is standing in front of the sea, so we can’t see the sea 

behind it. The hill is in front of the sea. Does it mean that the hill 

is sticking into the sea? No, again, the hill is in front of the sea 

and hiding it. We have an enormous tree and a tiny little boat. 

And this perspective is another thing which will need to be 

taught to a child at some stage. 

We can begin with real objects. These sort of bags are very 

popular in ordinary schools in the UK. They are much used for 

sighted children in ordinary classes to encourage them to 

enjoy books and understand more from books. Parents and 

grandparents get involved in making them for the school. And 

each bag contains a book. This is a very simple book about 

Jack at bath time. It’s a book teaching colours as well. We 

have real objects in the bag so as the child hears the story, 

they can also hold the green towel, and the little duck, and the 

little red boat, and a tiny blue fish. 

On a very simple level it’s making the book come to life for 

a child, a child who can’t see the pictures; it’s a very simple 

idea and very easy to produce as a way of encouraging the 

child to enjoy the book. 

I don’t usually disagree with Päivi, but I would like to talk at 

this point about books with thermoform illustrations. I 

absolutely agree that the majority of books with thermoform 

illustrations are for older children. But these particular books 

were designed especially for very young children using 

thermoformed illustrations, but with thermoforms of real 

objects. This is a very different sort of illustrations to 

92

thermoforms of pictures and thermoforms of maps and 

diagrams because, for example, this illustration is three 

pieces of Lego and children are likely to be very familiar with 

Lego. All the pictures in the book are everyday objects that the 

child can feel. The book lends itself to playing matching 

games: the child must find the real object, which matches the 

picture in the book. 

This is a story about a giant who has to walk home 

because he has spent all his money at McDonald’s. But his 

boot is very uncomfortable, and so he takes it off and finds a 

key. And he says a little rhyme of exasperation, and puts his 

boot back on again, but it’s still uncomfortable. And then he 

takes it off and finds a spoon. And so the story continues in a 

very repetitive and very predictable way so that the child can 

guess that he’s going to find something else on the next page. 

This book was tried out with over a hundred children. It was 

part of a pilot project. And it was very much enjoyed, and lots 

of the children who enjoyed it had learning difficulties. The 

teachers who worked with these children did a certain amount 

of preparation before they introduced the book to the children. 

For example, one teacher took a boot into the class with the 

objects in the boot. The children took the objects in and out of 

the boot and identified them one by one, and some of them 

walked around the room with the boot on their foot with the 

spoon in it to see how uncomfortable it was. 

So the first books have real objects that the child is likely to 

recognise. This is an example of such a book: it’s an alphabet 

book, just one letter of the alphabet. If it had all the letters of 

the alphabet it would be much too long for young children and 

would require too much concentration. These are all things 

which begin with the letter B in English (but unfortunately not in 

Lithuanian), including a bag, and in the bag, there are some 

beads. 

This one, Make a Noise, is an interactive book. The child 

can do things in the book and find in it a real little stick with 

which to beat a real little drum: real objects for a child to 

engage with. And on the last page, some castanets to play: 

very Spanish. 

93

Some books are very simple, but the concept is more 

difficult than in the books I’ve just shown you. This is a lovely 

simple and strong book, which a child would find it difficult to 

damage. On each page the child has to find the odd one out, 

the different one. 

We have counting books at this sort of level, and books of 

opposites and shapes. And a little magnet book with a 

magnet on the first page, which you take through the book 

and try on the different items. The child is feeling something 

very real and they are being asked to understand something a 

little more difficult in terms of the concept. 

We can then move on to books which have more 

representational illustrations. They still have very real textures 

and they are very simple but here, for example, is a story of 

Little Red Riding Hood. Is this a story that you know in 

Lithuania? If you think for a minute what the first picture for a 

print version of a Little Red Riding Hood would be, this might 

be a picture of the kitchen with Mum making cakes for 

grandma, and a cat on a mat, and Little Red Riding Hood, and 

a table, and a geranium in the window. But in this very simple 

version we just have Little Riding Hood’s cape. The next page 

is more difficult because it’s a representational picture of trees 

but again it’s very simple, and the leaves feel like leaves, we 

made it as real as we could in terms of the textures. When she 

gets to Grandma’s house she finds that Grandma has 

strangely large ears, and strangely large eyes, and strangely 

large teeth, so the child is finding things all the time. 

Here we have a little door made from a cigar box lid, but 

the right sort of texture and the right sort of sound when you 

knock on it. And here is the wolf’s bottom running out of the 

door. Grandma had just gone to buy biscuits and then she 

came home and was very pleased with her brave 

granddaughter, and here are biscuits made of clay. And we 

take advantage of the opportunity to have a round biscuit, and 

a rectangular biscuit, and a square biscuit. 

The plant book is another simple representational book that 

can have very simple things for the child to find. There is a 

hard seed on the first page. And here is one of the 

Tactus-winning books. It has a picture of the character but it 

has real textures. We hope the child will then be ready to 

94

move on to more representational books such as Clara’s Dress 

which has more for the child to explore. It is very simple, but 

these are pictures rather than real objects. And don’t miss the 

last page with this wonderful example of what a cow might 

wear for underwear hanging on the line. 

The last one I will show you is another Tactus winning book 

which was for older children, and it’s a mixture of textures, 

very very stylised, with quite a sophisticated text. There is 

something quite symbolic about it all, with the sun and stars 

and everything. 

I would like to say that no stage when children are looking 

at these books should it be a test. Päivi was talking earlier 

about the importance of sharing books and that sharing should 

definitely take the form of “let’s look at this together”. It’s very 

important that the child never feels they have failed to identify 

a picture. 

But at this point I would like you all to share the experience 

of the child encountering a picture, if you are willing. If you are 

happy to do this, I’m going to hand you a tactile picture each. 

I’ll hand it to you upside down as if you are in an examination. 

And I don’t want you to turn it over until you have closed your 

eyes, if necessary. If you catch just one look at the picture, for 

one second, you will know everything about it. So if you are 

happy to participate I’ll give it to you upside down and then I’ll 

say “OK”, and you close your eyes and turn them over. OK. 

(The attendees examine the distributed pictures by touch) You 

can now look at your pictures. Perhaps if you’re sitting next to 

a blind person you can tell them what their picture is. I think 

the message is that it’s not easy. Could anybody tell what their 

picture was? No? But these were tactile illustrations produced 

for children at the age when they read Miffy books. They were 

produced for children aged three to five. For children who 

have never seen pictures, who have never seen an elephant in 

real life. 

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Marion Ripley 


What we can do to make 

pictures easier to access? 

So now we are going to think about what we can do to 

make pictures easier for children in the early stages of tactile 

development. Outlines are very difficult to understand 

because you don’t know which side of the line you are 

supposed to be understanding. It’s very much easier if objects 

are filled in. Having different textures on the page will make it 

easier, but not too many different textures. The textures need 

to be very different and it’s very important to keep feeling 

textures because some things look very different, but they don’t 

feel very different. Just put one or two items on the page, not 

lots and lots of different things. 

This is a picture of two giraffes. Imagine you are a child 

who doesn’t know what a giraffe is like. What would you learn 

from this? Perhaps that it has two heads. These two giraffes 

have their necks crossing, so that it looks as if this were a 

creature with eight legs and two heads. I say it’s a creature 

with eight legs, but of course you could never count the eight 

legs, because there are railings behind the eight legs. It’s 

impossible for anybody to make sense of this picture, even 

with help, I think. 

The objects on the page need to be separated so that 

there is space between them, so that you can identify each 

one separately. At this stage you need to keep things in 

proportion, so that you don’t have a big tree at the front of the 

picture and a tiny boat at the back of the picture. Avoid 

perspective: we may understand that the road looks narrower 

at the distance but this is something a child will learn later on. 

Avoid hiding one thing behind another. This picture shows 

two rabbits looking out of a train window. But unfortunately, 

part of the train window a bar goes straight through the 

rabbit’s ears. This might have been the one thing which would 

identify them as rabbits, but we can’t feel them because of 

this bar of the window going across.

It’s very much easier to identify a person or an animal if you 

can count their arms and legs. We tend to portray animals in 

print with just two legs visible. We understand that the right 

leg is behind the left leg. But it’s easier to identify the animal if 

all four legs can be counted, and the tail is sticking out at the 

back. There are some lovely examples of books with animals 

portrayed like that downstairs. I’m thinking in particular of the 

winning book in the Lithuanian competition, and also some 

lovely books made by our colleague from Finland, Sylvi. 

Similarly with faces. It’s easier to identify a face which is 

round and full on; this sort of face where you can count the 

eyes and the nose and you can feel the mouth and the hair; it’s 

very symmetrical and it’s much easier to identify the features. 

Or in profile, so that you can feel the nose, and the chin and 

the neck. It’s much more difficult if you show a face at three 

quarters’ angle so that it’s not symmetrical and you have a 

large eye and a small eye and a strange shaped mouth. 

These are guidelines for making it easier. Whichever 

format you are using it applies to sewn books and to collage 

books, to any form of tactile illustration. 

There are some golden rules for tactile book production 

which in English are the six S’s - they all begin with the letter S, 

but of course this won’t work in Lithuanian. 

1. Safety. I am repeating what Päivi has said on the subject, 

but I think it’s something which can be repeated. It’s 

extremely important that these books are safe and that 

inappropriate books are not given to children who might 

pull things out of the page and swallow them. In this 

respect, the fabric books are very safe usually because 

you can sew things so securely to the page so that even 

quite destructive children can’t pull them off. 

2. Simple. For young children, no book is too simple. If they 

read it and enjoy it very quickly and easily, it’s a good 

thing, it makes them feel that they are able to 

understand things. A lot of tactile books are too 

complicated. There is a danger of discouraging children 

if they can’t make sense of an illustration. We don’t have 

to work hard to understand pictures in our books, and 

97

we don’t want these children to have to work too hard to 

enjoy theirs. 

3. Small. The books need to be quite small. The children 

are small and they have small arms, small hands, small 

laps to rest the books on. It’s important that the child be 

able to find what’s on the page with their hands. We don’t 

want them having to reach too far to feel over a large 

page. Having said that, if it’s a large book, it’s not a 

disaster. 

4. Short. The books need to be short. You are all examining 

tactile pages there. You know how long it takes to 

explore a page by touch. These children don’t want to 

spend half an hour reading their book any more than a 

sighted child would spend a long time looking at just 

one book. So four or five pages is fine. 

5. Sturdy. This means strong and robust and not easy to 

damage. In the normal course of exploration children will 

try to pull things off the page. Even very careful children 

will pick at things to see if they will come off or not. And 

some children are not careful at all. There are some 

children who will try to pull the book apart before they 

stop to see what’s on the pages. Which again is where 

fabric is good because they can pull it quite hard and 

nothing happens. 

6. Stimulating. To stimulate the senses of these children, 

we will try to use a variety of textures, and not all soft 

and agreeable textures, but hard and rough textures, and 

hairy textures, and cold textures. Downstairs there is a 

very hairy book: I love the idea of a child picking it up and 

instantly thinking, ‘This is a very interesting book, its all 

hairy!’ It’s having the same tactile impact as a bright 

cover on a print book. 

As well as things to feel, we can introduce sounds and smells 

to the book. I know that Päivi in her library has a lovely book 

with a corrugated paper between the pages and stones, and 

when you turn the page it sounds like the sea. You can also 

introduce squeakers and sound buttons to play tunes. Smells: 

some people have sewn little lavender bags into books, or 

antiseptic, or cinnamon. One of our books is called Let’s Make 

98

a Curry”. It has lots of little bags, little fabric bags sewn into the 

book and the bags are full of different curry spices. The last 

page has a bag of rice, not cooked of course. And it has a 

lovely crunchy feel of rice before it’s cooked. 

To stimulate children with a small amount of sight you can 

have very bright colour contrasts. Black and white is also 

popular for children with very low vision. You can also put shiny 

items on the page because for some children this will be all 

that they can see. 

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Marion Ripley 


Topics for tactile books 

And what sort of topics? Päivi has already mentioned that 

there are traditional topics, every country has lots of traditional 

stories. It’s nice to produce tactile versions of these traditional 

stories, and rhymes, and poems. There are lots of early 

learning topics, it’s easy to make a counting book with 

interesting items. And alphabet books, and shapes books and 

the sort of simple things that sighted children are also 

learning. You might make books on everyday life, on getting 

dressed in the morning, on using the bathroom, on going for a 

walk in the park, these sorts of simple everyday occurrences. 

You can make up your own stories. We are not talking about 

Harry Potter here, we are talking about very short stories, very 

simple stories. One nice idea for a book is “open me for a 

surprise”. Each page has a different fastener, and you have to 

open the fastener, and lift the flaps, and find something 

underneath. 

Some people prefer to use a mainstream book as the 

basis for their story, an ordinary published book. In some ways 

this seems to be easier because you already have the story 

written for you. But in my experience it is more difficult to 

make a successful book like this because you are influenced 

by the print pictures which are not always easy to adapt. 

In lots of ways the easiest thing is to gather together some 

bits and pieces and then be inspired by what you have 

collected to make a book. Look away now if you don’t like 

spiders. When I found this big spider, it occurred to me that it 

could be used in a book “Large and Small”. You could do a 

whole book based on “large and small”. 

And similarly with bells - there are all sorts of bells and it is 

rather interesting that the large bell sounds quite different to 

the small bell. And so you have not only feeling large and small 

but also sounding large and small. So those two could be used 

in a simple book. 

And here is a squeaker which could go into a book on sounds 

or it could be the noise that the mouse makes in the story that

you are going to write about a little mouse. And here are some 

rather nice castanets. Plastic cheap castanets but they could 

be sewn into a book and be a very attractive item. For things 

which are too difficult to attach to the page or too small, you 

can put them in a little bag made of very thin fabric so that the 

child can feel the objects. The bag is securely attached to the 

page, and the child can feel the objects in the little bag. This is 

very thin and slippery fabric which feels just like cellophane 

used for bags of sweets. 

When I found these coasters, used to put a drink on top of 

them, they were very very cheap in a very very cheap shop, 

and it occurred to me that you could use them for a book of 

shapes. This could be a square, or it could be on a page where 

you have two like this and a round one: ‘which one is 

different?’.And the coaster is rough. If it was a book of 

opposites, you could have rough and smooth. Or, if you were 

doing the story of the three little pigs, this could be the house 

made of straw. This is just an example of how finding some 

things can give you an idea for a book which would be easier 

and more successful than taking a mainstream book and 

trying to come up with tactile illustrations. 

Some very cheap shops are a very good source of material 

for tactile books. We have pound shops in the UK, where 

everything costs less than a pound. This was a Christmas 

decoration; when I took it apart I ended up with lots of very 

tactile leaves and bits of spruce which are not sharp and not 

dangerous but they are very spiky and very interesting from a 

tactile point of view. 

It’s particularly difficult, though, to think of suitable topics 

for older children. There are lot of children who are in their 

teens, teenagers, and they need tactile books as well, but it is 

more difficult to think suitable topics. We are very keen to send 

these children simple books which meet their needs, but we 

don’t want to send them babyish books because this is 

insulting to them. This is particularly the case if they are in a 

mainstream school where they have sighted children in their 

class. This is a real challenge and it’s one that I must say we 

are not meeting yet, but I would like to think that our collection 

will develop in that direction. 

101

Some of the suggestions which have been made for this 

group are books about clothes and hair styles, books about 

going shopping, sport perhaps, simple jokes, riddles, football, 

boats, camping, horse-riding. And if any of you can think of 

any other topics, I would be very interested to hear of them. 

(Topics suggested by the audience: fishing, cars, ships, 

hunting) Hunting! It’s very controversial in the UK. 

I think that’s all I want to cover in this section, so I wonder if 

people have any questions they would like to ask, or 

suggestions. 

102

Marion Ripley 


TACTILE BOOKS IN LIBRARIES 

FOR THE BLIND 

Setting up a lending 

library of tactile books 

I have shown you earlier the books that we have in our 

collection - the mainstream books that we have adapted by 

adding Braille. The big advantage of those books is that they 

are the same books as sighted children are reading which is 

very important for integration of the blind child in a 

mainstream classroom. But from the very early days of the 

ClearVision library people have asked us for especially-made 

tactile books. They needed these books for all the reasons 

that Päivi spoke about earlier today. And for years we said we 

couldn’t stock books like that in our library. 

The number one difficulty was that there was nowhere that 

we could buy such books in order to build up a library. We just 

didn’t know where we would get them from. But another big 

difficulty was the health and safety side of things. In the UK, 

the rules about health and safety are very strictly applied, and 

this has led to an atmosphere where we are all terrified not 

just that a child might choke to death as a result of something 

we have lent them but also that we will be taken to court and 

made to pay millions of pounds in compensation so that the 

library would have to close down. 

It may seem ridiculous to be worried by such things but it is 

of course a real practical concern. And so for many years we 

said ‘no we won’t be able to include especially-made tactile 

books in our library’. And then I heard about the tactile book 

library in Finland, and also about a tactile book lending library 

in New Zealand. And I started to think that if Finland and New 

Zealand could do it, then perhaps the UK could also do it. And 

in the year 2000, we started to say that yes, we would offer 

this service, we would build up a collection of tactile books. 

The first step was to say this to so many people that we 

could not change our mind because we have promised that 

103

we were going to do it. I was very fortunate in being able to 

visit the Celia library in Helsinki and look at the books that they 

had and get a lot of their ideas and expertise about running 

and creating a tactile book library. I also applied to charitable 

trusts for funding because I knew that a certain amount of 

money would be needed to set up this collection. I imagined 

that a lot of money would be spent on buying books from around 

the world but in the event this has not happened. 

The majority of our books have been hand-made by 

volunteers. And therefore the money has been spent not on 

buying books, but on producing handouts to advise people 

how to make books. We have now got over 800 tactile books 

in our new collection. And although I had promised people we 

would have a thousand books in three years, I feel quite proud 

that we have 800 after five years. 

The books are in a variety of formats but over half of them 

are sewn fabric books. I didn’t realise at the beginning of the 

project that this would be the case. 

We also have collage books from the Tactus organisation 

and collage books made by other people. We also have some 

very simple thermoform books like The Giant’s Boot, the book 

which I showed you earlier. 

But a lot of my time now is spent on talking to groups, I 

have to say it, groups of women. In the UK there are 

organisations for women: there’s a large organisation called 

The Women’s Institute, which has branches in all the rural 

areas of England. Most of their members are women in their 

fifties, sixties, or seventies: a lot of retired women. These 

women are very enthusiastic, it is a project that really 

captured their imagination. And a lot of them have exactly the 

skills we need. They are of a generation which learned good, 

solid sewing skills. They don’t have to be wonderfully artistic 

embroiderers but they need to be able to sew a button so that 

it doesn’t come off. A lot of these women have raised families, 

they have grandchildren, they know what children like. Some 

of them have been teachers, some have been librarians, 

some have experience of children with special needs. Some 

are very creative and artistic and have lots of ideas and often 

two or three women work together on a book, all contributing 

their skills. 

104

In my experience, it’s something that they are really happy 

to do because many of these women have more time than 

parents and teachers who work with blind children. There are 

a lot of people who have sewing skills and they are just looking 

for a new project. And they are very pleased to think that they 

can use their sewing skills to meet a very real current need. 

Some people think that sewing skills are old-fashioned; they 

are certainly undervalued I think. And I stand in front of them 

and say: “Blind children need what you can do”. 

It is not just women’s groups. We’ve also got some 

students at a University fashion department who have made 

books as part of their syllabus. There are some church groups 

involved and, I think very interestingly to me, there are women 

in prison making books for us. What I ask the women in prison 

to do is to copy books, so if somebody makes a beautiful book 

I will take the necessary materials into a prison and say: “Can 

you make me ten copies of this book?” And they make ten 

copies. 

In Britain, there’s a tradition of sewing workshops in 

prisons. I don’t know whether they still do, but traditionally 

people in prison sewed bags for the post. Nowadays certainly 

women prisoners make pyjamas for male prisoners. They also 

make underpants for male prisoners. So you can imagine how 

enthusiastic they are about making tactile books for blind 

children. I went to one prison with three books so that they 

could choose which one they wanted to copy. There was a lot 

of discussion about which book would be easier and which 

was the nicest book and eventually they chose the book they 

would copy. One woman in the corner was very quiet and after 

a while she said: “I am going home on Tuesday. I wish I was 

staying longer now.”I think she was joking but I’m sure she had 

picked up on the enthusiasm for the project in the room. 

I have discovered over time that the more information I 

give people, the better the books they produce. In the 

beginning it was very difficult because I had only two or three 

books which were donated by the Celia library to help us 

begin so I had no samples to show to people when I gave 

talks. Now when I speak to groups I give them a handout, which 

covers the sort of things I was talking about earlier - about the 

size of the book, the number of pages, and how safe and 

105

simple it needs to be. I take along lots of lovely books so that 

they can see what other people have made and get ideas. I 

also take along a sample page, which is a fabric page, partly 

made, so that they can examine how it has been stiffened and 

the fact that it has a limp edge to it. And I have discovered that 

people really like to get their hands on this and examine how 

it’s done because it gives them an idea of how they can 

actually make a page of two rectangles of fabric and something 

to stiffen it with. 

People donate books. Sometimes people have 

competitions locally. An organisation will hold a competition 

and all their members make tactile books, and then 

somebody judges them, and they have a winner and this seems 

to work well. We receive all these books as donations. 

Sometimes a book comes and it’s not very good. But I can 

always find a good home for it with a child who has quite a lot 

of sight. Most of the books are OK, and some of the books are 

absolutely brilliant. 

When we receive the books, we add the text in Braille. We 

certainly don’t want people to try to add the Braille 

themselves because they are likely to make mistakes. We 

enter the book on a computer, we put a bar code on it, and we 

grade the books according to how strong they are. This is not 

a very sophisticated library classification system but it is the 

most important thing as far as we are concerned. 

Children who borrow from the library (or rather the person 

who joins on their behalf) has to describe them and their 

needs. On the application form the teacher has to describe 

them either as ‘very careful’, or ‘quite careful’, or ‘over 

enthusiastic’, or ‘boisterous’, which is a euphemism, it’s a kind 

way of describing a child who will tear the book apart if they 

can. So the important thing is not to send a fragile book to a 

child who will pull it apart. This is how our books are stored in 

the four categories and the children are described in the four 

categories. And then, from the boxes we choose books 

appropriate for the child’s age and development. 

As far as our concerns about health and safety are concerned, 

we have three ways of dealing with this: 

106

Firstly, we ask everybody who makes books to make them 

very safe and not to use sharp, toxic, or small items, etc. On 

the back of every book we put a big label which says that the 

book must be used under constant adult supervision. And we 

only lend the books to schools and other educational 

establishments. When they join, the schools have to sign a 

declaration that they will supervise the books and take care of 

them. In this way we hope to avoid any accidents. 

The books are very much enjoyed, we get lovely letters from 

users. People can’t believe that they are now able to receive 

such lovely books in the post. That’s all I have to say on that 

subject. Now I pass over to Päivi on running a library. 

107

108 



Finland 

Running a lending library 

of tactile books 

As I have said earlier, our library, Celia library, has 

experience of 20 years being a lending library of tactile 

materials. We have about 450 tactile books in our library now. 

These books are a notable and natural part of library’s lending 

collection. They are catalogued and lent out through our 

computerised lending system. Users can have printed lists of 

books and the catalogue is also on our web-page. We hope to 

have a pictorial catalogue on the web, too. But it is a very good 

Marion’s idea to catalogue books according children who might 

damage the books. 

We have a tactile book database, an archive of each tactile 

book page by page as a digital photograph. This is because 

children handle books sometimes very roughly and the 

illustrations are damaged or items are removed from the 

page. We can check the details of the illustrations from the 

archive file and then repair it properly. 

Books are lent home by post, usually 1-2 books at a time. 

Lending time is two months. A paper with written guidelines 

how to use the tactile books is included in each dispatch or 

package of books. There are short and simple advice how to 

handle the books, like 

- Read the book with an adult person 

- Keep your hands clean, don’t eat while reading 

- Don’t eat the book, don’t put the book into your mouth 

etc. 

- Remember to return the book. Children sometimes like 

the book so much that they do not want to return it. 

However, damages happen, but we don’t ask for any 

payment or punishment! We make a lot of cleaning and 

repairing at the library, as we have so many fabric books. We 

have a vacuum cleaner and a sewing machine and a stock of 

small items, buttons, strings and fabrics for repairing the books.

They are so important and precious to the children that we 

want to keep them in good condition as long as possible. We 

still have books from 20 years back - the first books we got 

were very strong. 

Every now and then we make feed-back inquiries asking 

parents about the quality of the books. Feed-back has been 

excellent, mostly, but it is also useful to hear negative 

observations. They are important for developing these books 

and try to make them still better. This year a Joensuu 

university student has collected the feed-back we have 

received and she makes a pro gradu-research on content of 

them for the University exam. 

A regular co-operation is essential with the book 

producers. There are really not too many of them in Finland. 

Our Estonian colleague mentioned the college of handicraft; 

we have very good cooperation with this college. They have a 

very eager teacher who has introduced tactile books as a part 

of college curriculum. Now we have a very good cooperation 

with Joensuu University, where the teachers of handicraft and 

design are educated. Our library staff gives advice and 

guidelines to the students how to make the books and 

provides information about blind children, their needs and their 

development. We inform the book makers about Typhlo & 

Tactus competition, send books to book exhibitions in Finland 

in order to find new makers and contact the crafts and design 

colleges. But as long as we are not able to pay a full price of 

the labour and materials used, which of course is not very 

little, we are depending on the design students and voluntary 

persons, who have the sewing of these books as their hobby. 

It is a vey good idea to use prisoners to make books in 

England, but I think it wouldn’t work in Finland. Every country 

and organisation have to find their own way how to produce 

these books and to find the people who want to make them. 

109

110 

Marion Ripley 


Typhlo & Tactus 

Tactus we have mentioned several times today. It’s an 

organisation of tactile book producers in Europe. It’s now in its 

sixth year and it’s known as Typhlo and Tactus. The UK and 

Finland are both members of Tactus. 

Tactus was set up to share ideas, resources and expertise 

in tactile book production and to promote excellence and 

inspiration. We have meetings twice a year where tactile book 

matters are discussed, but the best known aspect of our work 

is the annual tactile book competition. This aims to raise the 

profile of tactile books so that people will hear about it who 

haven’t even realised that tactile books exist and are needed. 

Two books each year are chosen as winners of the 

competition and these are mass-produced at workshop in 

France. They are produced in the different languages of the 

participating countries and are sold at a price which is heavily 

subsidised by the EU. These multiple copies are produced at 

the workshop in Dijon, using largely low technology methods. 

The workshop employs people who are hard to employ, that is 

people with a history of mental illness, or similar. And a lot of 

the work is just as you would imagine it: people sitting at long 

tables with scissors and glue and bits and pieces. As Päivi 

mentioned, they do have a large form-cutting machine, which 

cuts out hundreds of shapes. The pages are professionally 

printed and the Braille is professionally produced. And they 

have a very good binding machine. But on top of that, you 

have people spending hours constructing every book. The 

books would cost a fortune if it wasn’t for the subsidy from the 

EU. I hope you had a chance to look at some of the Tactus 

winning books on display downstairs. 

The competition is held every year. The judges meet at the 

end of November or beginning of December in Dijon in 

France. Each participating country sends two judges: one 

visually impaired and one sighted. And they have a wonderful 

and very hard-working time examining 60-70 tactile books in 

a day, short-listing and eventually deciding on the winning

ooks. In this way, ideas are shared as people examine so 

many books from different cultures. Each year a poster is 

produced, and I hope you have picked up the posters 

downstairs which show the books entered in last year’s 

competition. 

The current members of the group are: UK, France, 

Belgium, Finland, Germany, The Netherlands, Italy, and 

Poland. The Czech Republic is participating as the guest 

country this year. 

These three years we also have the aspect of cultural 

exchanges between the countries and we are holding these 

workshops of which this is the first one. There will be also 

workshops in Slovenia and Romania in the next two years. This 

is all the plus side of Tactus but I’m sure Päivi would agree that 

it’s not always easy working together as a European group. 

We have to work within EU regulations which are extremely 

strict and inflexible, and one of the conditions of participation 

is that each country contributes five percent towards the total 

budget. This means that some countries which would very 

much like to participate, are not able to. And I think Päivi would 

agree that this is a big defect in the project. 

We all get on very well socially as people, and we all like 

each other, but working together is not easy. We all have our 

own systems at home, our own constraints, our own 

difficulties, our own financial positions, and to work together 

all meeting the same rules is extremely difficult. But we focus 

on the positive side, and the biggest positive side is that there 

are now lots of lovely tactile books which have been 

mass-produced through the Tactus competition. Each of us in 

our countries, we no longer feel that we are working in 

isolation. We are able to share our ideas and it’s very 

stimulating to be working with other people. 

111

112 

Turinys 

Pratarmë ............................................................................... 4 


BALTIJOS ÐALYSE 



Atidarymo kalba ............................................................. 6 


Lietuvos Respublikos kultûros ministerijos 

Informacinës visuomenës plëtros skyriaus vedëjas .......... 7 


Lietuvos akløjø ir silpnaregiø sàjungos uþsienio 

ryðiø vedëja ....................................................................... 8 


Estijos akløjø bibliotekos direktorius .................................. 9 

Gunta Bite 

Latvijos akløjø bibliotekos Brailio 

leidybos skyriaus vedëja.................................................. 11 

Sylvi Sarapuu 

Tiflografiniø knygø autorë, Suomija 

Darbo grupës “Nuostabi tiflografinë knyga” 

gimimas ....................................................................... 12 


Tiflografika Lietuvoje .................................................... 15 


Vilniaus dailës akademijos magistrantë, 

meno teorijos ir kritikos specialybë ................................. 16 


Vieðosios ástaigos “Brailio spauda” direktorius................ 18


ILIUSTRUOTOS KNYGOS IR 

JØ SKAITYTOJAI 

Marion Ripley 


ClearVision bibliotekos pristatymas ............................. 20 


Celia akløjø bibliotekos Skaitytojø aptarnavimo 

skyriaus vedëja, Suomija 

Suomijos Celia akløjø bibliotekos pristatymas ............. 24 

Marion Ripley 

Kas skaito knygas su tiflografinëmis iliustracijomis? .... 26 


Kodël reikia tiflografika iliustruotø knygø? .................... 28 

KAIP GAMINTI 

TIFLOGRAFINES KNYGAS 


Ávairûs tiflografiniø knygø gamybos bûdai .................... 31 

Marion Ripley 

Nuo paprastø prie sudëtingø tiflografiniø knygø .......... 35 

Marion Ripley 

Kokios turi bûti reljefinës iliustracijos, 

kad jas suprastø akli vaikai?......................................... 40 

Marion Ripley 

Tiflografiniø knygø temos ............................................. 44 


ILIUSTRUOTOS KNYGOS 


Marion Ripley 


bibliotekos steigimas ................................................... 47 


Tiflografika iliustruotø knygø bibliotekos veikla............. 52 

113

Marion Ripley 

“Tiflo-Taktus” projektas ................................................ 54 


Baigiamoji kalba........................................................... 56 

114

Contents 

TACTILE BOOKS IN 

THE BALTIC COUNTRIES 



Opening address ......................................................... 62 


Head of the Information society development 

department, Ministry of Culture of the Republic 

of Lithuania ...................................................................... 63 


Foreign affairs’ manager, Lithuanian Association 

of the Blind and Visually Handicapped (LASS) ................ 64 


Director of the Estonian Library for the Blind ................... 65 

Gunta Bite 

Head of Braille Production Department, 

Latvian Library for the Blind ............................................. 67 

Sylvi Sarapuu 

Tactile book-maker, Finland 

The birth of a work group “Beautiful touchable 

book”............................................................................ 69 


Typhlographics in Lithuania .......................................... 71 


Vilnius Academy of Art student, 

majoring in art theory and critics ..................................... 72 


Director, public institution Brailio Spauda ........................ 74 

115

116 

TACTILE BOOKS 

AND THEIR USERS 

Marion Ripley 


Introduction to the ClearVision Library ......................... 76 


Head of library services, Celia Library for 

the Visually Impaired, Finland 

Introduction to the Celia Library for the visually 

impaired ....................................................................... 80 

Marion Ripley 

Who uses tactile books? .............................................. 82 


Why are the tactile books needed? ............................. 84 

HOW TO MAKE 

TACTILE BOOKS 


Different ways of making tactile books ........................ 87 

Marion Ripley 

Different levels of difficulty ........................................... 91 

Marion Ripley 

What we can do to make pictures easier 

to access? .................................................................... 96 

Marion Ripley 

Topics for tactile books .............................................. 100 

TACTILE BOOKS IN LIBRARIES 

FOR THE BLIND 

Marion Ripley 

Setting up a lending library of tactile books ............... 103 


Running a lending library of tactile books .................. 108 

Marion Ripley 

Typhlo & Tactus .......................................................... 110



Tactus ir Lietuvos akløjø bibliotekos 


Praneðimai 

Vilnius, LAB, 

2006 m. balandþio 25 d. 

********** 

TYPHLOGRAPHICS AND 

LIBRARIES FOR THE BLIND 


Proceedings 

Vilnius, 25th April 2006 

Sudarë Audronë Gendvilienë 

Vertë ið anglø k. ir á anglø k. Audronë Gendvilienë 

Korektûrà skaitë Graþina Ramanauskienë 

Maketavo Lilija Oleðkeviè 

Iðleido Lietuvos akløjø biblioteka 

Skroblø 10, Vilnius LT-03142 

Tiraþas 60 egz.

TIFLOGRAFIKA AKLŲJŲ BIBLIOTEKOSE Tactus ir Lietuvos aklųjų ...

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