Alternate (alt) text is text that describes the content of an image. Alt text is helpful
if a user cannot see an image (e.g., the user uses a screen reader1 or the image does not load).
Alt text is different from the figure description that editors may choose to write
in the
<figDesc>
element because alt text gives a literal description of what is in the image. The
<figDesc>
element, on the other hand, may be used to provide an imageʼs metadata or to discuss
what is depicted in the image. Alt text tends to give a more detailed description
and does not supply information not visible in the image.
LEMDO adds alt text to improve website accessibility. Including alt text gives people
who use screen readers access to content that would otherwise be inaccessible. This
documentation will teach you LEMDOʼs practice for writing alt text. For instructions
on how to encode alt text, see Practice: Encode Alt Text and Image Captions.
When writing alt text, LEMDO follows principles of accessibility, honesty, and clarity.
Consider the following questions when you write alt text:
Does my alt text communicate the key components of this image?
Is there anything significant that a viewer of this image would see that a reader
would not get out of my alt text?
Does my alt text truthfully describe what is in the image?
Does my alt text include subjective terms (e.g., describing someone as pretty or happy), or objective ones (e.g., descibing characteristics such as using a wheelchair or smiling)? Replace subjective terms with objective ones.
Follow these steps to write alt text for the LEMDO project:
Capture important elements of the image: Because alt text is meant to describe an
image to someone who cannot view it, alt text should capture aspects that are important
to the overall meaning of the image for the argument. This typically includes the
medium (a photograph, a wood engraving, etc.), the main subject of the image, important
imagery, and background.
Include the race of all human main subjects: LEMDO has decided to include the race
of people who are the subject of images as race will be a point of discussion in many
editions. In practice, capitalize the first letter of Indigenous and Black; do not
capitalize white. Use the most accurate term for a personʼs race or ethnicity that
you can (e.g., if you know that an actor in an image is Piikani, describe them as
Piikani rather than the more generic Indigenous). When describing a living or historical
person rather than a character, search to see if there is information available about
how they identify or identified to use the most accurate and respectful language.
Use objective language: Alt text has the goal of describing what is literally in an
image, not the interpretation of a viewer or describer. To fulfill that goal, use
objective language (describing what you see) rather than subjective language (describing
how the image makes you feel or how you interpret it). For example, do say A photo of smiling children rather than A photo of happy children.
Use concise language: Although there are typically no restrictions in the number of
characters that modern screen readers will read, some programs do not continuously
read long strings of alt text. Even with new technology, best practice is to have
relatively short and concise descriptions. If possible, keep descriptions under 125
characters.
Do not use quotation marks: Quotation marks in alt text can cause processing issues.
If quoting text included in an image, write Text reads: or a similar descriptive phrase followed by a transcription of the text.
Transcribe relevant sections of text: If there is text in the image (e.g., a title
or an artistʼs signature), transcribe any section that may be relevant or that will
be discussed. If there are glyphs or ligatures (e.g., a long S), normalize the characters.
If the image includes old-spelling text, modernize it in your transcription to make
the screen readersʼ output more clear. In cases where you have modernized spelling,
note that in the preferatory clause (i.e., Modernized version of text reads:). Note that alt text for images containing text will typically be necessarily long.
Special case: If an image with text is included for the purpose of demonstrating or
discussing early modern spelling conventions, provide a semi-diplomatic transcription.
Normalize glyphs and ligatures without tagging them, but retain spelling as it appears
in the image. You may also provide a modernized transcription afterwards for clarity—not
all words will be read clearly by screen readers if spelled using early modern spelling
conventions.
<desc resp="pers:HOUL3">A wood engraving of Henry V gesturing to dismiss Falstaff in front of his entourage
near Westminster Abbey. Henry is a muscular white man on horseback. Falstaff is a
fat, short, and balding white man standing on the ground speaking up to Henry. Text
underneath reads: Drawn by C. Robinson; Engraved by T. Robinson. Description underneath
reads: King Henry V. and Falstaff. Falstaff. My king! my Jove! I speak to thee, my
heart! King. I know thee not, old man: fall to thy prayers. Henry IV., Part II., Act
V., Scene IV.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">A sketch of an animal that appears to be a duck from one angle and a rabbit from another.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">A book page with a sketch of a flour bolt sifting grains out of flour surrounded by
a decorative border. Modernized version of the text below reads: In fruitful field
amid the goodly crop, The hurtful tears, and darnel oft do grow, And many times, do
mount above the top Of highest corn: But skilfull man doth know, When grain is ripe,
with sieve to purge the seeds, From chaff, and dust, and all the other weeds. By which
is meant, sith wicked men abound, That hard it is, the good from bad to try: The prudent
sort, should have such judgement sound, That still the good they should from bad descry:
And sift the good, and to discern their deeds, And weigh the bad, no better than the
weeds.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">White text on a black background reads: C:\Users\jenstad\lemdo\data\texts\MV greater-than
angle bracket svn status / M main\emdMV_Q1.xml</desc>
This image:
Relationship of HCMC Server at UVic to Your Local Workstation Is described by this alt text:
<desc resp="pers:HOUL3">A graphic shows a cycle beginning at Subversion Repository (the repo) on HCMC Server
at UVic. An arrow labelled svn up points to Your local workstation. An arrow labelled
svn commit points from your workstation to the subversion repository.</desc>
Notes
1.A screen reader is a type of technology that audibly reads the content of a screen.
Screen readers are helpful to people with disabilities such as people who are blind
or have vision impairments.↑
Prosopography
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Mahayla Galliford
Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year
student in the English Honours and Humanities Scholars programs at the University
of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate
Research Award project focused on approaches to encoding early modern stage directions.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was womenʼs
writing in the modernist period.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence
at the Praxis Studio for Comparative Media Studies, where she investigated the relationships
between artificial intelligence, creativity, health, and justice. As of July 2021,
Tracey has moved into the alt-ac world for a term position, while also teaching in
the English Department at the University of Victoria.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Metadata
Authority title
Write Alternate Text for Images
Type of text
Documentation
Short title
Publisher
University of Victoria on the Linked Early Modern Drama Online Platform
Released with Linked Early Modern Drama Online 1.0
Encoding description
Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status
prgGenerated
Funder(s)
Social Sciences and Humanities Research Council of Canada
License/availability
This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely
downloadable without permission under the following conditions: (1) credit must be
given to the author and LEMDO in any subsequent use of the files and/or data; (2)
the content cannot be adapted or repurposed (except in quotations for the purposes
of academic review and citation); and (3) commercial uses are not permitted without
the knowledge and consent of the editor and LEMDO. This license allows for pedagogical
use of the documentation in the classroom.