Write Alternate Text for Images

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.

Prior Reading

Rationale

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.

Principles

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.
Is my alt text concise?

Practice: Write Alt Text

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.

Examples

This image:

                           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.
Is described by this alt text:
<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:

                           A sketch of an animal that appears to be a duck from one angle and a rabbit from another.
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:

                           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.
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:

                           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
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:

                           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 local workstation to the Subversion Repository.
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