{"id":685,"date":"2013-10-30T10:43:05","date_gmt":"2013-10-30T10:43:05","guid":{"rendered":"http:\/\/wonderfuldarkness.com\/?p=685"},"modified":"2014-02-16T18:16:26","modified_gmt":"2014-02-16T18:16:26","slug":"texture-rubbing","status":"publish","type":"post","link":"https:\/\/wonderfuldarkness.com\/?p=685","title":{"rendered":"Texture Rubbing"},"content":{"rendered":"

Assignment<\/h2>\n

The Texture Rubbing project is designed to learn and understand more about different textures and how they might make a viewer describe them by how they visually \u201cfeel\u201d.<\/p>\n

The final composition will fill a 12\u201dx12\u201d grid, divided by 3\u201d squares in four rows and four columns centered within a 3\u201d border on sketch\/drawing paper. Other tools needed include a ruler, a soft pencil, various erasers and a graphite pencil.<\/p>\n

Rubbings are produced by placing the paper on top of a textured surface and gently rubbing the graphite pencil across the paper, thus allowing the texture below to transfer its pattern to the paper. Each rubbing must fill as much of the appropriate square as possible and only one texture should be used in each square. Each square should also be filled from a unique texture source.<\/p>\n

To complete the project, assign an adjective to each texture square and include it as a compositional element.<\/p>\n

Preparation<\/h2>\n

I began preparing my sketch paper by measuring an 18\u201dx18\u201d surface area and dividing the square into sixteen 3\u201d squares using my ruler and a soft pencil. Next, I went on a texture scavenger hunt.<\/p>\n

\"Concrete\"<\/a>\"Asphalt\"<\/a>\"Tree<\/a>\"Root\"<\/a>
\n\"Mulch\"<\/a>\"Landscape<\/a>\"Manhole<\/a>\"Fence<\/a>
\n\"Wicker<\/a>\"Tire<\/a>\"Wrought<\/a>\"Sewer<\/a>
\n\"Brick<\/a>\"Bolder\"<\/a>\"Wooden<\/a>\"Tile\"<\/a><\/p>\n

Rough Draft<\/h2>\n

\"Rough<\/a>As I found each texture I was interested in, I took an initial rubbing with a 6B graphite pencil. I did this for two reasons: first, I wanted to make sure the surface I thought would produce a nice transfer actually produced a unique effect. In some cases I found the surface didn\u2019t stand out or even transfer so I moved on. My second reason for the rough draft was to visual organize the patterns in my mind before deciding where within my grid I\u2019d like the final rubbing to exist.<\/p>\n

Texture Design<\/h2>\n

Once I decided which textures I wanted to use in my final design, I had to take the sheet with my prepared grid to each texture source and get a new rubbing. For this I used a harder HB graphite pencil than previously utilized. I found that the soft 6B pencil left too much graphite on the page to distinguish between the texture underneath and the normal graphite rubbed on the paper.<\/p>\n

\"Texture<\/a><\/p>\n

Collection Process<\/h3>\n

As I took each rubbing, it was necessary to erase some overlap from square to square to ensure the adjacent textures were properly displayed. Since most of my textures were outside, I took my grid sheet, a kneaded rubber eraser and my graphite pencil with me on my second texture journey. When I returned to the house, I used a mars plastic eraser to clean the edges and some harder to remove marks from my design and its frame.<\/p>\n

\"Clean<\/a><\/p>\n

Descriptions<\/h3>\n

The next step in the texture project was to describe each texture with an appropriate adjective. To accomplish this, I blew up a picture of the final texture rubbings and considered many types of adjectives such as tastes and tactile adjectives, appearance adjectives, positive and negative sensation adjectives and shape, size and sound adjectives. I chose the most appropriate for each texture pattern I had collected but did not stick to the predictable tactile descriptions. I purposefully ignored the source of each rubbing and focused purely on the design created by the transfer.<\/p>\n

\"Descriptive<\/a><\/p>\n

Labeling<\/h3>\n

After deciding on descriptions and a font that would complement my design, I needed to transfer the text to the composition. To accomplish this I used the simple tracing paper method. By printing my labels the appropriate size to fit my work, I simply traced the positive image of each, reversed my trace on the negative image and then transferred the descriptive text to my graphite rubbing. I later darkened each adjective with a permanent marker.<\/p>\n

\"Positive<\/a> \"Negative<\/a> \"Label<\/a><\/p>\n

Finalization<\/h3>\n

One of the last steps was to trim the excess paper from the final composition and clean the edges and frame of the design with my kneaded and plastic erasers.<\/p>\n

\"Trimming\"<\/a>\"Label<\/a>
\nWhile I thought this version was pretty close to complete, as I reviewed the overall design I wanted more contrast between the descriptions and the rubbings. I first thought about purchasing a white marker to accent the dark, black text but decided instead to lighten the area directly behind each label with a kneaded eraser, thus allowing the descriptive adjective to stand out from each pattern.<\/p>\n

\"Feeling<\/a>
\nFEELING FEELINGS<\/strong><\/h1>\n

Case In Point<\/h2>\n

Chapter Six of Art Fundamentals: Theory and Practice<\/i> by Ocvirk, Stinson, Wigg, Bone and Cayton focused on Texture. The nature of texture was broached in this chapter along with types of texture, patterns, composition and space as related to texture. Its expressive content and some three-dimensional applications of texture rounded out the chapter.<\/p>\n

Case: Texture and its Types<\/h3>\n

Experiencing texture can be subconscious or obvious, inviting or repellent, visual or physical. When texture is more than an illusion it is considered tactile. There are several types of textures: actual, simulated, abstract and invented. Actual texture is a tangible, concrete, physical texture. Some examples of actual textures include thick uses of paint, enhanced by the quality of the paint utilized, and papier coll\u00e9, the origin of the modern collage, which makes use of actual objects within a planer design. Simulated texture looks real but is an illusion. Many genre paintings of the Dutch and Flemish produced amazing effects often associated with trompe l’oeil paintings so convincing in their detail they could be mistaken for the real thing. Modified textures that display a hint of an original texture are known as abstract textures whereas invented textures are without precedent; in other words, these textures do not simulate nor abstract from reality, they are created from the artist\u2019s imagination. Patterns are often derived from textures and decorative in purpose. Textures can provide movement within a composition and manipulate space by appearing blurred or sharp depending on the artists\u2019 intent. The lines between two-dimensional and three-dimensional art blurs even more as texture building becomes assemblage where the artist constructs large, protruding objects \u2013 either free-standing or hanging \u2013 and mixes surface textures with the assembled objects\u2019 textures.<\/p>\n

In Point<\/h3>\n

Focusing on the four texture types as my bullet points allowed me to utilize Dr. Giampa\u2019s personification method to explore the unique characteristics of each type and how they could be perceived by a viewer.<\/p>\n

Actual Texture<\/h4>\n

As an actual texture you can consider me the \u201creal thing\u201d! I can be inherently found in natural materials, although I may be manipulated from my natural form. I change the surface of planer designs when an artist builds their materials upon that surface, subtly or obviously.\u00a0 Papier coll\u00e9 is one way to accomplish such a collage effect of objects within a design, thus offering my viewer\u2019s many different tactile experiences.<\/p>\n

Simulated Texture<\/h4>\n

When I merely create an illusion of a texture I\u2019m described as a simulated texture. A talented and skilled artist can make such an illusion so real the viewer feels compelled to reach out and touch me. Trompe l’oeil paintings are perfect examples of my ability to fool the eye with photographic detail. Although I may look like I contain tangible textures, you can trust me when I tell you I\u2019m lying.<\/p>\n

Abstract Texture<\/h4>\n

Sometimes I simply hint at another texture and in these cases I\u2019m considered an abstract texture.\u00a0 Normally, I become a simplified version of the original texture and I often emphasize patterns and designs. I am usually used decoratively to accent or diminish areas of the composition as well as control eye movement. I\u2019m just here to compliment other areas of a design, or even tame dominant features, to improve the balance or focus of a composition.<\/p>\n

Invented Texture<\/h4>\n

I can also be an interesting invented texture that is without precedent! At these times I\u2019m neither simulated nor do I abstract from reality. As an invented texture my main purpose is sometimes to surprise or shock my viewers and I share similar decorative and compositional tasks just like when I\u2019m an abstract texture. Be careful when using me in this manner because I should not distract the viewer from the true purpose of the design. The subject and meaning of a work can be lost in the swirl and excitement of imaginative and unique textures like me!<\/p>\n

Trivia<\/h2>\n

For curiosities sake, I\u2019ve included a graph describing which source textures produced which patterns.<\/p>\n

\"Trivia\"<\/a><\/p>\n

View\/Download PDF<\/a><\/p>\n

Case In Point Mapping based on research by\r\nDr. Joan Giampa http:\/\/www.joanmariegiampa.com\/teaching\/my_research.html<\/a><\/pre>\n","protected":false},"excerpt":{"rendered":"
Assignment The Texture Rubbing project is designed to learn and understand more about different textures and how they might make a viewer describe them by how they visually \u201cfeel\u201d. The final composition will fill a 12\u201dx12\u201d grid, divided by 3\u201d squares in four rows and four columns centered within a 3\u201d border on sketch\/drawing paper.… Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false},"categories":[83],"tags":[23,21,22],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":248,"url":"https:\/\/wonderfuldarkness.com\/?p=248","url_meta":{"origin":685,"position":0},"title":"The Symbol Grid","date":"September 19, 2013","format":false,"excerpt":"Research the 7 Principles and 16 Sub-principles of Design Harmony 1.1.\u00a0\u00a0\u00a0 Repetition 1.2.\u00a0\u00a0\u00a0 Rhythm 1.3.\u00a0\u00a0\u00a0 Pattern 1.4.\u00a0\u00a0\u00a0 Closure 1.5.\u00a0\u00a0\u00a0 Shared Edges 1.6.\u00a0\u00a0\u00a0 Overlapping 1.7.\u00a0\u00a0\u00a0 Transparency 1.8.\u00a0\u00a0\u00a0 Interpenetration Variety 2.1.\u00a0\u00a0\u00a0 Contrast 2.2.\u00a0\u00a0\u00a0 Elaboration Balance 3.1.\u00a0\u00a0\u00a0 Symmetrical Balance 3.2.\u00a0\u00a0\u00a0 Approximate Symmetrical Balance 3.3.\u00a0\u00a0\u00a0 Asymmetrical Balance 3.4.\u00a0\u00a0\u00a0 Radial Balance Proportion 4.1.\u00a0\u00a0\u00a0 Scale 4.2.\u00a0\u00a0\u00a0\u2026","rel":"","context":"In "Theory and Practice"","img":{"alt_text":"Symbol Grid","src":"https:\/\/i0.wp.com\/wonderfuldarkness.com\/wp-content\/uploads\/2014\/01\/20130914_230919-Copy.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":377,"url":"https:\/\/wonderfuldarkness.com\/?p=377","url_meta":{"origin":685,"position":1},"title":"200 Lines","date":"October 2, 2013","format":false,"excerpt":"Assignment 200 Lines is an exercise in utilizing straight lines, and straight lines only, to create an abstract design that shows space. 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Black construction paper, white Bristol board and painted\u2026","rel":"","context":"In "Theory and Practice"","img":{"alt_text":"Design Sketch","src":"https:\/\/i0.wp.com\/wonderfuldarkness.com\/wp-content\/uploads\/2014\/01\/Parts-of-the-Puzzle_0018_Design-Sketch.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1844,"url":"https:\/\/wonderfuldarkness.com\/?p=1844","url_meta":{"origin":685,"position":4},"title":"Dal\u00edesque","date":"April 5, 2014","format":false,"excerpt":"Assignment Create an original composition while representing and paying tribute to the great master: Salvador Dal\u00ed. (This particular artist was my choice. Any artist could have been selected as long as they were well-known for a unique style and significant color choices.) Inspiration In the early 1950\u2019s, Dal\u00ed painted Galatea\u2026","rel":"","context":"In "Color Theory"","img":{"alt_text":"Jennifer Dal\u00c3\u00adesque","src":"https:\/\/i0.wp.com\/wonderfuldarkness.com\/wp-content\/uploads\/2014\/04\/0000_Layer-27.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":568,"url":"https:\/\/wonderfuldarkness.com\/?p=568","url_meta":{"origin":685,"position":5},"title":"Value & Intensity","date":"October 24, 2013","format":false,"excerpt":"Value Scale The first step to the Value and Intensity project was to create an 11 step value scale, from pure white to pure black, with even incremental shades of gray in-between. 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