Tactile Allure
Melanie West’s satiny smooth finish has a heavanly tactile texture even though many people might think of her pieces as being textured because they’re so smooth. Yet smooth is actually one of world’s most loved textures.
How often do you touch art?
No, I don’t mean being the unruly museum visitor who gets yelled at by the docent, but in your everyday life, how many things do you touch that you would also consider art?
Works in the applied arts, which encompass decorative art, adornment, and functional objects, are often things that we touch. Because of this, the tactile texture of most applied art is exceedingly important. Not only can the wrong texture put someone off from buying a piece, but the right texture can make a huge difference between people liking your work due to its visual appeal and being utterly in love with it because it feels so good to touch. It is also another means by which you can express your intention.
Choosing Tactile
The first time I touched a Melanie West polymer bead, it was like taking a bite of the most heavenly chocolate mousse. Her finishes are flawless and so soft; my fingers just couldn’t get enough. That kind of tactile reaction is golden. It also supports her soft and organic themes. As wonderful as her finishes are, that kind of texture may not be wanted in your work or may not even be possible due to techniques or materials you are using.
The point is that her textures are part of the experience of her work and, if you’re creating things that will be handled, you too should consider the experience of touching your piece as part of its aesthetic value. As always, let your intention drive your decisions, but pay attention to the physical sensation experienced when handling the work and aim to have it support your intention, alongside all your other design decisions.
For instance, if you want to share your love of the beach through your work, think about the physical sensations that stand out the most – the soft breeze on your face, the refreshingly cold water on your feet, and your toes digging into cool sand. Now, how do you translate those physical sensations into tactile texture that will help you share that experience to those who will handle your work?
You can do so by thinking in terms of those adjectives – soft, refreshing, and cool. You probably want those to be the dominant sensations so don’t go for, say, a sandy texture just because the beach has sand. Is a gritty, sandy texture going to convey soft, refreshing, and cool? Chances are, it’s just going to remind someone of getting sand in their shoes and other uncomfortable places. You can create a visually sandy texture that includes sandy colors and a speckled look, but in terms of tactile sensations, going for a soft, maybe matte surface that will feel cool and soothing to the touch will share something closer to the sensations you want to relay.
Felt may have textural limitations but the final texture is still a choice. Olga Demyanova contrast a tight, even texture with the rippling and rougher orange edging and accents in this intriquing handbag.
There are a lot of materials that have limits on the tactile textures available. Polymer clay can replicate most tactile surfaces except for fuzzy, but felted work is limited to that dense and slightly rough feel of matted wool while glass will almost always have a smooth aspect. There are also techniques that create their own texture or limit how you can further manipulate the material to create texture. Learn the range of tactile sensations available in the materials and techniques you use so you know what options you have.
Work that Begs to Be Touched
There are a couple things you can focus on in order to create work that people will love to touch. It primarily involves smoothness and variation.
Smooth Surfaces
Our sense of touch enjoys traveling along a pleasantly smooth substance such as polished metal or stone. But what we like most is softness, such as a fluffy blanket or bunny fur. Softness is a type of smoothness as it allows our skin to glide across, unimpeded.
Note that you can re-create the look of fluffy and furry textures in hard substances such as clay or wood but you can’t re-create the same associated softness because, in those materials, you lose the ability for our fingertips to effortlessly glide across it in the same way due to the unevenness in a hard surface. So, recreating the look of fur doesn’t necessarily re-create the tactile experience. The ‘look’ of fur is just a visual experience.
So, be careful to think of smooth tactile texture, not in the way it looks, but the way it feels.
Klavdija Kurent gives the wearer of her jewelry much to explore with their fingertips.
Variation
Our fingertips were made for receiving information, and lots of it, so they do very much enjoy a variation in texture. However, we don’t normally enjoy variation that is sharp, prickly, scratchy, or sticky. These textures make it hard for our fingers to glide along and take it in, not to mention that they are also often painful.
However, bumps, grooves, and fine lines excite the nerve endings. It’s just like the sense of taste – we aren’t too happy with things that are bland but a lot of flavors that go well together thrills our tongue. Our fingers, likewise, enjoy complexity.
The Best of Both – Smooth and Varied
I think you’ll find that pieces with both a smooth and varied surface attain the pinnacle of touchableness.
Take a look at the pearled bracelet here. It is not even in your presence and you probably still feel a tiny urge to reach out and touch it. That’s because each half pearl has a small, smooth surface which is further aided by the round and unimpeded nature of its shape as well as there being a varied field of them.
The combination of smoothness and variation in this bracelet makes for an engaging texture, adding energy to the piece both in its tactile and visual nature. Note that this also has a bit of rough texture around the edges to provides textural contrast. Because contrast is important in texture too!
The contrast of texture fit well into my intention of showing the classic perfection and allure of pearls in an organic setting. I wanted it to be a subtle reminder of the messy world pearls actually come from even though we now associate them with neat, tidy, and conservative dress.
The Tactile Balancing Act
The textures you choose will dictate limitations in terms of surface treatments and other parts of your design, so you have to balance out your tactile texture choices with your other design choices. For instance, if you create a deep and dense texture on a light color, it’s going to appear darker, which you might not want. Or you may want a very smooth surface but want pattern to raise the energy so you would have to figure out how to incorporate pattern visually with inks, veneers, or other smooth surface applications.It just needs to make sense for your intention and the limitations of material.
If your tactile texture decisions, weighed in light of all the other decisions you have to make about color, shape line, function, etc., are chosen in service of your intention, you are sure to have a beautiful, cohesive, and interestingly touchable design.
Should I Call Them Mini-Mags?
The first week of the Art Boxer Clubs has commenced and one of the first comments about the weekly Pick-Me-Up is that it ought to be described as a mini-mag. I guess it is. It’s hard to take the magazine attitude out of me. There were 5 little articles and a good handful of links for further exploring. So, yeah, maybe it is a mini-mag. I might have to rethink what I call it.
But regardless of what it’s called, joining the club will get you a little extra boost each week and at least once a month, you’ll get a special discount, a first dibs or limited stock offer, and/or a giveaway. And right now you can get in on it with a 2 week free trial and a FOREVER discounted rate.
So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club (there are only a few spots left in this upgrade to personal coaching option, at least as of my writing this), or buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.
No Fires Here
We are still a safe distance from all the fires and the sky has started to clear up from the smoke so nothing too exciting to report from Tenth Muse central. I’ve already gotten started on the next project but I don’t want to say too much about it. It seems like every time I say something, I get jinxed and delayed. So, you’ll just have to stop by and check in with me on the weekends, or read the newsletters, or, if you want to be the first to know, join one of the new Club options as Art Boxers will be the first to know (as well as getting extra discounts … just sayin’.)
I hope you all have a relatively unexciting week yourselves. It’s not like we need much more excitement with the craziness of the world providing plenty already. Just go make beautiful things and be kind and caring to each other.
