[Art_beyond_sight_educators] [Art_beyond_sight_advocacy] Interpoint questions

[Steve Jacobson]

Lisa,

While I have not tried the exact approach that you describe, I have been a user of tactile graphics for a long time and have experimented some with making them.  
Still, I could be incorrectly understanding what you are exploring.

While a lot of dots do create an identifiable texture on the back or indented side of the page, small indentations are much more difficult to detect.  This is even more 
true when they are mixed with raised dots and lines.  I can picture that this technique might work to show the shaded portion of a drawing where the shaded area is 
primarily blank.  This could be useful where there is no ability to control dot height or intensity.  When dot height or intensity can be controlled, though, I would tend 
to think that less intense embossing on the same side of the page would be more effective than depending upon what could be felt from the embossing on the 
reverse side.  

Having said the above, I am not sure that feeling the reverse side of dot patterns might not have possibilities such as four dot groups slightly separated from other 
four dot groups.  One would have to experiment with this some.  I also suspect that the thickness of the paper could play a role in all this as well.  From personal 
experience, though, it is much harder to follow a line, for example, on the reverse side of the page than on the side of the page where the line is raised.  I am curious, 
though, and will have to try feeling of some of my braille maps from the reverse side.

Best regards,

Steve Jacobson

On Thu, 15 Jul 2010 15:34:38 +0200, Lisa Yayla wrote:

>Hi,

>I was wondering if anyone uses the intergraphic/interpoint capability of their embossers with the idea of the texture it creates on the opposite page?

>I am working with a Tiger and thinking about the patterns made on the back of the paper and wondered if this could be
>used consciously for its affect?


>1.       Could the reverse of an embossed line  be used for instance to represent "behind"? Say if one is trying to show mountains behind mountains?

>2.       Is there a haptic difference between an embossed line and the reverse of the embossed line? I mean does the finger notice a difference between the two 
lines (haven't tested it out yet)?

>3.       By using both sides of the paper to produce an effect on the first page, could this increase the texture "pallet" of an embosser?

>4.       Could it be called a "negative" texture?

>5.       Could one use words like "intense" to describe a more defined texture?

>So if you want to try it out this is what I did - draw a few mountain forms with the text/braille color on one side, line width two and on page two drew lines behind 
with color 1, width 1 and took away points to make the lines even more vague.  The idea being that lines from page two will be of a weaker "intensity" (but still 
discernable) when touched from page 1 then if I had used color 1, width 1.


>Thanks,

>Lisa



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