Sensational New Image for National Braille Press Release

Previously in the Bat Image blog post I showed you the nuts and bolts of how I make a tactile picture. In this post I will show you how I think about modifying an image to maximize effectiveness.

I hope you enjoy!

Ann Cunningham

Modifying an Image

A little while ago National Braille Press asked me to create a tactile image for a new children’s book release. I am always happy to work with Diane Croft, publisher, at the Press. She sent this image from the book by Cynthia Ryland titled Dog Heaven.

Ryland paints a warm and affectionate picture of the ideal place where dogs who die go to “run and run in expansive fields” and munch on doggie biscuits. The purpose of the book is to offer some comfort to grieving dog lovers.

an angelic man flies through the air, holding a little white dog in his arms. A crescent moon and stars are in the dark blue and purple sky. A crooked cane is also floating in the air.

I decided that the most important part of this image is the interaction between the winged figure and the dog, so I wanted this to be as large as possible.

three different sized copies of images of the man and dog are arranged on the page. To the right the largest has been cut and folded to fit it to our given space.
Knowing that the finished page size is 8.8″ x 12.5″, I started fitting different sizes of the image on the page. I thought the wings were important but the idea could be conveyed if I were to keep them top to bottom in the same relationship to the figure. So I diminished the width of the wings in order to fit a much larger figure on the page without compromising the spirit of the image.
With the image this size, it was now possible for me to make a sculpture in which the arms could clearly be felt to be cradling the dog. The enthusiasm of the dog could be felt in his alert posture. The man’s smiling lips can also be easily felt.

the green wax sculpture is thin and a bit transparent. the image of the man and dog  is very simple without much detail but it still conveys the feeling of tenderness.

Now, when the man and dog are positioned on the page along with the moon, the stars, and a cane, they are all easy to find.

The final sculpted image is show beside the origional picture book image.

To purchase Dog Heaven click here.

To see how tactile images are made in the  Bat post click here.

If you would like to see how to make raised line drawings of the rest of the images in Dog Heaven accessible using the Sensational BlackBoard click here.  (start at 3:30)

And finally, if you would like to receive notifications of future blog posts, leave your email address here to sign-up for twice monthly email notices.

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Making Sense of a Tactile Landscape

Today Julie Deden, Dan Burke have agreed to examine two tactile landscape images to discover what they are able to see in each image. I have added verbal description of each picture in the video for the benefit of my blog visitors. I did not explain either image to Dan or Julie before they began looking. I did little editing of this interaction so that you can hear their thoughts as they explored. The second piece Ghost Dog is a work in progress and I will use the information I gathered from our discussion to finish this piece. I’ll post the finished image in two weeks. Stay tuned!

To watch this video click here. It is less than 20 minutes long.

Julie, Dan and Ghost Dog

Find more information at www.ACunningham.com and www.SensationalBooks.com

Sensational Questions About Tactile Art – What Works?

UntitledThis week I am posting a short audio clip, around seven minutes long, about what I am trying to learn from the audio interviews I am posting each month. I have lots of questions and I know some people who might know some of the answers.

right-click here and select “save link as” to download this audio file.

Transcription of audio:

I want to back up for just a moment and  talk about why I am doing these audio interviews. As I prepare for my exhibition at the Woodson Art Museum, I though it would be the perfect time to re-examine all the thing I think I know about tactile art.

I started making tactile art in the early nineties because a question popped into my head.  I was hanging a low relief sculpture in an exhibit and I found myself wondering if a person who is blind could figure out what the picture was through touch. I didn’t know anyone who was  blind but I had the good fortune to be introduced to Tina Blatter, an artist who is blind. For the next five or six year we had a lot of fun sharing art work with each other and talking about what worked and what didn’t.

One day she introduced me to Julie Deden, director of the Colorado Center for the Blind. I asked if I could show my work to people at the center and see if any of it made any sense. The answer I got was some parts do and some parts need work. I never was told to forget about it. In fact I was always energized by the the conversations we would have.

A short time later I began teaching art classes at the Center and have been ever since. It took a while but eventually I unequivocally proved to myself that, yes, tactile pictures do matter in two basic ways. They offer a way for tactile learners to access and share information of any type, this can include emotional self expression or a map to the corner bakery.

Art making is art making no matter who you are and art matters.

In the last fifteen years I have made a lot of art and so have my students. We have all learned from the experience.  What I would like to explore are some of the most intriguing elements of pictures that my students or I have stumbled upon. In no particular order here is the beginning of a growing list of questions that I would like to examine more closely, like animated pictures.

I sculpted a rather large bas, or low, relief image of five life-size ravens. When I designed it, I saw it as five birds. When I carved it I thought of it as five. But when I hung it on the wall it spontaneously became one bird jumping and fluttering all around. I saw a picture generated in my head that looked like an hand drawn cartoon in white pencil on a black background. Is this something other people could experience?

I teach perspective drawing at the Center through experience, not theory. It’s a fun class and the students are able to demonstrate the principles of perspective in pictures of their own imagination. But what I would like to explore further is the experience of depth-of-field in a very real way. I made a  sample landscape illustrating different principles of perspective. I had overlapping hills, and a row of trees becoming smaller and higher in the picture plane as they receded from the viewer. The grass was more detailed in the foreground and less so as it approached the middle ground and then the back. The first time I showed this piece a number of us were startled when it suddenly transformed from a flat piece of plaster and felt like it opened up, like a book, into a full blown landscape. It even felt as though my hand was reaching beyond where the picture really was. Can I duplicate this experience and who can take that leap of faith?

A number of students have independently added time elements into their pictures. After I noticed that, we talked about how we could use that and it seems like a fairly intuitive concept. I would like to explore that more too.

At the Denver Art Museum we had a year of trying new techniques of tactile interpretation for paintings. At one point I started using lots of different materials that were frequently the same materials the painting were illustrating, like wood for window frames and satin for gowns. Other objects were represented by materials with very distinct qualities, like self-leveling liquid that dries with a high gloss finish to represent water and green sponge to represent distant tree foliage.  I would like to explore how people perceive these pictures that are made like this more fully.

I have seen evidence that some blind artist excel at proportions. It makes me wonder if touch isn’t the more reliable sense for that task.

I think feelings, emotional, and feelings, touch are more closely tied than people generally consider.  Just like inspiration and life are bound.

Recently I stumbled on a phenomenon that a lot of people seem to easily experience. I made a 3/4 inch thick silhouette of a wolf and sculpted both sides as low reliefs. When a person would stand behind the sculpture and feel both sides at the same time not only could the see the entire sculpture at once but it also felt much more three dimensional than the low relief actually was.

So this brings me back to why I am interviewing all these people. I think they might hold some keys to my questions and some ideas about how to explore further. I would like to see all this culminate in an exhibit that is interactive and even invites the visitors to participate in these experiments by sharing their experience.

It would be nice to see you all there but even if you can’t get to the exhibit join in the conversation. And if you’d like to see  it at a museum near you, let me know and who knows maybe we can make arrangements!

If you would like to learn more about tactile art be sure to get updates. All I need is your email address: click here

Wonder Baby review

The amazing entrepreneur/mom, Amber Bobnar over at WonderBaby.org posted an extremely kind, well-researched and linked article about my fairy tales. This is Julie and the Wolvesespecially timely since I just came to an agreement with the Woodson Art Museum in Wausau, Wolves at DAMWisconsin about exhibiting the fairytales there in 2015.  I am also talking to other organizations in Texas, Indiana and Colorado about exhibiting my fairy tales, old and new, in 2015. If you would like to hear where we are going to be please send me an email:

ann@acunningham.com

Updates in the subject line and I will be sure to add you to my list.

To read Amber’s article and learn about all the great things going on at Wonder Baby go to the article posted at: http://www.wonderbaby.org/news/art-to-touch