The world of design is brimming with new developments in up-and-coming technology, product launches, and the next big ideas. Take the Scribble pen, for example. Any Photoshop devotee would be thrilled that the “eyedropper” tool has come to life, meaning that you can use the pen to grab a color from any real-life object and draw with that exact color. Move over Pantone swatches, this is instantaneous matching and finite control at its best!
With over 16 million hues and a programmable memory, the Scribble pen is admittedly awesome, certainly attracting a deserving share of hype. And it can be easy to get swept up in the bells and whistles of gadgetry, we know. (Let’s just say that the day we installed our on-site time-lapse cameras wasn’t exactly the most productive in history). But can this type of instantaneous and exact control actually weaken our relationship to those colors, textures, and materials which cannot be bridled?
A common reminder in our office is to take our eyes off the computer screen and back to the hard and true materials. Our surface materials are usually of the natural kind - rings of wood or layers of onyx formed over thousands of years. And while those characteristics can be shifted to some degree - you can tweak appearances and aesthetics with a lighting design change or framing method – those natural qualities are never simply repainted or redefined with an electronic paintbrush. Sure, the Scribble pen is a magic wand of an instrument that can open up creative possibilities, but it leads us to think there may be such thing as too much control over those possibilities.
In creating backlit onyx and wood features, we navigate the concept of control through the design process almost every day. Without prepackaged sample boxes, SKU numbers, or catalogs of options, we hunt for unique translucent wood and onyx materials by traveling straight to the sources at which they were formed: the forests and quarries. Though is not always easy relinquishing the grasp when dealing with natural materials, interior designers and architects who specify translucent wood or onyx surfaces take the leap of faith that we will find a material in Mother Nature that meets their vision.
Once we find the perfect material, the colors, textures, patterns, and inherent layers formed into the materials are workable only through changing the panel sizes or optimizing the best portions of material. There’s no editing involved, no magic eye drop tool that can ensure a Pantone-exact color match, no clone stamp that allows us to magically delete a vein running through the center of a panel. We simply work with Mother Nature and mold it using our artistic inclinations; it all comes down to a natural and human element which no machine can dictate. We can’t always select our scribble, and that constraint sets off a series of chain reactions that result in true originality.
Today, we salute the creators of the Scribble pen for not only harnessing one very cool design tool, but also for challenging us to think about how convenient technology can potentially limit more traditional forms of art. Because after all, there is creativity and ingenuity at the heart of every new invention. But it’s our responsibility as designers to keep that control from inhibiting our imaginations and ultimately, our figurative and actual scribbles.
Are you a designer working with natural materials? How does the process challenge your inherent role as a designer, to control and specify to a fine degree? How can technology affect the process of working with natural resources?