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2D Fundamental - Texture

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Foundation Studies

on 11 August 2013

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Transcript of 2D Fundamental - Texture

What types of texture are there?
What is Pattern?
When objects are arranged in a recognizable and repeatable structure they form a pattern.
Pattern requires repetition in design as in life (i.e.: a pattern of behavior).
The more regular the repetition, the stronger the pattern.
Geometric and mathematical. They are planned structures, synthetic and mechanical. Their geometric nature means patterns can be easily mass produced.
What is it?
Activity across a surface
All surfaces have texture
Refers to surface quality of an object or material.
Texture of surface; smooth, rough, soft, hard – is the degree of which surface is broken up by its composition
Representing a tactile surface
Texture is unique among the art element because it activates 2 sensory processes.

3 D
2 D
Actual texture
Simulated texture
Abstract texture
Invented texture
Seo-Bo Park
“Real thing”; the way the surface looks and feels
Natural part of 3-dimensional and tactile art
In graphic, arts pigment has been applied in projecting mounds or furrows
A cross section of 3 materials. The texture can be clearly seen and could be felt if stroked.

The same cross section showing its upper plan. The texture is defined by the highlights and shadows formed by this illumination.
Roughness or smoothness of surface can be determined by looking at the shadows
A rough surface reflects light unevenly.
Rough textures show irregular patterns of light and shadow.
The high places of a rough-textured surface catch the light, creating shadows of different sizes and shapes.

Browyn Oliver
Han Sai Por
Vincent Van Gogh
Roy Lichtenstein
Seo-Bo Park
Glennray Tutor
Gary Schumer, Simulation
Looks like real texture, but is not
Simulation is a copying technique
Stimulated texture can serve to illustrate the dual character of texture; visual and tactile
In rendering (or simulating) the object’s texture, the artist copies the highlights and shadows with skill
As the title implies, the artist is concerned with the simulation of natural textures

Tay Lai Meng
A close up of hair (from same artist) shows a detailed view of its coarseness. If you were to run your fingers through actual hair of this texture, it may feel bouncy and coarse, but if you stoke the surface of the photographic reproduction on pages, it feels perfectly smooth. The picture is in fact a simulation of coarse hair.

Abstract texture display hint of original texture that have been modified to suit the artist’s particular needs
Is often a simplified version of the original, emphasizing pattern
Abstract textures can be used to accent or diminish areas

They are neither simulate nor abstracted from reality
They are creation of the artist’s imagination
Patterns created by repetition of lines or shapes
Using points, lines, planes

Paint technique where paint is build up into rough peaks

Using impasto

Using text

Using folds

Using Frottage, Grattage

Using stamps, prints

How to create texture?
Material: Tracing or thin A4 paper, different grade pencils

Activity: Collect 8 (1 x A4) Nature texture, and 8 (1 x A4) Artificial texture. Write a couple of adjective to describe each collected texture

Note: Enjoy the hunt and see which rubbings show up better, apply different pressure on same texture to achieve different value

Activity 1: Frottage

Activity 3 - Frottage Composition
As with objects the basic building block is the dot. Groups of dots of varying size, shape, mass, color, etc., create the perception of surface activity. We’re not limited to using dots of course. Lines and other elements can also be used to create textures and patterns. Here are some techniques to create texture.
Tactile means touch. Tactile texture is the actual (3D) feel of a surface.
2 D
Visual texture refers to the illusion of the surface's texture.
Nature photography
Roger Brown
lucyandbart Collaboration
Tara Donovan

Natural texture
Belonging to natural element or found in nature
Normally with irregular patterns
Artificial texture
Surface of man-made objects
Normally with regular patterns

Actual Texture
Stimulated Texture
Abstract Texture
Invented Texture
Why use texture?
Pattern, Texture, Value
Adjectives used to Described texture
Soft texture:
fuzzy, feathery, fluffy, furry, hairy, silky, soft, velvety
Hard Texture:
bony, metallic, glassy, rigid, smooth, steely, stiff, tough
Mixed texture:
Bumpy, coarse, grainy, grooved, jagged, lumpy, scratchy
The 2 sensory qualities of texture provide a sense of realism to 2 dimensional works

Textures add depth, a 3rd dimension to the 2-dimensional format of the screen in an organic way.
This connection to the physical world can give a greater sense of realism to a design
Glennray Tutor
Artists use texture to appeal to the viewer’s memories of texture. Done well your audience will be able to imagine how your texture will feel. This is why when we look at velvet, we can almost feel it. When we see ice cream, we can almost taste it.

Used to create dominance and focus
The focal point stand out from other element using contrast
Contrast shows relative importance. Without being told you know that the largest, brightest, darkest, most complex area is more important than other areas with less attention

Gustav Klimt 'The Kiss'
Max Ernest 'The Eye of Silence'
Unity and Variety

Unity exists when your elements agree. Unity can be seen as the single most important goal of any design; to make your whole design more than the sum of its parts.
Use contrast to add variety and interest

Used to differentiate one form from another and a form from it’s surrounding space.
Roman Zaslonov
Hattie Stewart
Laura Wennstrom
Using Collage

Vik Muniz
Miriam Schapiro
Roy Lichtenstein
Frottage is a rubbing technique. A piece of paper is put over a textured surface, and some kind of drawing implement is rubbed over the top to create a textured look.

Max Ernst
Max Ernst developed the grattage as an application of the frottage technique in painting. Richly textured, relief-like materials such as wood, wire mesh, pieces of broken glass, and cord were placed under a canvas primed with numerous layers of paint. The individual layers of paint were scraped from the canvas pressed onto the textured object using a palette knife or spatula. The textures pressed themselves through the still-wet paint with the result that the characteristic features of the underlying objects were lost. Subsequent reworking with paintbrushes caused a further transformation of the structures achieved in this manner.
Max Ernst
Sandy Skoglund (b. 1946) is a contemporary American artist who builds installations, working with found materials and strangely colored animal sculptures.

Her installations are often reproductions of everyday environments being overrun by nature.

Then, she photographs the installations, which is as much a part of the piece as the installation itself.

The environment is constructed from found materials. Skoglund hand sculpts each of the animals you see in her installations.

The “set” is painted in a single color and then filled with objects to create a fantastic and absurd scenario.
Material: Tracing or thin A3 paper, different grade pencils

Activity: Employ the method of frottage, and information and textures collected from activity 1 to reconstruct either Gustav Klimt's Kiss, or Adele Bloch-Bauer

Note: Take note of principle of Unity, Variety and Emphasis

Examples of frottage composition
Activity 2: Create texture

Material: Tracing or thin A4 paper, different grade pencils

Activity: Create 8 (1 x A4) Visual texture, and 8 (1 x A4) Actual texture

Note: Enjoy the hunt and see which rubbings show up better, apply different pressure on same texture to achieve different value

Adele Bloch-Bauer
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