1. ARTTALK Chapter 8 Texture

2. Before we start, here are is an artist that used actual texture in his artwork. https://www.youtube.com/watch?v=6KrsuD3h0AY https://www.youtube.com/watch?v=6Ar5t7ocHY4

3. Objectives for Chapter 8: Understand how texture is perceived through the senses. Describe various textures. Understand how artists communicate by means of textures. Reproduce textures by changing values. Use texture as the expressive element in creating artwork.

4. Texture Every surface has texture. Texture is the element of art that refers to how things feel, or look as if they might feel if touched. Textures play an active part in the decisions you make in the clothes you wear. The textures of foods influence what you eat. Notice the different textures on this Native American feather bonnet. Northwestern Plains Indian. Feather Bonnet. C. 1890. Rooster hackles, wood rods, porcupine hair, ermine skins, horsehair, buckskin, glass beads. 33 x 27”

5. How We Perceive Texture You perceive texture with two of your senses: touch and vision. When you actually touch something to determine its texture, you experience real texture. Pictures, such as these, remind you how objects actually feel.

6. Real texture – Texture that can be perceived through touch. Visual texture – The illusion of a three dimensional surface based on the memory of how things feel. If you touch visual textures, You do not feel what your eyes told you to expect. There are two types of visual texture: Invented and simulated.

7. 1. Simulated textures imitate real textures.  For example, a plastic tabletop made to look like wood.  Manufactured fabrics can imitate natural leather and fur. Elisabeth Vigee-Lebrun. Self-Portrait. C. 1781. Oil on canvas. 26 x 22”.

8. 2. Invented textures are two-dimensional patterns created by repetition of lines or shapes.  These textures do not represent any real surfaces qualities, but the patterns of light Hedi Bak. Grand Canyon #2. 1980. Collograph print. 20 x 30”. and dark stimulate your memories of actual textures.

9. Texture and Value The look of a surface depends on the manner in which it reflects light. Every surface is an arrangement of light and dark values. The roughness or smoothness of texture can be determined by looking at the shadows. Rough texture – Irregular surface that reflects light unevenly. Rough textures show irregular patterns of light and shadow.

10. Smooth texture – Regular surface that reflects light evenly. Opposite of rough texture. Your eyes move across the object (such as paper) uninterrupted by shadows, just as your fingers would move across them, uninterrupted by bumps and dents.

11. A matte surface is a surface that reflects a soft dull light. It absorbs some light and reflects the rest. Have a soft dull look. Opposite of shiny surface

12. Shiny surface – Surface that reflects bright light. Opposite of matte surface. Shiny surfaces have highlights. Both matte and shiny surfaces can be rough or smooth. Sandpaper = shiny rough Pillowcase = matte smooth Aluminum foil = shiny smooth until crumpled, then shiny rough Anish Kapoor. Gloud Gate. 2006. Stainless steel.

13. How Artists Use Texture The texture of surfaces is important to every form of visual art. Notice how Renoir painted young people with healthy, glowing complexions. He used brushstrokes to create texture. Pierre Auguste Renior. Madame Henriot. 1876. Oil on canvas. 26 x 20”.

14. Here, the artist was concerned with wrinkles of old age. Both he and Renior have imitated human skin, one appealing and the other repulsive, due to the excessive attention to detail. Both artists try to control your reactions to the people in the paintings through the use of visual texture. Ivan Albright. The Farmer’s Kitchen. 1933-34. Oil on canvas. 36 x 30”.

15. In the past, many painters reproduced the color and value patterns of textures. These artists suggested textures through a few brushstrokes. Notice the different textures in the garments in this painting. Rembrandt van Rijn. Self-Portrait. 1650. Oil on canvas. 37 x 30”.

16. Trompe-l’oeil – French for “deceive the eye.” Style of painting in which painters try to give the viewer the illusion of seeing a three-dimensional object, so that the viewer wonders whether he or she is seeing a picture or something real. Viewer wants to reach out and grab the subject. William Michael Harnett. Still Life—Violin and Music 1888. Oil on canvas. 40 x 30”.

17. Many artists add real textures to their paintings. Van Gogh used paint so thick on his canvas that his swirling brushstrokes created a rough surface. Vincent van Gogh. Landscape at Saint-Remy (Enclosed Field with Peasant). 1889. 29 x 37” The surface ridges of the thick paint look brighter. The ridges catch more light and reflect brighter colors to the viewer.

18. Some artists add real textures to their work by attaching various materials to the work’s surface. - Miriam Shapiro. Yard Sale. 1993. Acrylic and fabric on canvas. 82 x 90”. Collage – Two- dimensional work of art consisting of bits and pieces of textured paper and fabric pasted onto a surface. Here, the artist added bits of fabric, lace and thread to her paintings to enrich her surface.

19. Architects use a variety of materials to create interesting surfaces in buildings. Buildings today have stucco, brick, wood, stone, concreate, metal, and glass. Frank Lloyd Wright. Taiesin West. Near Phoenix Arizona.

20. Sculptors must be aware of texture as they work, because the texture of each surface must fit the whole. Some sculptors imitate real texture, while others create new textures to fit new forms. Edgar Degas. Little Fourteen-Year-Old Dancer. 1880. cast 1922. Bronze, cotton skirt, satin ribbon. 42” high.

21. Weavers control texture through the use of fibers and weaving techniques. Notice the different materials used here to create the texture variations. Olga de Amaral. Alquimia XIII. 1984. Woven hanging. Cotton, linen, rice paper, gesso, paint, and gold leaf.

22. Potters change textures by pressing different objects into wet clay. They can also change surfaces by applying glazes. Some glazes are shiny, while others have matte finishes. Juan Tafoya of San Ildefonso Pueblo. Pot. 1992. Black-on black pottery. This artist rubs his clay with a smooth river rock before it is fired. He then carves away areas that he wants to have a matte finish.

23. Some painters brush on paint and do not try to smooth out the brushstrokes. This work refers to the snow and cold of the Artist’s Chicago childhood. She uses brushstrokes to show the excitement and tension of a snowy day in the city. Joan Mitchell. Dirty Snow. 1980. Oil on canvas. 87 x 71”.

24. Painters and printmakers invent textures to enrich their works. Max Ernst used three unusual techniques to create his fantasies: frottage, grattage, and decalcomania. Max Ernst. The Entire City. 1934. Oil on paper laid on canvas Frottage – A method of placing a freshly painted canvas right- side-up over a raised texture and scraping the surface of the paint. The paint that remains creates a pattern that is the image of the texture below.

25. Grattage – The technique of scratching into wet paint with a variety of tools, such as forks, razors, and combs for the purpose of creating different textures. In this work, a small dove, which Ernst liked to use as a symbol to represent himself, is trapped among menacing trees. Max Ernst. Forest and Dove. 1927. Oil on canvas

26. Decalcomania – The technique of creating random texture patterns by pulling apart surfaces between which blobs of paint have been squeezed. Using the random patterns as a basis, Ernst elaborated on the design. Max Ernst. The Eye of Silence. 1943-44. Oil on canvas. 43 x 56”. The patterns inspired him to make fantasy landscapes. The textures created with these techniques contributed to the surface interest and created varied patterns and values to the work.

27. Appliqué - An art form in which cutout decorations are fastened to a larger surface to create a new design. This technique enables the artist to use an assortment of fabrics with varying textures to create contrast and emphasis in the design. Ayako Miyawaki. The Red Crab. 1981. Fabric and thread. 12 x 23”