The word texture comes from the Latin textura which means weave. In the Artworld texture refers to the surface quality of an object. In other words how it might feel to the touch. There are two types of texture; Actual, and Implied. Actual texture refers to the real tactile feeling of an artwork or sculpture. For most purposes however when artists speak of texture they are refering to the second type. Implied texture refers to the imagined texture that an image conotes. Often corresponding to its tactile character, or what may be sensed by touch. Texture may be used, for example, in portraying specific surface qualities. It can be explicitly rendered, or implied with other artistic elements such as lines, shading, and variation of color.

Visual texture is the illusion of having physical texture. Every material and every support surface has its own visual texture and needs to be taken into consideration before creating a composition. As such, materials such as canvas and watercolour paper are considerably rougher than, for example, photo-quality computer paper and may not be best suited to creating a flat, smooth texture. Photography, drawings and paintings use visual texture both to portray their subject matter realistically and with interpretation. Texture in these media are generally created by the repetition of shape and line.

Physical texture, also known as actual texture, are the actual variations upon a surface. This can include, fur, wood grain, sand, metal, glass, and leather. It differentiates itself from visual texture by having a physical quality that can be felt by touch. Specific use of a texture can affect the smoothness that an artwork conveys. For instance, use of rough surfaces can be visually active, whilst smooth surfaces can be visually restful.


Implied Texture refers to a rendering that represents a specific tactile character but is in reality not that material.

Dried seeweed covering a glass bottle makes for an interesting study of implied texture. Suppositions about how we expect things to be are challenged and our interest stimulated by the unusual textures examined in this artwork by former Jaffe Institute graduate Robin Gaston.

The juxtoposition of multiple textures creates a visually interesting study in this macro image of a combat boot. By focusing in on the zipper, stiching nylon laces, and leather, the artist has given the viewer contrasting textures to examine up close.

Actual Texture refers to the physical texture of the actual artwork.

In this dadist sculpture known as a 'readymade' the artist, Man Ray has created a surreal texture that goes against the grain of what makes logical sense. By placing nails on the bottom of a flat iron Man Ray forces us to look beyond the functionality of this common object, and into a study of form itself.

In this nightmarish sculpture by H.R. Giger, actual textures are explored in a surreal combination of man and machine.

Louise Nevelson created elaborate relief sculptures that paid attention to differing form and texture.

USING TEXTURE IN THE STUDIO

Implied Texture

The rendering of texture is universal and enduring. Through the exploration of texture in its various representations, create a finished work responding to how you see texture in your everyday life. Study the history of texture from sculptures to Van Gogh's heavy brush strokes.  Brainstorm objects and surfaces that would make ideal studies.

• Examine how texture is used differently found in various geographic locations different time periods and across different cultures. What is  universal and what is specific to one group.

What are some surfaces that denote a specific tactile experience?  

    
• Discover through hands on exploration how textures are rendered to describe or reflect a specific artistic goal.

What texture might you select to represent a specific artistic statement?

• Understand how an understanding of texture is an essential aspect of communication and can transcend language/culture.

What does your textural study say about you? What were you
trying to say? How successful were you in communicating this idea?



This photograph by Jaffe Institute Graduate Joseph Lasetter, allows us to look at a basketball in a different an interesting way by desaturating the image and showing us the tactile surface of the ball.

The Artwork below is by Jaffe Institute Graduate Imari Mason. Her use of a fast shutterspeed froze the temporal texture of the tide on a beach, creating a textural scene that we can't really see in life.