What Is Texture In Art?
Texture in art can be broken into two categories of either Real Texture and Visual or Implied Texture. Real Texture is defined as an objects feeling by touch where it feels just as it appears it should.
Implied Texture is defined as the appearance of having a texture but when felt it is something other than as expected. Printed vinyl for example can appear as wood but feel smooth to the hand.
While texture has been more often associated with the design world, it has long existed within art as an element. Here I will focus on popular media with artists where it plays a critical role.
Do Paintings Have Texture In Art?
Few paintings will ever have Real Texture unless it is mixed media, yet many will have Implied Texture. More commonly painting focuses on elements which involve principles such as Unity or Harmony.
So what about the application of the paint media itself?
The brush stroke will leave fine lines. If the artist allows for these lines to become more pronounced it will form thicker lines that can become a strong texture.
Indeed in this case we find a texture by process, for it is a byproduct of the brush. Yet this by definition does not meet the required qualifications for texture in art.
I point this out here for this kind of texture does not count as Real Texture nor Implied. Rather what can be felt is as a result of the creation process of the media.
To qualify as implied texture would require the artist attempting to recreate an object in realism.
Texture is focused on being an aspect, or element of the art itself. Whether this is due to natural materials used such as clay, or the visual life like appearance of it, this texture is a part of the art.
Texture In Art For Pottery
Clay pottery is an art media where texture becomes vitally important. The feel of the pottery within the hands speaks much to the quality of the clay and the artist.
The texture in fact is what gives much of the impression just as the sculpted work itself.
Those who sculpt with clay often worry over how to smooth the surface, and some struggle with it. The process begins early on as they attempt to smooth as much as possible with their fingers.
If this fails they can turn to rakes.
Many will use alcohol torches or apply the alcohol with their hands and fingers to smooth the clay. These techniques exist for the sole purpose of impacting the texture in art.
Without these techniques pottery could not be desirable nor as beneficial to us whether as art, or in practical uses.
Texture In Art For Stone Carving
Stone carving has been around since the dawn of time. Today it is almost strictly done as an art worldwide.
Common stones to carve can be found in soapstone, limestone, sandstone, marble, and granite.
Each of these present their own challenges and difficulty level. Nevertheless the end result of a carving can leave a very rough surface which is undesirable for artwork.
It is here that the texture in art becomes critically important. Often rasps, rifflers, and sandpaper can smooth the stone as well as shape them.
Yet in the end a wax is applied and the stone is polished.
In this way the finished artwork will feel in the hands like stone yet smooth to touch. A well polished sculpting can display the quality of art.
As one can begin to see with these examples, each media within art seeks to retain the desired texture from its natural state.
Texture In Art With Wood
Texture in art as it applies to wood is one of my specialties. Being an expert in working with wood I know that each species can have its own feel.
This is just like different kinds of stone or clay can have their own textures.
Yet with wood art the end desire of what an artist may seek can be different from one piece to the next. Wood can be smoothed to a slick glass finish just as stone can be. Some prefer this while others do not.
It has long been a preference of mine to allow the hands to feel some of the natural state of the wood. When it is held or touched by hand I believe some of that grain should be appreciated by its texture.
This choice of texture is unique in wood art. A slightly roughed surface with stone or pottery, if left unfinished, mars the appearance and quality. With wood this can actually aid in its overall aesthetics.
Generally speaking no wood artist ever wishes the texture of their art to be left completely rough. Yet few desire it to be as smooth as glass.
That happy medium between the two where the grain can be appreciated is most often desired.
This choice in texture is often determined by the use of the wood item being created. A table with carved artwork should be made as smooth to feel as possible.
A wood art box can be allowed to show the character of its grain for aesthetics.
Why Is Texture In Art Important To These Kinds Of Media?
If one picks up a stone it is expected to feel like stone. Wood should feel like wood, and clay should feel like clay. Rarely are there exceptions to this general rule.
Art media of this nature is very different from something like a painting which has no “natural texture” by feel. Yet what nature itself has created by its process we have come to expect to feel that object of nature.
When natural media is used within art the texture is just as important as the sculpting or carving. This element becomes a measure to the quality of art and its value.
Other media such as metal also depends upon texture yet the expectations here can be different. Metals can be expected to rust or patina in time thus altering the texture and this becomes character for that art.
For outdoor art these creations are more meant for visual aesthetics than feeling rusty surfaces.
Artwork from natural resources should always be refined with the element of texture being in mind. As they are real natural objects they should represent what is called Real Texture.
Implied Texture In Art
Implied or Visual Texture is just as its name sounds. The art can appear to have a certain texture yet it is not as it appears.
Here things like paintings can appear as stone, wood, or other objects yet feel like a painting.
Leonardo Da Vinci developed the sfumato technique of painting. This technique avoided the use of a line for defining shapes or objects.
He used his hands to shape, blend, and give contour in the painting.
This technique was revolutionary for its time and today his fingerprints can be found within his paintings. How little did he realize at the time the marks he would leave for us to find.
Artists have the abilities to produce works which use techniques such as this in great detail and life like representation. Yet ultimately it is a painting. The visual implied textures can appear quite real.
Today we are more accustomed to seeing printed vinyl for things like flooring. These objects are made to appear like wood, tile, or stone but are not.
While this is not art it is a common example everyone will immediately recognize as an Implied Texture.
What Is The Purpose Of Implied Texture?
The purpose of Implied Texture within art is most often for the purpose of contrast, visual balance, or to create a focal point. This technique will work in conjunction with other elements such as the subject, movement, color, and space.
To give an easy example you can understand for this principle, simply look at a photograph of any object. The image is implied texture by design for you cannot feel the objects.
Yet all elements which reside within the image aid in creating that implied element of texture.
Within any representational art this principle remains true. It is not isolated to painting or photography alone. This principle will continue to expand as technology moves forward with virtual reality and augmentation.
Where Artists Can Struggle With Texture In Art
Because texture in art is so important to many different forms of media, it is something which artists can struggle with.
As an example, a stone sculptor can struggle with smoothing a stone depending upon the type of stone used and the cut which was made.
The same is true with wood art. An end grain is always more difficult to smooth its texture than the long grain.
These portions of the media are challenging simply due to nature’s design.
Within my art I do not want a smooth long grain to then have a rough end grain in the texture of a finished piece. Both must be equally the same in its texture.
Through time artists learn techniques to overcome these challenges. In wood there are several methods ranging from sanding, waxing, and a few other lesser known methods.
Among the lesser known methods is to mix fine wood dust of the same species with oil or polyurethane after sanding. This mixture is applied to these troubled spots and then sanded.
The result can leave a glass smooth like finish.
Consistency Of Texture Is Important For Art
The consistency of the texture is important for the art media which is used. There will be works which an artist can create that consists of mixed media.
Consistency here does not mean that all media used within the single work should be the same.
Stone will have the feel of stone, and wood the texture of wood. Each part should at least have the natural texture which would be expected.
Artwork of the same media should of course be consistent in texture across the whole of the art. This though can become a challenge.
In wood art where different species of wood is used, each species can have its own texture.
Greater attention to detail will be required so that the sum of the whole feels equal by texture to the hands. Mulberry, Walnut, and Maple will have varied consistency to the grain.
When combined for one piece of wood art focus will need to be given to this element.
There are times when an artist can use products to alter this if they desire. Epoxies can fill the gap where the artist may choose to encase the art so that the natural texture is removed and thus becoming Implied Texture.
In this case there is nothing wrong with what the artist has done yet it merely removes an element of art substituting it for another. In either case both are consistent across the whole of the work of art.
How Texture In Art Impacts Design
While art can be created for many purposes it often will carry aesthetic qualities. These qualities translate into the design world.
As designers work to implement more desirable aesthetics into products or within homes, they bring qualities of art with them. It is here that art and design can meet together to reach an end goal.
A modern home may use more Implied Textures for aesthetic purposes. A traditional or rustic home may have the preference for Real Textures. Then of course there will be art pieces which can go either direction based upon function and choice.
Within products for functional purposes, most often Implied Textures are desirable as to maintain durability and consistency for the function of use. Here modern materials such as plastic and metals can be given an appearance to be something other than what they are.
Authentic or historical replicas of items for functional use will stay true to their nature. Here Real Texture is desired for the purposes intended.
The element of texture is a fascinating yet simple concept. It has the ability to give appeal to items which otherwise would be functional but unimpressive.
It aids in providing comfort and ergonomics while offering style.
There are many elements within art which have been adopted for design purposes. Texture is one element which comes to the forefront when blending these two worlds together.