How often, when you are creating something, do you ask yourself “What kind of texture do I want?” Or, more importantly, “Why did I choose this texture?” I think we can all agree that texture is an extremely important part of all types of arts and crafts, but why do you choose a smooth texture versus a rough texture? Or a simple texture versus a busy one? What is that mysterious decision making process that goes on subconsciously in your very own brain?
October is texture month, at least in the world of Sage, so we’ll take a deep dive into redefining texture for the visual artist, how to interpret them, ways to mix it up with texture and why all this nonsense is so essential to artistic design… and so easy to do.
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CREDITS:
Cover design by Sage; Illustration by Olga Kostenko
Mosaic art by Christi Friesen
Music by Playsound
TRANSCRIPT:
Transcription (AI transcribed, unedited. Please excuse the copious errors.)
Audio file
Transcript
Your text or choices relay a thought or experience a concept or a sense. Of beauty, however. With an impact that is rarely upstaged by anything else except perhaps color, texture choices allow you great control over what you convey and what people see in your work. Hello all my varied and unique creators out there. Thank you for joining me at the Sage Arts Podcast. I am the aforementioned sage here doing another solo for you and unfortunately it’s probably going to be the only one this month, not just the only solo but. The only episode. I thought I would get one. Out early even this week. Like and not only did I not do that, I’m getting it out late. I already missed last week, so I apologize for that, but things have just gotten so crazy over here. We’re having repairs done and there are really no quiet periods in which to record during the day, and we were already behind because we had to get out of town. Kind of all of a sudden. And so I come back and I’m trying to get recording in and there’s constant noises of machines and people pounding on the roof. And so I tried recording at night, but these crews are showing up at the break of. Dawn. So I’m up. Super early so that by the night time. My brain and mouth are just too tired, too operate correctly. There’s a few other. Things as well, but I’m not gonna bore you with all the silly drama, but it’s just a lot of stuff is happening all at once here, and I just want you to know that I really tried to. Work it out. So I could keep going, but it’s just become too stressful and I’m too distracted by all this other stuff and I just don’t feel like I can do the kind. Of quality work that I’ve. Been aiming for with this minimal amount. Of undistracted time, I have each day which some days hasn’t been really any. At all. So. I’m thinking if I take the rest of this month off to catch up on all the things that are hanging over my head, take care of all this construction stuff, continue working, healing my arm, then I can get back to you at the beginning of November and really dive in and and give you good quality episodes there is. Part of. Me honestly, that’s thinking I should sneak in one anyway. Because I really miss doing this. If I’m not, you know, not connecting. To all of you. But. If that does happen, it will notify you in your podcast players and I will send out a newsletter. If I do that. In fact, I’ll probably send out a couple of newsletters. In any case, just to touch base with you and probably check in on your design focus for this month, because that’s what we’re going to talk about today. So do make sure you’re signed up for the newsletter if you aren’t already. You can do that on the homepage of the sagearts.com. Just look for the news and notices button. There’s also a link in your show notes or description section of your podcast player. So yes, I was out of town and I did try to keep up with messages and I think I wrote back everybody who emailed me. But if I didn’t, I I do apologize. I’m still actually doing some catching up. If you wrote me on social media, I just had to choose something to set aside because there’s just too much and social media. Honestly, it’s not my favorite thing to attend to. Although I like to get on and see what everybody’s up to, what my friends, my family, and my fellow. Wish you guys, but the kind of thing I have to do as a competitive business on social media, it kind of gives me a lot of anxiety. So considering I have all this other stress, I thought I’m just gonna set that aside for now, but hopefully this weekend I will be able to catch up on any messages. There as well. So I don’t have names for. Shout outs, but I had a lot of past guests, even some upcoming. Us, who have been writing me and commenting on how much they’re enjoying the episodes of Lee. So thank you all for that feedback and for cheering me on. I do want to thank all of you have also contributed financially over the past couple of weeks. It’s been pretty much all repeat donors, people contributing again or some of you are on the monthly auto donation through pay. Now know that I just love you guys for really committing to not just supporting my show, but supporting yourself through recognizing the value of these kinds of conversations for yourself. If you do need to write me, just reach out on social media, on Facebook or Instagram on the Sage Arts podcast pages, or you can e-mail me through the sagearts.com contact page. Again, all these links are always in your show notes or descriptions section. If you do want to give back by donating, you can do so by going to those buttons on the homepage of the sagearts.com. Look for the buy me a coffee and PayPal donation buttons and if you go through PayPal it will give you that repeat donation thing again link. In the show notes and if you want to show your support by buying some of my polymer centric books or magazines at the 10th news arts.com 10th spelled out TNT HMU SE arts.com and that money goes directly into the coffers for the podcast as well. You can find those links again in your show notes. Anyways, let’s get to the subject matter that I’m. Offering you to focus on for October. This is the first. Episode of the month, even if it’s the only. One for the month. But we do design elements at the beginning of the month right now and this design element is my absolute. Over it, if you have known me for. Any length of time. You might have recognized that I am a texture junkie and I’m not the only one. When I’m wandering around with my other artist friends, especially my polymer people, because texture is kind of a big thing in polymer art. We’ll just stop and stare at walls or rocks on the ground or tree trunks or fabrics. In the store windows, I remember wandering through the South of France in this really wonderful little old village with all sorts of wonderful architecture and and whatnot, and we’re staring at.
A wall. Just the wall.
And I can’t even remember what was in it. I think there was some things going. In some lichens, some embedded. Debris and some cracks and we were all just mesmerized by it. So I think anybody passing by probably thought were a bunch. Of crazy ladies. Staring at a wall, but the texture is so vitally important as a design element, and it doesn’t matter what you’re working with. As a visual art form you. Are dealing with texture on some level, so it is absolutely relevant to everyone who’s listening. If you do anything with visual art. I don’t know how you feel about texture or how you work with it in your artwork, but let’s start by asking how often when you’re creating something. Do you ask yourself? What kind of texture do I want? Or probably more importantly? Why did I? Choose this texture or end up with the textures that I ended. Up with and why do you choose? A smooth texture versus a rough texture or a simple texture versus a busy one. Do you understand the thought processes and the decision making that you’re going through? Where do your decisions? Come from like, how are they? Informed have you ever. Thought about that right. So keep those ideas in your mind as we get into this conversation and really to start a conversation about texture kind of to give you the most complete picture of its role and how to use in design. We should probably preface this with a broad definition in order to get past its most common and narrow definition. As defined in the Merriam Webster Dictionary. Texture is the visual or tactile surface characteristic. And appearance of something, in other words, texture is the characteristics of a surface as perceived by sight or touch, or both. Really. This is important to keep in mind as this episode unfolds, because visual texture works the same way as tactile texture, although when one mentions texture, our minds automatically go to thoughts of. Rough, bumpy, variously raised surfaces that are most fully appreciated. By our set. Of touch, but texture encompasses so much more. It is the variation, or lack of it, on a surface, both as we see it and as it exists dimensionally, particularly in regards to the way it would feel if we could touch it. Now, a lot of people make art that you don’t want people to touch, but it still has a texture that would have a particular feel. And the person viewing it can imagine how that would feel against their fingers or their skin. At its most basic, texture is the feel or appearance of a surface, but that means it can be tactile or visual, flat or dimensional. For instance, tree bark is generally rough for a lot of trees. If you can reach out and touch the actual tree bark, that is a tactile texture. If you have a glossy photo of tree bark. The texture of the. Tree bark is still rough, it’s just visual rather than tactile. You can’t reach out and actually feel it with. Fingers. If we don’t make this distinction, you could say that the photo of tree bark is actually smooth, but you’re actually describing the tactile texture of the glossy paper. Now. People who react to and draw conclusions about the work in large part because of its texture. Your texture choices relay a thought or experience or. Concept or sense of beauty. This is alongside and in conjunction with other design elements of course. However, with an impact that is rarely upstaged by anything else except perhaps color. Texture choices allow you great control over what you convey and what people see in your. Work when texture is varied. It also has the added ability of drawing a viewer in to examine its variation so that people spend more time with work. Those are the concepts on texture I want to speak about today, so let’s start with the visual versus tactile texture thing. I started discussing just a moment ago. It’s not a this or that thing you actually do, and usually will have. Both how much you consider one or the other is going to vary depending upon the type of medium, but even mediums that are not made to be touched or are not really dimensional still have some variation in the surface or a lack of dimension in some cases so. You usually still. Do make a dimensional or tactile choice. But in either case, you are determining what the physical texture of the surfaces are going to be, even photographs. We determine what paper they’re printed on, because the texture of the paper can change the perception and atmosphere of the image to some degree. Now if you work in a dimensional medium, you may think you. Won’t have to. Consider visual texture and only determine tactile texture. But most mediums have a visual texture that you make a choice about, one that may not have any significant 3 dimensional variation, but visually it has variation on the surface. Take polished wood or polished stone or some of the effects you can get with polymer, clay or ceramic. Phases the surface variation is visual and not dimensional, and you can’t tell the difference when you touch it, right? It’s not tactile, so just think about visual texture being the variation that you see on the. Surface the other thing to keep in mind about texture is that it’s not about having a certain level of roughness, visually or dimensionally.
But it is.
A spectrum of variation on the surface texture can be rough or smooth, but it being smooth doesn’t mean it doesn’t have texture. Even though people would say oh, it doesn’t have texture. Because it’s smooth, it’s. Just a smooth. Texture, but it has something to say. Having chosen a smooth texture instead of a rough texture, every textural decision you make will be relative to smoothness or roughness. Or put another way, it has variation, or it does. Beech tree. Park is relatively smooth compared to Oak Park, although it is relatively rough compared to, say, glass. Lightly marbled clay will have a rougher or busier visual texture than a solid sheet of clay, but not as rough or busy as a crackled treatment, right? Now, is it really important to call what we would see as the absence of texture as smooth versus just saying there’s no texture? Well, we use texture to relay things to the viewer. We use texture to add emotive, symbolic and even psychological meanings or effects to the work. So if you don’t acknowledge the surface texture when it’s smooth, are you missing out on the emotive or atmospheric signaling that a smooth surface conveys to the viewer? Of your work. Obviously the answer is yes. You would be missing out. So just think. That every surface has a texture that. Helps you relay certain. Information, among other things, that I’ll get into in a moment. As with color, different textures communicate varying emotions and atmospheres, but unlike color, texture can rather easily communicate all kinds of abstract ideas in rather concrete and sometimes quite literal ways. Concepts that deal with the physical nature of things like force or fragility, or turbulence or stillness are not. Only readily interpreted, but kind of felt. By your viewers or your viewers? Who are touching it? But they are. Also readily determined by you by the art. That’s right. I bet you can think of a texture that could represent each of those physical characteristics. I just named off, probably within a minute, if not just a handful of seconds, because most of us are actually pretty keyed into what a texture says. Even if we have never consciously thought about it. And if you work in a medium that is meant to be touched, like adornment. Or clothing or like wall tiles or any of those kinds of things, functional pieces. Teapot. Spoons. These things are touched. The people are getting a literal feedback from the sharpness and the smoothness and all those things feed us emotionally, right? Like a lot of us, like, really smooth surfaces. It feels beautiful. It’s calming. Well. Rough surfaces can kind of wake us up or even make us fearful or whatnot. If it seems like it’s dangerous, right. So really think about it. Give that some thought, maybe even right now. Think about how texture can readily elicit specific emotions. Like if you have something fuzzy, it often means comfort. If it’s prickly or sharp, it conveys fear, or if it’s roiling and drippy, especially with the right kind of gross associated colors that can elicit revulsion. And those are just a few of some really strong ones to come up with textures for emotions. You could just think of a physical thing associated with each of those things. So, like, fuzzy like blankets is for comfort. Sharp knives. Yeah. Fear so edgy, pointy things. And you can come up with a texture from that so you can do a soft matte surface for something that feels comforting. Or sharp erratic lines or needle tips for fearful feelings. You can pretty much come up with the texture to go with the intention of the work you’re creating simply by identifying what characteristics you associate with the ideas or emotion of your concept, your theme, your intention. This could be as simple as throwing out a few adjectives to describe what reaction you want from the viewer, or you could list specific ideas or objects related to the theme or concept and then consider textures that you associate with the words, or those items that you are putting down. So you see how you can really control the message in your work through. Lecture. It’s a very, very strong and emotive design element. Now the other important thing I think to consider when choosing texture is similarity or contrast between textures in the same piece. Most work you create or look at probably has more than one texture. It could be a combination of smooth and rough textures, or a variety of different rough textures or variations on smooth ones. You may often combine tactile texture and visual texture as well. So with all these combinations you can achieve. A lot of. Variation and variation in texture. I think it’s pretty instinctual for most creative that we try to do some variation between textures. I believe we have a desire for variation texture the same way. We tend to have a desire for variation in color. Of course, it depends on what you’re trying to say, but we do have a tendency to want to mix things up a little bit because it does add interest and it does draw attention. But not having variation is also a choice and a very valid one. It just again all depends on what you’re trying to say or convey, because if you have low variation, things are calmer, the energy is lower, it can feel more approachable. If all the other design elements are more energetic and more erratic, that kind of thing. So there are definitely ways to play with that where it is useful to have low variation in your texture. There’s another similarity between textures and color, and when we get into the color mode, which I’m going to start at the beginning of the year because it is a huge project, we’ll probably do it for. About 3 months. Maybe four months. It’s a. Lot but one of the common ways to put a color palette together is to have a particular characteristic that is the same amongst all the colors chosen, and you can do the same thing with texture. It just helps to have at least one similar characteristic, so there is some relationship that the viewer can consciously or unconsciously recognize between the different textures. And you can actually use other design elements to create relationships between different parts of the artwork. So let’s say you have a lot of angular lines in your piece or straight edged forms. You could use a scratching of straight lines as a texture, or if there’s a color found elsewhere in the piece of maybe the background in another section. You can create a texture with say lots of dots, which may contrast linear marks or lines or forms even, but it fits because it’s supporting a color relationship with other parts of the. Work so really. Once you have that similarity, to tie the texture into other parts in that piece, everything else can be contrasted. If that’s what you want. Again, you listen to your intention. Do you need high energy, low energy? What would that say if you vary the variation from low to high or vice versa, right? Variation does as always, add some level of interest energy complexity to your work and you can adjust how much you add of these by adjusting the variation between textures as well as any other design elements. But you can go from subtle to bold or just somewhere in between. High contrast usually does give the piece a lot of energy, and it tends to be more forceful with this message or emotion or whatever your intention is.
With little or.
No contrast. You usually keep the energy low, which can make the mood calm and peaceful, giving it an overall quieter feel than it would if there was a lot more contrast in it. But what about using similarities between the characteristics of the textures themselves? For instance, you could create all rough textures, but very how the roughness is created, or all your textures could be stippled dots but you vary the sizes or the way you lay. Out those dots. This is not to say that you can’t. Have textures that are completely and utterly different in the work. The extreme contrast could be in and of itself, a relationship. If everything is kind of unrelated, the difference will cause tension or discordance, but that could be what it is you want to be saying. But let me stop here and give you some characteristics and texture that could create similarity or contrast. Some relate to some other mediums more than others, but hopefully this will get you thinking about possible differences that you can choose or create. So for instance, we already talked about tactile versus visual texture. Those can be contrasted. Or similar. Rough or smooth talked about that. As well the quality. Of the finished surface is a glossy satin matte, chalky, whatnot. You can look at the types of marks that. Techniques or tools that? You use to create the tactile or visual textures. You can look at style. Is it organic or graphic? Does look man made or natural? You can also vary up size. Or space that it takes up so.
You could put.
Really rough textures, just as accents. Or they could take up large swaths. Of the work and really be prominent. Varying the shape of the spaces that the various textures take up can also add similarities or differences, and the shapes actually can take on characteristics of shape. The design element that we just previously talked about because some will be more natural feeling and some will be more graphic feelings, some will be more bold and some will feel more soft. And you can use those to also relay differences between the textures. You could have a bold texture and a soft kind of organic shape. And what does that say? How does that read? You’re forcing contrast between two different design elements as well, and we’re going to get into more of that next year when we really dive deep after we’ve covered a lot more of the design elements. But as you can see, other design elements can be quite intertwined with texture marks, lines, size, shapes. All these things play a role in the similarity or contrast of areas of texture in your piece. But wait, there’s more. I have another list for you. You can look at all the possible differences in what’s basically other design. Characteristics. But more than that, you can look at variations in the appearance and application of your texture, and we’ll go through some of the most common ones. I will make lists of these and put them in the newsletter, so make sure you signed up for that newsletter. Again, the homepage of sagers.com. Look for the news and. This this pattern and you’ll get those in there. Hopefully I can get them on social media this week as well. I just unfortunately can’t make any promises as to when that would happen, but here is another list to consider of ways that you can vary. Up your texture. For one, there could be a sense of movement, and this is about whether the texture visually moves or flows due to. Lines in the texture themselves, or the shapes and how they progress across the piece, or whether the textures change as they go across the piece. Anything that makes the eye move and follow, thus creating perceived. Movement. You can also change. Up the organization. Is it controlled or chaotic? Is it organized or disorganized so you could start out with a crazy controlled area and then make it go more chaotic. That actually creates not only a difference in organization, but a difference in movement. There’s also what I like to call. Sequence is it? Consistent or transformational, I just hinted at that. If you do the same texture all the way across a swath or area of texture, that’s consistent, you’re doing the same thing. You’re doing the same. I don’t know crackle pattern across an area. But if crackle changes to straight lines or it goes from being dense to being really sparse, that is going to be transformational. That kind of change can really add interest hints at possible stories. Cause story is about change so it can make people curious about why this change is happening. You can also create simple. Versus complex textures which I just hinted at as well. So like lines versus overlapping symbols. Lines would be simple getting symbols like hearts or flowers or we’re not overlapping them as a texture makes them more complex texture, you know, or highly varied ********* like I just mentioned. All those things simple to complex. And again, you can make them varied. You can do transformational or you can make them consistent, right? You can get to see how all these choices play into each other as well, right? There’s also the surface level and this is predominantly about tactile texture, although visually it could look like this as well. It’s whether the texture is pushed into the surface or comes. Out of the surface. This is very different things. When it is coming forward. Or if it is receded. Thing right? Now I’m talking about these characteristics as if you make separate decisions about them, but as you were hearing, a lot of them work with each other and some of those characteristics aren’t dictated by the particular needs or applications of other characteristics. For example, when choosing texture with chaotic organization, the texture will usually require. A complex pattern, or at least one that is not overly. Simple those dictated characteristics, however, well vary likely be in line with the idea or motion that you have in mind, and then at other times some of these characteristics won’t really even come into play or will be kind of neutral. But thinking about them means you are aware of what you have available to express yourself with, and it can nudge you to think outside of your usual. On a default approaches to texture. Like other design characteristics, this may seem like a lot to think about since you’re learning it auditorially especially. But as I said, I’ll put together a list for the weekend’s newsletter and then give me a few days maybe to get it on social media so you will have something in. Hand in which to? Practice texture and think about all these characteristics, but aside from those lists, there is actually a really simple kind of jump starting way to think about texture and what best suits what you’re trying to convey. And it’s really just throwing out adjectives to describe what reaction you want from. The viewer just. Think about what adjectives or ideas do you hope would come to the viewer’s mind as they consider your work, then relax and just think about what kind of textures naturally come to mind. And I think you readily. See these equivalences? Between ideas and textures that share the same adjectives, the same feelings and elicit the same kind of emotional or psychological. You can also look at artwork of others and determine what emotion or sense you get from the piece. Kind of in general. Then identify what textures are used and how much does the texture contribute to the feeling you’re getting from the piece. I mean really you could do this actually walking out the world in nature in buildings and whatever it is that you’re passing. Textures everywhere, so if you want to get used to recognizing and interpreting texture and being more aware of it, just take the opportunity wherever you are during this month of October and look at texture and. Ask yourself, how does that make me feel? If that was in a piece of art? If that was in a piece of jewelry that I was making, if that was in a painting or a ceramic, or in a photograph. That I want what? Would that say to me and what it says to you may or may not be what it says to other people, but it’s important when you’re making your work to start from what it says to you, and then people will interpret. Based on their own experiences and there’s nothing you can do about that. Really. Not unless you actually put words on there and tell. People how to feel. And that’s OK. Art is a way of sharing our common experiences. And if that calm experience is taken in a different way from one person to the other, like we’re doing on this landscape work and our landscape or wanted to put in daisies all the time, yellow daisies. And I’m sorry, I. Don’t like yellow? Daisies for her. That meant happy and joyful, and to me it just. I don’t know. I think I must have had. Some dress with yellow daisies. One and I did not have the most comfortable childhood. I’ll just put it that way. And so I just associate it with something that I didn’t enjoy. And so it doesn’t mean the same thing to me as it does to other. People. But that’s. OK, you do your work and associate what those textures mean to you, and most of us do have very similar associations with general texture stuff like we’re talking about the sharp things or the soft things or whatnot. We know that most people will look at a fuzzy thing. And think of it as ohh that’s like calming or minds of children or younger. Days. But for some people. It may not be a comforting sense. It may actually make people think of being fragile and being vulnerable, because maybe as a. Child they were. So I don’t want. You to think that texture is such a direct. Communication. It is still going to be interpreted in different ways by different people, but there are some really standard generalizations that you can be pretty sure most people will at least think that this is what you’re trying to say. Even if their associations are different. But but yeah, as you’re out in the world this month in October and what a great month for texture, because there’s all this crazy, weird stuff with the Halloween things, the decorations, the costumes, although weird food, it’s a great time of year for texture. It’s also fall up here in the northern hemisphere, so we have falling leaves and there’s a lot of visual texture with the bare branches in the sky. And the fallen leaves on the ground. And if you’re in the southern hemisphere, you’re entering spring and you’re seeing plants, bud and all types of new cool foliage that can give you textural ideas and ways to interpret textures. Well, so yes, I highly encourage that you keep texture on the mine this month of October and hopefully these simple exercises will get you into the practice of just asking yourself what textures mean. Or say to. You what adjectives, emotions or concepts can be relayed through texture that maybe you never really realized was being relayed before. Go out. Have fun with that. And while I am taking care of all my craziness here. I will still be available to answer emails. I will jump on the messages on social media when those pop up as well. So if you do want to reach out to me, go ahead and write me at the sagearts.com on the contact page or the. Messages or posts? On Facebook or Instagram at the Sage Arts podcast pages, if you enjoy the podcast and you want to give back, you can donate through the buy me a coffee. Or PayPal donation buttons on the homepage are about halfway down there, and all of these links can be found in the show notes in the description sections of your podcast. Player and then don’t forget to hit that follow button. This is going to be extremely important if you want to know when the next episode comes out. Because it’s not. Really. Sure. So hit that follow button on your podcast player and share this podcast with your fellow creatives. I might, as part of the project this month because it won’t have to record. I may actually start getting this stuff on the YouTube the podcast YouTube. Stuff, which means it’s going to be accessible to other. People who are not familiar with podcast players or just don’t want to get into a whole another app on their phone or computer. Whatnot. So. I will list. Those when they start coming out in the newsletter as well, but tell people about it, have them come join this conversation and then if they listen to the same episodes that you’re listening to, you can get together and have coffee and discuss them. I actually know a number of. People who are doing that now, which is so cool. That they’re getting together with their friends and talking these over, really, these are great conversation starters and it allows you to kind of delve in deeper with the information that you’re. In here, so that is what I’m going to leave you with for now. If your weekend rolls around and you are jonesing for some sage arts later in this month, go back and listen to some of the older episodes. I think for one, the necessity of doing nothing. The fear 1, the intention one any of. The interviews, actually, there’s just. So much in those interviews. Often times the first time we listen to something we have very specific things in mind that we want to. Get from them. Or we don’t have specific things in mind, but there’s only particular things that we connect to. So the next time you listen to them, you’ll often find details and tidbits that you completely overlook the first time around because at the time it wasn’t relevant and you have 42 episodes to go back through. So if this podcast has been really pushing you and keeping you creative and really getting you thinking, just go back and listen to some other ones because I think a weekly dose. Of this kind of cerebral food for your muse is a wonderful way to keep you energized in your creative endeavors. So I will see you back here at the latest beginning of November and we’ll go from there. In the meantime, keep up with the great work that you’ve been doing. Be sure you’re making time not only to create, but to also do nothing. Give your creative unconsciousness some time to work through all your wonderful ideas as well as getting out to see new and novel things to feed that music. Yours, all while staying true to your weirdness, and join me next time whenever that’s. Going to be. On the Sage Arts podcast.
