Discover the Elements & Principles of Art - Part 1

Course ID# - FTEPAAO1001

Course Dates – Begins November 1st. 2008
Location – Online classroom – www.aaoclassroom.com
Copyright – 2008

Texture
What is it and how was it used in art?
Text Lesson #1A

Prerequisites - Students should have

use of a computer, ability to use chat
rooms, post to a forum, send, and
receive email, watch streaming video,
download, read, and save PDF, and
Microsoft Word doc. files.

Access to your instructors – Live

chat room sessions, classroom forum,
email.

Neadeen Masters – neadeenmasters@artapprenticeonline.com

Sue Pruett – suepruett@sbcglobal.net
Gaby Hunter - gabrielehunter@artapprenticeonline.com
Susan Abdella – sadezigns@aol.com
Donna Richards - paint1too@aol.com

Texture – the arrangement of the

particles or constituent parts of any
material, as wood, metal, etc., as it
affects the appearance or feel of the
surface; structure, composition, grain, etc.
– Websters’

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Texture
What is it? Texture is an element of art. It’s an element that the artist uses to
communicate how a surface within the composition actually feels in reality. Most
artists who strive to paint in a realistic manner will strive to portray the subject as
close to reality as they can.

Image #1

Giant Magnolias, by Martin Johnson Heade – Aug. 11, 1819 –Sept. 4, 1904

Image #2
The artist, Martin Heade has
recreated the flowers and leaves of
the magnolia in the painting above
with great detail. Magnolia flowers
and leaves are very stiff and dense in
composition and make up. The
leaves possess a naturally high gloss,
the petals of the blooms are matte in
finish and the leaves are inflexible or
rigid to the touch. Unlike a rose leaf
that is quite subtle and flexible.
The artist has successfully
communicated and presented the texture of these two surfaces to his audience.
Texture is always a consideration when painting realism, but how it is presented is
the personal choice of the artist.

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What kinds of texture are there?
Texture can be described in two ways, either through real or tactile texture that we
can feel with our sense of touch or through perceived texture which is seen visually
and understood through our intellect. The artist can use and play on both of our
senses so we can appreciate a more three dimensional approach to the work.

One: Tactile Texture

Our sense of touch is extremely strong. For example, we have the need to caress
something prior to buying. We pet our dogs and cats, we run our hands across a
new piece of furniture, and we stroke a baby’s cheek… Why? Because emotion
can be communicated to humans through their sense of touch and as well humans
can feel the differences of texture with their hands. Think about the Blind. Sightless
people rely on their sense of touch and are even able to read through this sense of
touch, we are all aware of reading Braille.

Image #3 copyright holder -

http://christophe.moustier.free.
fr Christophe Moustier.
Image obtained from wikipedia.

Humans have nerve endings

in their skin to warn them
against hot or to feel cold, but
these nerve endings are used
for many other purposes.
Have you ever wanted to
touch a painting in a museum,
or run your hands across your
own finished work? Why is
that? Do you think it might be
so you can gather a deeper
understanding of the work
itself; perhaps you are
searching for another
impression from the artist?

Perhaps searching for more

details about the work?

Now transfer your limited or

unlimited understanding of
Braille to what you search for
when you pass your hand
across a painting’s surface. Ask yourself exactly why you do this, what are the
rewards, and what does this say to you about the artist’s style or method of painting?

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Creating Relief, Tactile or Raised Texture
We have learned that texture can be real or tactile. It has physical properties. Now
imagine how the artist uses this physical property in actual paintings? What does
he/she do to create the relief or raised surface you feel as you pass your hand over
the canvas?

Image # 4
The artist may choose to use
thick and heavy paint to
deliberately create an impasto
style. The word impasto refers to
a painting technique that has
been widely used. It involves
applying the paint in a thick
manner with either a palette
knife or brush, leaving texture
behind. The paint is allowed to
dry with heavy textural markings
made either with the knife or
brush. It is a quick and direct
method for painting. If one were
to pass their hands over the dried painting, one would feel the raised surface of the
thick paint.

Image #5

In this image we can see

a demonstration of
Impasto painting with a
heavier paint application.
A painting knife is the
artist’s tool of choice for
creating the texture.

Question: What kind of texture is this artist creating?

Answer: The tactile surface quality of a work of art results from the artist's
technique – Impasto which has a physical property.

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Two: Perceived Texture
We have learned that Tactile or Relief texture can be felt by our sense of touch.
The artist can also imply how something might feel. This is part of the illusion of
creating dimensional work or realism. In three dimensional works, the artist is
creating an illusion of reality.

Image #6

The audience
viewing this
painting
understands how
the elements in
the composition
might feel, yet
they cannot touch
them as the work
is painted on a
two dimensional
canvas surface.

In the still life

painting featured
here, the artist
has used several
elements, each
with a distinct textural characteristic. For example, the metal and glass elements
share smooth and reflective qualities. The tablecloth shows that it is soft. The way
it drapes over the edge of the table indicates this. Compare the different metal
surfaces to each other. From the way the artist has painted the silver and the
pewter plates, we can tell that each is different and we can tell them apart.

The texture of each element used in the painting has been carefully rendered to
mirror its real counterpart. How did the artist create this sense of reality, what
principle concept did they use or rely on to build the illusion?

Creating Illusion through Texture

Trompe L’oeil, a French term meaning trick the eye, is an old method of painting.
Using techniques that ‘fool the eye’ or ‘trick the eye’, the textures are rendered in a
manner to resemble reality so closely that the end goal results in an optical or
visual illusion. Our brain is tricked into perceiving the painting as reality.

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With an understanding of perspective drawing and the use of texture the artist is
able to create images that take the mind to a place other than objective reality. The
textures of the surfaces, influenced by their surroundings (light, shadow, color,
value and perspective) are rendered so the eye receives the same feedback as it
would in reality.

In the old painting featured below, the artist has tucked papers behind bands of
leather for safe
keeping. We, the
viewer can appreciate
the differences
between the textures
based on our
understanding of each
item from our reality.

However, the artist has

captured his imagined
reality through his
painting of the details
of each element.

He has been
successful in fooling
the viewer based on
his rendition of surface
textures and patterns.

Images - #7, 8

What concept does the artist rely on to create this illusion? Is it color? Is it light? Is
it detail? Is it perspective? Is it value?

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Observation & Question: Observe closely the two images on the previous page,
and those below. One image is seen in color and one seen in grey scale. With the
color removed from the equation do you still receive the same stimulus? Do you still
see this as a realistic rendering of the surface textures of each item in the
composition?

Answer: Yes, but why?

Image #9 & 10 - Escaping Criticism, 1874, by Pere Borrell del Caso, oil on canvas,
Banco de España, Madrid.

An element of art - Value which is the concept of light and dark plays the key role
in rendering these perceived textures accurately. The artist relies on the effects of
light and shadow on the element’s surface to trick the eye into believing that there
is a sense of three dimensions.

Study the grey scale images closely; compare each element in the compositions to
each other. Think about the surface patterns that you see. What is it about each
one that communicates to you the viewer that it is - what it is? Is it then safe to say
it is the play of light across the surface? If so, is it also safe to say that in most
cases of painting realism, tone (values) is one of the key players used to create
the illusion of surface textures? That is, light contrasting to dark.

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Brushstrokes create texture in different painting styles – History

Throughout history artists have used the brush as their main tool. However this also
helped describe their signature style of painting. Some artists used the brush to
apply thick paint (impasto) while others believed in order to render reality
accurately, brushstrokes should never be seen.

This of course will be a never ending discussion because the viewer still
understands that a feather is a feather and a copper pot is a copper pot. They can
tell the two apart regardless of the style or the thickness of paint used for the
application.

Image # 11

William - Adolphe Bouguereau 1825 -

1905 - Tete d'Etude l'Oiseau 1867

Bouguereau painted in a photo realism

style. His style, after that of the French
academic painters, was so perfect that
he was even criticized by many for his
technical accuracy. In fact, it’s hard to
believe that Bouguereau was even
ridiculed for his licked finish. A term
used to describe a surface where no
evidence of the artist’s hand remains.
In other words his was a highly refined
or blended surface. The French
academic painters prided themselves
on this technique, where they believed
that evidence of brush work texture
remaining on the surface was a
distraction and took away from the
illusion of reality. It was often believed that the brushwork showcased the
workmanship or process of the artist rather than the elements with in the
composition itself.

Question: Was a licked finish tactile or illusionary texture?

Bouguereau was able to capture the surface textures through a refined blending of
tone (values), and hue (color) which resulted in his particular signature style. His
work eventually fell out of popularity for many years as another school of thought
grew in popularity. This new style was completely opposite to the traditions of the
French academic painters such as Bouguereau. This style is known as
Impressionism.

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Impressionism and Texture

A new movement or school of thought emerged in the nineteenth century. This

style brought a new perspective to the meaning of texture and how artists could use
it. Artists were alluding to or giving the impression of objects or subjects without the
fine details that were seen in some previous painting styles.

Image #12 - Camille Pissarro

July 10th, 1830 – November
13, 1903

The impressionistic movement

stressed specific painting
techniques. The brushwork
was fast, paint was applied in
heavier and thicker
applications and the works
resulted in both visual and
tactile textures. When
comparing the two styles of
painting, from the laborious
methods of artists like
Bouguereau to the works of
impressionist Pissarro, one
can see the distinct
differences, yet appreciate the
goals of each camp.

Textures are rendered in both styles yet

the outcome is so different. The meanings
or illusions are still understood by the
viewer. While the French academic
painters stressed refined blending and
layering of color, the impressionists
stressed an impasto (thicker more casual)
style by working wet into wet and with a
high degree of looseness and spontaneity.

Image #13

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Texture in Landscapes
The artist Martin Johnson Heade, Aug. 11th, 1819 –Sept. 4th, 1904 was well known
for his amazing landscape/seascape paintings. His ability to create textures through
the use of the visual patterns of nature was exceptional. This artist’s ability to
capture and show the contrasts between textures injected such interest into his
compositions. They leave no doubt to the actual feel of the elements and the
emotion that is felt by their illusionary touch.

Images #14 & 15

Heade was able to capture the reflective qualities of still water, the softness of
clouds, and the lushness of vegetation. He was apt in putting his audience into the
composition through his textural rendering of the atmosphere and mood. The
correct use of texture is about communication between the painted element and the

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viewer’s perception of it. If the viewer is able to feel what the artist is trying to
portray, then the artist has successfully rendered the surface texture.

The time between the sixteenth and eighteenth centuries saw the development of
the Golden age of the Dutch Masters. A time when paintings were rendered in
clear focus and the schools stressed a refined method of painting. Detail was king
and artists strived for perfection. But some artists were ahead of their time, they
experimented with textures and a looser style of application, shying away from the
perfection of the times. Two of these artists were Rembrandt and Jacob van
Reuisdael. Like the Impressionistic painters who came into the art world centuries
later, some of these Dutch Old Masters also worked wet into wet and used textures
to develop their focal areas.

In typical Dutch style, the painting was often rendered in focus. These artists like
Rembrandt broke away from this application and used brushwork and controlled
texture to render areas out of focus with less detail. Study the lost and found edges
and areas of these paintings to see how the artist used this to his benefit.

Image # 16 & 17 - Rembrandt Harmenszoon van Rijn - July 15th, 1606 – Oct. 4th,
1669

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In this close up of the self portrait of Rembrandt below, observe how the artist has
used texture to render the hair, skin and clothing. There are few hard outlines
(indicated by the arrows), edges appear soft and spontaneous. Texture has been
used to place emphasis on the head, yet there are distinct differences between the
hat, the hair and the skin. Look closely at the textures of the brushwork compared
to that of the skin.

Exercise: Please find 6 examples of different textures; photograph each with a

description of their surface textures. Think of this exercise as learning to describe
what you feel as you pass your hand over each. I suggest you close your eyes as
you do so, allow the sensory mechanisms to read what you are feeling. As you write
these descriptions, try to imagine how you would describe these surfaces to a some
one from another planet.

Goal: to become aware of surface textures and how important it is to describe their
texture through the use of either visual patterning (illusion) and/or tactile texture.

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 These
three
images on
this page
are
licensed to
the AAO
for
educationa
l purposes
only.

In the next lesson, we will explore different surface textures and how we artists
translate and describe them with painting techniques.

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Copyright Neadeen Masters, CDA - 2009

Some Images not copyrighted – these are in the public domain, others such as on
page 14 are not to be reproduced and are for personal study and education.

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Write your notes here…

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