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texture-160203172810.pptx

The document discusses textures in design and their various characteristics. It defines textures as the visual or tactile surface of an object or space. Tactile textures can actually be felt, while visual textures create the illusion of how something might feel. Different types of textures are explored, including those created using materials like metal, stone, wood, fabric, and glass. Textures can be used to define shapes, add visual interest, create moods, emphasize elements, and elicit tactile or emotional responses. The document also examines how textures interact with light and color, and the feelings and impressions various textures may convey. Overall, texture is a key design element that can be manipulated for different effects in interior and architectural design.

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 the sensations caused by the external surface of objects received through the sense of touch.  ” Basically, how things feel”. (Think about squishing soft carpet between your toes, running your hand along a rough wooden table top, or sinking down into leather couch cushions.)  Textures create visual interest and add those touches of detail that were previously missing. Siky , soft, smooth Hard,rough,sharp
 Textures allow viewers see the building as well as imagine how it would feel.  Texture can make or break a structure /building in design.  It can create pattern or rhythm and allows the viewer to believe the piece moves through space.  Texture can be used to 1. Define shapes or space  2. Add visual intrest(detail) 3. Creates mood
5.Creates a tactile response, evoke memories and add realism 4.Emphasize To ensure a space is visually appealing, elements of colour, shape, pattern, line and texture come into play. These complementary foundations of interior design work together to create a seamless space that ignites the senses.
 Textures in design can be of two different kinds  Tactile  visual.  TACTILE: Actual alterations in a plane which may be felt when touched are tactile textures .  They are more three-dimensional and also depend on the familiarity of previous contact to establish texture 
 1.Metal  a. Sources – Iron, aluminum, nickel, zinc, nickel, copper, brass, etc.  b. Form – bar, sheet, wire, extrusion, tube  c. Finish – polished, rusted, weathered, painted, raw, die cut  2. Stone  a. Sources – limestone, granite, marble, sandstone, fieldstone, etc.  b. Finish – natural, polished, weathered  3. Concrete  a. Percentage and size of aggregate included in composition will change the surface appearance  b. Finish – floated, aggregate prominence, stained, painted
More concrete textures Different types of stones and their finished textures
 4. Glass  a. Source - of all glass is essentially melted sand  b. Form – sheets, tubes, objects,  c. Finish – polished, etched, blasted, frosted,embedded particles etc.  5. Wood  a. Species Source – oak, pine, elm, mahagony, cedar, Fir, spruce, etc.  Each species has a particular grain.Grains add texture to wood .  6.Fabric  A.source- Natural = cotton, linen, wool, silk, ramie, alpaca  Man-made = rayon, acetate, nylon, polyester, acrylics, olefin Etched
 B.finish- texture of the fabric depends on the fibre and the fabric structure of the end product  C.Fabric structure  i. Fabric is manufactured by weaving, knitting, or felting  Thread count refers to number of warp and filling threads per square inch before any finishing process has been applied.  Type of weaves include plain, basket, twill, herringbone, satin, and sateen
 visual texture : Appeals to our perception, what a texture might feel like.  Through the use of visual texture, a surface can create the illusion of a specific tactile texture or an added depth.  Most textures have a naturalistic quality; they repeat a motif in a random way. A motif is any recurring thematic element or repeated figure in design. It could be an object, shape, color, direction, etc.  With a texture you may be aware of the repeating motif but you are more aware of the surface.  The above examples appear to be rough when visually seen but are two dimensional patterns on smooth surface. Illusionary textures Textures with motifs Faux marble Palazzo textures Printed textures
 Texture and pattern are related.  E.g.: When you look closely at a tree you can see the pattern of leaves that make its surface. When you back away you loose awareness of the leaves and notice the texture the leaves make on the tree. Farther away still and you can see the pattern of the trees making up the forest and finally the texture of the forest.  In this way pattern changes to texture as you loose sight of the individual motifs.  Patterns are generally more noticeable than textures. This makes them a stronger visual element for controlling attention.
 3. Thermal Character: Shiny polished surfaces not only look cool they evokes physical reaction for coolness  4.Emotional effects: sophisticated and sleek.  Smooth and soft are cool, friendly,inviting,tranquil and precise.  Often unnoticeable and undemanding.  Defines form, colour and space without becoming an additionally counted element.  5.Effects of Light:  Visual textures are most suitable for different kinds of light.  Smooth textured surfaces reflect light . They make an object feel lighter and more modern  textures such as silk, paints with a sheen, glazed, or glossy finish mirrors and metals bounce light around the room. smooth soft silky shiny flat  1. Surface Character :they does not contain any surface contour.  2. Surface Friction: can be slippery, sticky or wet looking. even
 Effects of colour :  Colours on these surfaces tend to look brighter, stronger, possibly even lighter.  The way light reflects off the surface can drastically change the color.  For example,  In a small, dark room, furnishings with smooth, shiny finishes will impart a reflective quality and give the space a sense of natural light  A blue wall could warm up by applying texture to it, or cool down a red cabinet by applying a glossy varnish over it.  Polished marble cladding will appear lighter than timber panelling, despite the reverse being true  Combined with the use of colour, the overall atmosphere can be transformed from cool and contemporary to warm and cosy or vice versa.
rough hard matte coarse bumpy uneven  Surface Character :The greater the deviation the more surface contour and visually textures.  2. Surface Friction: fine textures add friction to the surface. They are scratchy, rough and unbreathing .  3. Thermal Character Rough surfaces not only looks warm they evokes warmth  4.Emotional effects: Rough textures will attract attention, activate eye movement but can overshadow the use of form.  Textures that are hard,rough,inconsistent are less formal , more lively and outgoing .  A hard texture will evoke emotional reactions of strong, vigorous feeling often masculine in nature  They add weight to the room creating closed and cosy feel.  It creates intimacy  The effect of this type of visual partitioning makes a room feel smaller.
 5.Effects of Light:  Never reflect light, so they often have a warming effect by adding weight.  Rough textures will help balance the excess of natural light.  Gives light variations without the need of more colours.  changing the angle from which light hits the textured surface, and the view angle, creates a different visual effect forming highlights and shadows.  They reflect light differently from one angle in a room than from another, which can give the room discrete vantage points that may differ greatly from one another.  The roughness is emphasized when the surface is viewed up close and grazed with light which highlights the texture through shadows and light spots. Same texture visually different by angle of incident light Same texture visually different by distance of incident light
 Effects of colour :  These are Light-absorbing textures, however make colours look darker and more subtle  Light-filtering textures such as slatted blinds, shutters, sheer fabrics diffuse the light which tends to give colours greater delicacy  The texture of a fabric will affect the appearance of colour because of the way in which different textures absorb and reflect light off their surface:  A rough-textured fabric will cast shadows upon itself – affecting the appearance of the colours’ temperature. Wool is a light absorbing texture and so will make the colour look warmer and more intense Rough textures making colours looker more warmer and strong.
 We also perceive texture in relation to the adjacent surfaces.  For example, to highlight a rough surface, this is best placed next to a smooth surface.  Juxtaposing hard and soft accessories creates balance.  Pattern Size, Scale and Proportion  Size, scale and proportion should be taken into consideration with pattern.  Large patterns on small items of furniture can weigh them down and look too overpowering and dominant as well as out of proportion The roughness of the stone is highlited by using smooth textures adjacent to it
 Texture helps to differentiate various objects and surfaces, transform light, and influence scale, but it can also communicate a particular design style.  For example, for a modern interior, glossy materials and minimally textured surfaces come to mind. These types of surfaces communicate a sleek and simple design style that often relates to contemporary interiors.  whereas rough and natural textures are more in line with a rustic scheme
 In monochromatic schemes texture is used to create visual interest by adding dimension and increasing contrast .  For example, a cotton sofa with cotton pillows would certainly fall a little flat but add some linen, velvet, silk or even a little satin and suddenly you have a dynamic, exciting focal point.
 TEXTURE IN FUNCTIONAL ART  Functional art is meant to be touched and handled.  The appreciation of the object goes beyond its visual properties and includes its tactile qualitites.  Within functional art there is a tension between aesthetic and utility .  The best functional art is aesthetically pleasing and functionally sound  The Vietnam Veteran's Memorial in Washington D.C. was designed by Maya Lin to be an emotional, cathartic experience that would allow for healing to take place. She purposefully made the memorial a reachable wall of names of the departed. People make rubbings of their loved one's name to take home with them.  TEXTURE THROUGH STRUCTURE  Variations or inconsistencies in materials create texture through structure, a form of textural contrast.  In a monotone weaving or wall hanging, varying widths and thicknesses of threads used in the art would create a 'tone on tone' or physical variance within its texture without resorting to the use of color.  Textural imagery, intrigue and interest is created simply by using all the same colors with different weights and/or fibers.
Texture effects Features, Expression and Feelings Photos and paintings 1 – Water textures Water generates smooth effects, blurs, transparencies, optical colour mixing, depth with large shadows and surfaces that reflect light, so the play of colour and light is varied. Generally, the water textures reflect a lot of vivacity and interest, providing a rich visual element, and with plenty of appeal or beauty. 2- Blurry textures and forms clouds The shapes very soft, abstract but with great play of colour and light. Patterns, gradients, textures and background colours with contrasting colours over mixed softly with contrast and harmonious at the same time. They express change, transience, air, and expanding horizons. You can play with an expression of clarity, hope, joy, fear or storm. The colour range is harmonious, because the forms are repeated and interrelate.
3- Ground textures 4- Grainy texture (sand, pumice, gravel) 5 -Rocks, bricks, tiles, etc The ground generates texture on the pictures, sometimes painted, sometimes played with materials themselves, like ground, sand, lime, ground pumice and many others materials that are a small size. The relief forms of the land is a strong expression, which draws much attention and sometimes make you want to touch them. Very attractive . The rounded and small shapes provide a balanced texture. It expresses stability, stillness, consistency, it gives confidence a warm, close and tangible character, sturdy and strong at the same time. Forms produce realistic or figurative visual effects, with definition flooring, painted asphalt, of light and shadows. It generates an attractive steady element, 6– Cracks and holes. and the work gains a great visual weight. The forms will be more or less contrasted but there are always some shapes defined. It adds a consistency and stability to the work, has gravity and downward direction. Broken spaces, small visual ruptures that contrast with a stable support. Brittle shapes that influence the mind and express weakness, impermanence, doubt, fear, pain, change, sensitivity, energy and energies dying. Also, the holes, if they are rounded, they generate an attraction of our attention to their depth. Ruptures lines have directionality and therefore movement.
7 -Natural and abstract shapes. Lines, dotted, striped Whether they are part of a nature element or they are purely abstract, these revolts shapes are random, crazy, without specific direction, so they are free, very expressive, directional and growth forms. They express freedom, biodiversity, life, slow movement, expansion and abundance. Also bustle, dispersion, concentration and fuss. 8- Stains, fillings with spoonbill, attached forms and layered materials. Color planes, overlapping shapes, forms that flood other forms and sudden visual impacts. They express surprise, generate attention, if they are not very diffuse. The spots are visual shock, strong contrasts against other elements. Activated and added plasticity imbalance and shock. . 9- Metallic textures, silver, gold, copper, rusty iron etc To add a metal, gold, silver, copper or a bright element, in contrast to other natural and simple elements, will create a very large, ambitious and sensory visual appeal. The metal textures, the gold, elements with bright lights and with deep colors, they are very special items and therefore attracted the attention from people. They express richness, abundance, quality, power, energy and a lot of personal feelings.
10- Reflective textures Crystals, mirrors, crystal waters, reflective metals, and other elements that reflect light and their surrounding forms. They add an abstract and impermanent space element, a set of forms and light. Express complexity, false forms, games, entertainment, energy lights, mysterious worlds or forms and imagination. 11- Sea texture, waves, swirls, cascades Moving water, with plenty of white foam, reliefs, twisted, curved shapes, lots of variety and contrast. Expresses life, movement, moving energy, danger, speed and directionality The sensation goes from a soft activism towards a nervous activity.
 Add texture with textiles. Adds instant cosiness to any room.  Add texture with a rug. They tie the room together.  Add texture with plants. Plants are the original texture. They improve mood and purify the air.  Add texture with furniture.
 Add texture with architectural elements. Can add moulding to walls ,battened ceilings ,herringbone floors etc.  Texture all over the place! Some of the rooms that make the best use of texture combine more than one of the above elements. different textures are used to create stylish, beautiful, and comfortable rooms
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