#5) modern quilt from Japanese linen-cotton prints | Explore Tumblr Posts and Blogs

2dtcnjspring · 4 years

Text

Texture & Pattern

Vincent Van Gogh

Texture Texture refers to the surface quality of an object. Texture is an important component of a successful composition because it appeals to our sense of touch. This is true even when we do not actually touch an object our memories provide the sensory reaction or sensation of what that object might fell like if touched. Texture becomes one more element for us to think about when we look at any composition.

In effect, the various light and dark patterns of different textures are visual clues for us to enjoy the textures vicariously. Of course all objects have some surface quality even if it is only unrelieved smooth flatness. The element of texture is illustrated in art when an artist purposely exploits contrast and surfaces to provide visual interest.

There are two categories of artistic texture - tactile and visual (actual and illusion).

Roy Litchenstien, cubist still life, oil on canvas, 1974

AIGA poster

Alex Hubbard, SK 23, Silkscreen print, oil and enamel on canvas /wooden stretcher, 72.05 x 50 x 1.57", 2009

Tactile Texture Tactile texture is texture that can actually be touched. In painting texture describes the uneven paint surface. In graphic design texture can add a sense of reality “realness”. Things that seem more real to life often result in a more emotional response from the viewer, and can in turn be more memorable.

Architecture and sculpture employ actual material and have what is called tactile texture – texture that can actually be felt. In painting the same term describes an uneven paint surface, when an artist uses the paint (a technique called impasto) so that a rough, three dimensional paint surface results.

Consider Vincent van Gogh‘s painting from the top of this lesson. Texture is not just created through the pattern of short brushstrokes, but it is also created through the ridges and phrased edges of the paint strokes that are obvious to the viewers eye. The painting is revealing what it truly is– Paint on surface– Not just an illusion. Same goes for Thiebaud’s painting below:

Wayne Thiebaud, “Boston Cremes”, 1962

As we’ve been exploring through this class a traditional idea of a collage is gluing down pieces of colored and textured papers cloth and other materials. Collage moved from a folk art to A fine art in the 20th century. Collage allows us to Play with compositional arrangements more easily by cutting reshaping and altering images and moving them around before pasting them down.

Anne Ryan worked mainly in collages of cloth. Her closet show various bits of cloth and contrasting leaves and textures interspersed with some scraps of printer paper. The light and dark pattern is interesting but her attention is mostly drawn to the contrast of tactile textures. See below:

Anne Ryan

VISUAL TEXTURE:

Anslem Reyle, Untitled, mixed media on canvas, metal frame, 256x205cm, 2007

Texture can also be created through the illusion of texture. By reproducing the color and value of patterns of familiar textures, artists can encourage us to see textures where none actually exist. Visual texture carries the same visual punch as Tactile texture. Visual texture can also be created with photography, used on its own or as a filler for a shape, foreground or background.

In painting artist can create the impression of texture on a flat smooth paint surface. By reproducing the color and value patterns of familiar textures painters can encourage us to see textures where none actually exist. This is called visual texture. The impression of texture is purely visual – an illusion - it cannot be felt or enjoyed by touch. It is only suggested to her eyes. Artists use this as a way to stimulate the composition and move your eye around the surface. Various textures can convincingly be re-created. Visual texture can be an interesting design element even without subject matter or any pictorial reference.

Max Ernst, Surrealist painter

The ultimate point in portraying visual texture is called trompe l’oeil the French term meaning to for the eye. This style is commonly defined as deceptive painting. In trompe l’oeil the objects in sharp focus are delineated with meticulous care. The artist copies the exact visual color and value pattern of each surface. A deception occurs because the appearance of objects is so skillfully reproduce that we are momentarily fooled. We look closer, even though our rational brain identifies the image as a paining and not the actual object.

Robert C. Jackson

20th century artistic emphasis has been on abstraction, distortions, and non-objective patterns. But in much art the trompe l’oeil tradition continues And is not limited to painting. Marilyn Levine works in ceramics as seen in “Thom’s Jacket” from 1989 below. it is incredibly realistic but again it’s made of ceramics and is an illusion.

Texture and Pattern It would be difficult to draw a straight line between texture and pattern. We immediately associate the word pattern with printed fabrics such as plaid, stripes, polkadots and floral patterns. Pattern is usually defined as a repetitive design, with the same motif appearing again and again. texture, too, often repeats, but it’s variations usually do not involve such perfect regularity. The difference in the two terms is admittedly slight. material such as burlap would be identified right readily as a tactile texture. Yet the surface design is repetitive enough that a photograph of burlap could be quite a pattern. Once a visual texture is represented within the confines of a space or shape it often may look flat to our eyes and take on the characteristics of a pattern.The essential distinction between texture and pattern seems to be whether the surface arouses our sense of touch or merely provides designs appealing to the eye. While every texture makes a sort of pattern, not every pattern could be considered a texture.

David Lynch, Twin Peaks, film still, 1990

Pattern is a great way to distinguish between areas of contrast on an image and compositions.

Barry McGee

Pattern inspiration There are many artists, designers, and architects that employ beautiful, intricate and complex patterns. I’ve compiled the “best of” collection to inspire you for your Patterns Assignment. Each image is accompanied by a short description of the artist/designer/architect/etc., and each name is hyper-linked to their website (if applicable), so you can get more details on the people that inspire you the most.

Sol LeWitt, whose deceptively simple geometric sculptures and drawings and ecstatically colored and jazzy wall paintings established him as a lodestar of modern American art.

Installation view of Sol LeWitt’s Wall Drawing #260 at The Museum of Modern Art, 2008. Sol LeWitt. Wall Drawing #260. 1975. Chalk on painted wall, dimensions variable. Gift of an anonymous donor.© 2008 Sol LeWitt/Artists Rights Society (ARS), New York. Photo © Jason Mandella

Sol LeWitt, Drawing 915.013

Sol LeWitt, Wall Drawing #260

Le Corbusier (born Charles-Édouard Jeannere) was a Swiss architect, designer, urbanist, writer and painter, famous for being one of the pioneers of what now is called Modern architecture or the International style.

Bridget Riley British painter and designer. She shows a complete mastery of the effects characteristic of Op art, particularly subtle variations in size, shape, or placement of serialized units in an overall pattern.

Bridget Riley,

Blaze 1, 1962

, Emulsion on Hardboard, 43x43 in

Bridget Riley,

Descending, 1965,

Emulsion on Hardboard, 36x36 in.

Bridget Riley, Parade I, 1999-2000, oil on linen, 89 5/8 x 206 ½ in / 227.7 x 524.5 cm

Robert Zakanitch paints lace and embroidery. His patterns are beautiful and speak to the shifting instability of texture.

Blue Birds (Lace Series) oil on panel, 2001.

Flowers doily painting. Robert Zakanitch

Take a close look at the figure-ground relationship in the works by M.C. Escher, who is most known for his impossible architecture and landscape drawings, showcasing his play on perspective and point of view to create structures which ultimately cannot exist. I have always been more captivated by Escher’s pattern works. His ability to create a fluid and seamless plane of repeated images fitting perfectly together is both unrivaled and inspiring.

Bird/Fish, June 1938, Drawing, 228 x 243 mm (9 x 9 5/8’’)

Smaller and smaller, drawing 1956.

Horseman, June 1946, Drawing, 213 x 214 mm (8 3/8 x 8 3/8’’)

Another great example of pattern can be seen in Islamic art & architecture.

Japanese paper is another beautiful source for pattern inspiration.

Navajo Weaving has a unique look, drawing from its Spanish and Pueblo history and nomadic way of life.

Traditional Amish Quilts lend patterns that have beauty in simplicity. Modern quilt artists are using black with solid colors and discovering the beauty in such basic designs.

Stephen Westfall

African Textiles are infused with spiritual and mythical meaning in the actual pattern designs on the cloth. Specific patterns are also used as a form of identity with each tribe having their own unique patterns.

A man’s cloth of the Asante peoples, Ghana, c. 1960. Photo: E. G. Schempf.

Kente Cloth, Woven by men on a narrow loom. Found among the Asante in Ghana and associated with royalty. Both silk and cotton are used.

El Antasui

Takashi Murakami

Polly Apfelbaum

Marc Handelman

Katherine Bernhardt

Texture/Pattern Project 1. In your sketch book draw out at least 4-5 distinct textures or patterns. Play and experiment. Look at the textures you might have around the house. How could you translate them onto a two dimensional surface? Draw each texture or pattern in a thumbnail shape (no less than a 1″x1″ square) this that you do not have to fill an entire page.

2. Once you have created your patterns and textures you will find an image that is of interest to you from a magazine, newspaper, picture, image you print out, etc.

3. You are going to recreate this image on a piece of bristol paper (if you don’t have access to your bristol you can use a piece of computer paper). You will recreate this image using the textures and patterns you created with your thumb nails. Each texture or pattern you use must replace a color/value in your original image. You must choose your textures or patterns appropriately to convincingly recreate the value changes in the image with only a texture or pattern. Therefore you may want to tweak your original texture and pattern designs to account for apparent value changes in you image. If there is a darker area on your original image, you might want to make your pattern more condensed and smaller. If there is a lighter area on your original image, you might want to make the pattern larger and less condensed.

Also depending on your image you may need to create a few more textures or patterns. (Textures or patterns can also be specific to the image, for example: if wood is representing in your image then you may want to create a wood pattern for these areas of your image - you do not have to though.)

4. Your recreated image will be in back and white using the different patterns and textures to distinguish the areas of value. This project should be done in micron pen and sharpie. All colors and values in your image must be translated to a texture or pattern.

Project examples

Final Product In the end you should have 3 part for this project. 1. The original image in presentation format on a piece of bristol paper. 2. Thumb nail sketches. 3.The final recreated image (on bristol paper) with all values converted to textures and patterns.

*Again if you do not have access to your bristol paper you may use computer paper.

#texture #pattern

8 notes · View notes