basic elements of the visual language

1. THE
VISUAL
ELEMENTS
OF
AN IMAGE

3. LOOK CAREFULLY AT NEXT PICTURE
AND DESCRIBE THE ELEMENTS
THAT YOU CAN SEE IN IT

5. Write and draw in your paper the elements that you can see

7. I can see a
spider

8. I can see
a face

9. A bird
¿

10. He´s crying

11. There are a lot
of stars

13. There are many things
in a picture

15. But…

17. We are looking for the
essential elements

18. The smallest visual
elements on plastic work

19. Look for the essential elements

21. Try it again.
Just the essential elements¡

26. WHAT
ARE
THESE ?

28. A DOT

29. A
LINE

30. A
PLANE

33. THE
VISUAL
ELEMENTS
OF
AN IMAGE

34. THE
VISUAL
ELEMENTS
OF
AN IMAGE
DOT

35. THE
VISUAL
ELEMENTS
OF
AN IMAGE LINE
DOT

36. THE
VISUAL
ELEMENTS
OF
AN IMAGE LINE

DOT

37. THE
VISUAL
ELEMENTS
LINE

DOT

38. THE
VISUAL
ELEMENTS
LINE

But there are two other missing
visual elements
DOT

39. But there are two other missing
visual elements

40. But there are two other missing
visual elements
Can you imagine
¿

42. Look at the screen

54. The fourth element is the…

55. COLOURCOLOUR

57. And the last element in an image is…

58. And the last element in an image is…
Look at the screen

68. TEXTURE

70. THE
VISUAL
ELEMENTS

71. THE
VISUAL
ELEMENTS
DOT

72. THE
VISUAL
ELEMENTS LINE
DOT

73. THE
VISUAL
ELEMENTS LINE

DOT

74. THE
VISUAL
ELEMENTS LINE


DOT

75. THE
VISUAL
ELEMENTS LINE



DOT

77. BASIC ELEMENTS OF PLASTIC
EXPRESSIONS

78. BASIC ELEMENTS OF PLASTIC
EXPRESSIONS
All the images that we see represented are
made of the basic elements of plastic
expression: the dot, the line, the plane, the
colour and texture.

79. BASIC ELEMENTS OF PLASTIC
EXPRESSIONS
All the images that we see represented are
made of the basic elements of plastic
expression: the dot, the line, the plane, the
colour and texture.
These elements, isolated or combined, are a
language in itself with specific rules. They allow
the author to transmit to other people ideas,
sensations or feelings.

80. BASIC ELEMENTS OF PLASTIC
EXPRESSIONS
All the images that we see represented are
made of the basic elements of plastic
expression: the dot, the line, the plane, the
colour and texture.
These elements, isolated or combined, are a
language in itself with specific rules. They allow
the author to transmit to other people ideas,
sensations or feelings.
It is important to study the characteristic and
fundamental rules of the plastic elements in
order to express effectively our own plastic
language.

83. THE DOT

84. The dot is the smallest, simplest element in visual expression.
THE DOT

86. Dots are normally round, but they can have different shapes
according to their function. Dots used in visual expression
can have irregular surface and outline.

89. A shape is a dot when it takes a very small
part of the surface where we draw.

91. If it is bigger than other shapes around, we
consider it a plane.

92. If it is bigger than other shapes around, we
consider it a plane.

93. A dot
If it is bigger than other shapes around, we
consider it a plane.

94. If it is bigger than other shapes around, we
consider it a plane.
A dot
A plane

96. Expressive capacity of the dot

97. Expressive capacity of the dot

98. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.

99. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

100. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

101. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

102. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

103. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

104. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

105. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :

106. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

107. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

108. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

109. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

110. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

111. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

112. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped

113. Expressive capacity of the dot
Dots have an unlimited capacity to represent
images, ideas and emotions.
For this reason, we use different visual effects
like :
concentration= dots are grouped
dispersion= dots are at a distance

114. Expressive capacity of the dot

115. Expressive capacity of the dot

116. Expressive capacity of the dot
Line made with dots

117. Expressive capacity of the dot
concentration
Line made with dots

118. Expressive capacity of the dot
concentration
dispersion
Line made with dots

119. Expressive capacity of the dot

121. Dots also have a great attraction power.
It makes them very efficient as a composing element
and as an indication sign.

124. Three-dimensional capacity of the dot
If we vary appropriately sizes, shapes and colours of the dots,
we can create visual sensations of spatial depth and volume.

125. Three-dimensional capacity of the dot
If we vary appropriately sizes, shapes and colours of the dots,
we can create visual sensations of spatial depth and volume.

126. Three-dimensional capacity of the dot
If we vary appropriately sizes, shapes and colours of the dots,
we can create visual sensations of spatial depth and volume.

131. THE LINE

132. THE LINE

133. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE

134. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

135. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

136. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

137. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

138. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

139. If we move our pencil in any direction, the result is a line.
That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION

140. THE LINE

141. THE LINELines have a position and a direction in space…

142. THE LINELines have a position and a direction in space…

143. THE LINELines have a position and a direction in space…

144. THE LINELines have a position and a direction in space…

145. THE LINELines have a position and a direction in space…

146. THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.

147. THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.

148. THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.

149. THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.
For this reason and for its expressive possibilities, it is very
suitable to describe accurately any shape and to transmit ideas
and emotions.

150. THE LINE

151. THE LINE

152. THE LINEThe shape, thickness,
colour and texture of the
lines depend on the
materials we use and the
way we use them. These
structural features have
different functions and
allow the artist to create
different visual
sensations such as depth,
balance, strength,
smoothness, etc.

153. THE LINEThe shape, thickness,
colour and texture of the
lines depend on the
materials we use and the
way we use them. These
structural features have
different functions and
allow the artist to create
different visual
sensations such as depth,
balance, strength,
smoothness, etc.

154. THE LINEThe shape, thickness,
colour and texture of the
lines depend on the
materials we use and the
way we use them. These
structural features have
different functions and
allow the artist to create
different visual
sensations such as depth,
balance, strength,
smoothness, etc.

155. THE LINEThe shape, thickness,
colour and texture of the
lines depend on the
materials we use and the
way we use them. These
structural features have
different functions and
allow the artist to create
different visual
sensations such as depth,
balance, strength,
smoothness, etc.

156. THE LINEThe shape, thickness,
colour and texture of the
lines depend on the
materials we use and the
way we use them. These
structural features have
different functions and
allow the artist to create
different visual
sensations such as depth,
balance, strength,
smoothness, etc.

158. The structural differences of lines make them expressively rich.

159. The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen,
with markers and with a paintbrush.

160. The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen,
with markers and with a paintbrush.

161. The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen,
with markers and with a paintbrush.

162. The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen,
with markers and with a paintbrush.

163. The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen,
with markers and with a paintbrush.

165. CLASSIFYING LINES

166. CLASSIFYING LINES
According to their structure, lines can be classified in:

167. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines

168. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines
Composed lines

169. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines

170. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines

171. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.

172. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines

173. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines

174. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines
We make undulating lines
with fragments of curve
lines.

175. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines
We make undulating lines
with fragments of curve
lines.

176. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines
We make undulating lines
with fragments of curve
lines.
We make mixed lines
with fragments of straight
and curve lines.

177. CLASSIFYING LINES
According to their structure, lines can be classified in:
Simple lines are made in just one
stroke, straight or curve. They are
perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines.
To fully visualize them, we must turn our sight in different directions. These lines
can also be broken, undulating or mixed.
We make broken lines
with fragments of straight
lines
We make undulating lines
with fragments of curve
lines.
We make mixed lines
with fragments of straight
and curve lines.

179. EXPRESSIVE POSSIBILITIES OF LINES

180. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions:

181. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions: vertical,

182. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions: vertical, horizontal

183. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions: vertical, horizontal,
oblique

184. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions: vertical, horizontal,
oblique or curve.

185. EXPRESSIVE POSSIBILITIES OF LINES
We can draw lines in different directions: vertical, horizontal,
oblique or curve.
Each of them has a different expressive value.

186. EXPRESSIVE POSSIBILITIES OF LINES

187. EXPRESSIVE POSSIBILITIES OF LINES

188. EXPRESSIVE POSSIBILITIES OF LINES
Vertical lines:

189. EXPRESSIVE POSSIBILITIES OF LINES
Vertical lines:
transmits an upward or a downward
movement, depending on how we
use them.
It gives us a visual sensation of
growing, balance and power.

191. growing

193. balance

195. power

199. growing

200. growing

201. growing balance

202. growing balance

203. growing balance power

204. growing balance power
strong

205. EXPRESSIVE POSSIBILITIES OF LINES

206. EXPRESSIVE POSSIBILITIES OF LINES

207. EXPRESSIVE POSSIBILITIES OF LINES
Horizontal lines:

208. EXPRESSIVE POSSIBILITIES OF LINES
Horizontal lines:
horizontal direction gives a visual sensation of
stability, calm and serenity, but an excessive use
can give a dull effect.

210. stability

212. calm

214. serenity

217. Stability

218. Stability

219. Stability
Calm

220. Stability
Calm

221. Stability
Calm
Serenity

222. EXPRESSIVE POSSIBILITIES OF LINES

223. EXPRESSIVE POSSIBILITIES OF LINES

224. EXPRESSIVE POSSIBILITIES OF LINES
Obliques lines :

225. EXPRESSIVE POSSIBILITIES OF LINES
Obliques lines :
transmit more instability
and movement. These
two aspects give
slanting lines a visual
sensation of dynamism.

227. instability

229. movement

231. dynamism

235. Instability

236. Instability

237. Instability movement

238. Instability movement

239. Instability movement dynamism

240. EXPRESSIVE POSSIBILITIES OF LINES

241. EXPRESSIVE POSSIBILITIES OF LINES

242. EXPRESSIVE POSSIBILITIES OF LINES
Curve lines :

243. EXPRESSIVE POSSIBILITIES OF LINES
Curve lines :
Transmit a visual
sensation of
movement and joy.

245. movement

247. joy

248. THE PLANE

249. THE PLANE

250. A plane is a two-dimension surface, length and
width, and it has a position and a direction in space.
THE PLANE

251. THE PLANE
This plane is delimitated by an contour line.This plane is delimitated by an contour line

252. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an contour line.This plane is delimitated by an contour line

253. THE PLANE
There are several ways to describe the limits of a plane:

254. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an outline

255. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an outline

256. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an outline

257. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an outline

258. THE PLANE
There are several ways to describe the limits of a plane:
This plane is delimitated by an outline

259. There are several ways to describe the limits of a plane:
This plane is delimitated by an contour line.
THE PLANE

260. There are several ways to describe the limits of a plane:
THE PLANE

261. There are several ways to describe the limits of a plane:
THE PLANE
The surface of this plane
is defined by very little
dots...

262. There are several ways to describe the limits of a plane:
This plane is delimitated by an contour line.
THE PLANE
The surface of this plane
is defined by very little
dots...
or by a texture

263. There are several ways to describe the limits of a plane:
The surface of this plane
is defined by very little
dots...
or by a texture
or by lines
THE PLANE

264. There are several ways to describe the limits of a plane:
This plane is delimitated by an contour line.
THE PLANE

265. There are several ways to describe the limits of a plane:
This plane is delimitated by an contour line.
To define this plane, we use a
coloured surface
THE PLANE

266. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE

267. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
We have two types:

268. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
We have two types:
Geometric: they can transmit strong
visual sensations of order and stability.
Organic: They give a visual sensation of
more dynamism than geometric forms.

269. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
We have two types:
Geometric: they can transmit strong
visual sensations of order and stability.
Organic: They give a visual sensation of
more dynamism than geometric forms.

270. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
We have two types:
Geometric: they can transmit strong
visual sensations of order and stability.
Organic: They give a visual sensation of
more dynamism than geometric forms.

271. CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
We have two types:
Geometric: they can transmit strong
visual sensations of order and stability.
Organic: They give a visual sensation of
more dynamism than geometric forms.

272. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

273. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

274. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

275. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

276. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

277. This plane is delimitated by an contour line.
One of the main functions of plane forms is to create
volume when they are together with other plane forms in
different directions.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Observe: if we join planes in
different directions, we get a
visual sensation of volume.
Other plastic elements such as
changes in colour and size
contribute to this.

278. THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

279. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE

280. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:

281. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length

282. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length

283. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length, width

284. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length, width

285. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length, width and depth

286. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length, width and depth

287. This plane is delimitated by an contour line.
THREE-DIMENSIONAL
POSSIBILITIES OF THE PLANE
THE PLANE
Volume has three dimensions:
length, width and depth

305. The plane is most suitable to transmit visual
sensations such as volume, chiaroscuro, depth,
etc. These qualities make of it a fundamental
part for the elaboration of artistic work in any
of their means of expression.

306. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS
The plane is the plastic element that receives the action of all the
other elements, because we can work on it with dot, lines, colours
and textures. That is why it has such a great power of expression.

335. THE PLANE
EXPRESSIVE CAPACITY OF PLANE FORMS
The plane is the plastic element that receives the action of all the
other elements, because we can work on it with dot, lines, colours
and textures. That is why it has such a great power of expression.

345. THE TEXTURE

346. THE TEXTURE
Texture is the quality of surfaces
due to the material structure of
the object. It can transmit
different visual and tactile
sensations.

349. We can distinguish
flat
TEXTURE

350. We can distinguish
flat
TEXTURE

351. We can distinguish
flat
TEXTURE

352. We can distinguish
FLAT
TEXTURE

353. We can distinguish
FLAT
TEXTURE
smooth

354. We can distinguish
FLAT
TEXTURE
smooth

355. We can distinguish
FLAT
TEXTURE

356. We can distinguish
FLAT
TEXTURE
granulated

357. We can distinguish
FLAT
TEXTURE
granulated

358. We can distinguish
FLAT
TEXTURE

359. We can distinguish
FLAT
TEXTURE
rough

360. We can distinguish
FLAT
TEXTURE
rough

363. the surface of silk is flat and smooth

366. the surface of the bark of a tree is rough and ridged

368. Artists use
textures as
another
plastic
element to
reach more
expressivity
in their works

370. NATURAL AND ARTIFICIAL TEXTURES

371. NATURAL AND ARTIFICIAL TEXTURES
According to their origin we can classify textures into:

372. NATURAL AND ARTIFICIAL TEXTURES
According to their origin we can classify textures into:
Natural textures

373. NATURAL AND ARTIFICIAL TEXTURES
According to their origin we can classify textures into:
Natural textures
Artificial textures

374. NATURAL AND ARTIFICIAL TEXTURES

375. NATURAL AND ARTIFICIAL TEXTURES
Natural textures: those present in nature.

376. NATURAL AND ARTIFICIAL TEXTURES
Artificial textures: those manually or mechanically elaborated by man.

379. TACTILE
TEXTURES

380. We can perceive them
through the sense of
touch. In plastic
representation -
painting or sculpture-,
we can perceive a lot
of tactile effects
combining different
materials or making
surfaces with the relief
we want.
TACTILE
TEXTURES

382. VISUAL
TEXTURES

383. VISUAL
TEXTURES

384. VISUAL
TEXTURES
We perceive visual
textures only with our
sight. We also call them
graphic textures,
because they are
photographs or
representations on paper
or on other materials.