Feel the surface

2.  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

3.  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

4. 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.

5.  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


6.  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

7. More concrete textures
Different types of stones and their
finished textures

8.  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

9.  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

10.  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

11.  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.

12.  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

13.  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.

14. 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.

15.  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

16.  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.

17.  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

19.  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

20.  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.

21.  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.

22. 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.

23. 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.

24. 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.

25. 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.

26.  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.

27.  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

28. THANK YOU