Textures range from the smoothest polished mirror to the roughest mountain range as seen from an airplane. The term is often misused to refer only to rough surfaces but this is not correct. All surfaces have texture. You as a designer recognize that different textures can affect interest in different ways. Some surfaces are inviting and some are repellent and so are the textures that suggest those surfaces. Using different textures can increase interest in a composition by adding variety without changing color or value relationships.

 Visual texture refers to the illusion of the surface’s texture. It is what tactile texture looks like (on a 2D surface). The textures you see in a photograph are visual textures. No matter how rough objects in the photograph look, the surface of the photograph is smooth and flat. 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.

Tactile means touch. Tactile texture is the actual (3D) feel of a surface. This is of paramount importance to three-dimensional design but of only moderate interest in two-dimensional design. The actual surface texture needs to either be felt, or seen with light raking across its surface to make the texture visible.

A recognizable motif regularly repeated produces a pattern. Pattern requires repetition — in design as in life (a pattern of behavior). The more regular the repetition, the stronger the pattern will be. The most noticeable patterns occur when you see the group before the individuals — notice the organization first (the checker board). All of the motifs in a pattern have surfaces, so there is always texture. But there is not always pattern — only when you notice it. Texture and pattern are related. When you look closely at a tree you can see the pattern of leaves that make its surface. When you back away you lose 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. This is easy to do with natural patterns, but you have to get quite far away from a checker board grid to see it as texture. Patterns are generally more noticeable than textures. This makes them a stronger visual element for controlling attention.

• How do different types of fibers or fabrics affect your composition? Do different textures of fabric make you relate to the work in a different manner?

• Can you create depth using a visually patterned cloth? Motion? Focal point?

• How can you depict different textures from your home environment?

• What methods do you use that increase texture in your work? Can you think of other methods that would increase the tactile or visual textures in your work?

Let me know how you use texture in your work. I’d love to see photos so leave me a link in the comments!

 The latest book I am reading to continue my learning journey into design is Dynamic Color Painting for the Beginner by Diane Edison. As I was trying to come up with something else to say about form, I was struck by what she wrote about making a preparatory sketch for a painting. She suggests that to make a three dimensional drawing that you draw the value patterns. When you look at your subject you need to look at the shapes that the values make. You need to notice every tone and shadow and what shape each makes and draw those. She says that as you draw the shapes you will see that the patches of color follow the contour of the object, and so including them in your sketch will help you create the illusion of three dimensions.

 But what really struck me was her use of the term “visual trust”. Diane states that “Drawing in this way, following the shape of the colors as well as the outline of the object, is much like a puzzle requiring visual trust. I describe this the term ‘visual trust’ as accepting what you see, without question. By this I mean that sometimes the first thing you see without question is most likely correct.”

 Diane reveals that many times our brains tend to name things in a sort of intellectual interference and we tend to disregard what we really see and instead try to self correct as we draw. But this isn’t the way you should draw. To draw well you need to rely on what you see, not what you think you see or expect to see.

 Diane infers that to paint or draw from observation demands a willingness to believe the unbelievable. This means that you are seeing a different point of view, one that you can not easily imagine.

Do you trust what you see when you draw? I find it really takes practice to see those small value changes as shapes and to draw those shapes. You can’t think your drawing into existence, you have to look closely and trust your pencil or paintbrush to draw or paint what you really see.

What do you think? Do you have “visual trust” when you draw? How does that apply to your fiber art?

Coming up in February, we’ll be talking about texture. Yippee! This is one of my favorite elements of design and it’s why I love fiber. So let me know what you think about “visual trust” and how that affects form in your work and I’ll see you next week.

 Last week we talked about form as it relates to a two dimensional work and how to imply form on your picture plane. Usually, I work in 2D more than 3D but I would like to do more 3D work. The sketch above shows what I plan to do with my Traveling Pages to make all 13 pages into a book form. As my theme is trees, the covers will resemble bark and the “posts” on the book will be red twig dogwood branches.

 When you’re thinking about form in three dimensional work, sometimes it helps to make a model. I used some leftover heavy interfacing, chopsticks and duct tape. All things I had around the house. The model is about half the size of the actual pages. The photo above shows how the book will look when closed. I’ll have to make sure that the red twig dogwood branches aren’t too “bushy” on top or it won’t close well. Although I will probably always display it open. I won’t be using duct tape to secure the real book together (although it has a certain chic). I plan on using a heavy thread (like button thread) to attach all the pages to the posts as shown in my sketch in the first photo.

 Here is it standing up. All the front side of the pages will be on one side and then when you turn the book around, all the back pages will be on the opposite side.

Here’s a view from the top. I think this form will be perfect for my pages. I still have two pages to receive and I need to finish up my covers but I plan on finishing the book by the end of February. This model is so cute that I want to cover the pages and make a smaller book too. Hopefully, I’ll have time to do that.

Have you worked in 3D? What have you made? How did you determine your pattern and if it would work? Did you have to think about stability? How did you merge the need for stability and structure with the aesthetic? Leave me a comment and let me know, as I’d love to hear how you are using form in your work.

 I’ve shown you this photo before. It is the start of an exercise from the book Watercolor and Collage Workshop by Gerald Brommer. The exercise is to work from abstraction to representation. So you start with abstract shapes as above. I was thinking about making rocks so I chose the browns and blacks. I added the blues at the end because I felt it needed a little contrasting color.

 The next step is to tear up pieces of rice paper with fibers embedded and glue it over your dry watercolor abstract painting. You can cover the whole surface or part of the surface. I covered most of the surface except for some of the edges. You use half glue and half water to glue the paper down. The pieces of paper were generally less than an inch square and were very irregular in shape.

 Here’s a closer view so you can see the fibers in the paper.

 You then let that dry and start adding paint again. I forgot to take a photo of the in between stage but I have to tell you it was really ugly. Could that be why I forgot to take a photo? I added lots more paint and made some rock shapes. But they were very flat and ugly looking. But I persevered and kept adding more paint, small shapes and line. Then you turn your piece in all different directions and look to see what is the best orientation to finish out your piece. So it ended up with the rings of the notebook on the bottom of the painting.

 Then add more paper if you aren’t satisfied with your piece. So that’s what I did. I decided to make it look like a river with rocks. So here’s the added paper. I then added more paint on top of the paper once it was dry. I did scrub off some of the paint on the tops of the rocks as I felt they were too dark. I was trying to make the rocks have form and the painting to have some depth. I also added more shading to the rocks with black and grey paint. I worked on the water with white and turquoise blue. I spattered some paint and also drew some more line.

 And this is the result. I decided it looked more like the ocean with water pouring in at high tide over the rocks. I did use the photos from the book for a resource of what rocks look like and how the water flows but otherwise, this scene doesn’t represent any particular place.

 How do you think I did? Did I achieve believable rocks with implied form on the 2 dimensional surface? Do you feel the depth in the subject?

Actually, I am amazed that I painted this. The collage process really adds depth and different colors underneath the water that I never would have thought to paint myself if I was trying to paint this type of scene. One of the things I learned with this process is not to give up when it is looking really ugly. Keep pressing forward adding more paint and more rice paper. You might amaze yourself as I did! Do leave me a comment if you are working on form in your work. I’d love to see what you’re doing.