Lesson video

Hello, my name is Miss Holland, and I'm going to be teaching you today.

So let's get started.

Today, our lesson is all about texture, and this is part of our "Foundation workshop: revisiting elements of art and revisiting some of the principles of art." So by the end of today's lesson, you will have used texture to make your work more engaging.

Let's have a look at some of our keywords.

So our keywords are "texture," "implied texture," and "tactile." So texture is how something feels or looks like it would feel, whereas implied texture is the illusion of how a surface feels.

So, for example, painting an area to look rough or shiny.

And tactile is something you can physically sense and touch.

Our lesson is in two parts.

The first part will be about exploring how artists use texture, and then the second part is about application of that, so creating experiments with textural effects.

So let's get started exploring how artists use texture.

And the possible outcomes for today are hugely varied, but they might include outcomes such as these.

And we'll be looking at these in more depth as we go through the lesson.

Let's have a look at this beautiful piece of art.

Have you ever seen an artwork that you would like to reach out and touch, that makes you want to go and touch it? This one does for me.

How can we use texture as part of our shared visual language? Well, texture refers to the surface quality of an object, so how an object, or in this case, a piece of art, feels.

And in art, we can use tactile materials, so materials we can touch, physically touch, to create real texture in our work.

But then we can also imply texture, so give the illusion of texture.

And we can create this illusion through the marks that we make, the different mark-making techniques we use.

A quick check for understanding: true or false? In art, we can use implied texture, so the illusion of texture, to make things feel textured when you touch them.

Is that true or false? Well done.

Of course, it's false.

Artists can create the illusion of texture through the marks they make.

For example, when drawing, we call this implied texture.

But you can't physically change the quality of the material to make it feel textured.

Texture can also make an artwork more engaging, and it gives a work a tactile quality that draws the viewer in, like that first image of the pepper that we saw at the beginning of the lesson.

Let's have a really close look at this piece of artwork.

What creates a tactile quality here? Look really, really closely at it.

What do you think? Well, Lucas says, "The layers of fabric and embroidery." Can you see the stitched embroidery, gold and embroidery running through it? Creates a tactile surface which is full of texture.

And different textures can evoke different associations.

So it can make us think of or feel different associations.

So how would you describe the different textures here? So we have the first one, the second one, the third one, and the fourth one.

Just take your time and look really closely at each one.

How would you describe the different textures here? How do they evoke different associations for you? Let's see what I've written.

So I've written "soft and fluffy" for this one.

For this one, I've used "coarse and uneven." The material that's been used looks quite coarse, and it's very unevenly applied.

This one, perhaps you'd use "bumpy," and in this one, "angry or bold" because of the big black circles.

Texture can also create contrast within a piece.

So what contrasting textures draw your attention in this piece? Look really, really closely.

Can you see the contrasting textures? And these are implied textures because the artist is creating an illusion of texture.

And as Sofia says here, the eye is dark and the charcoal is smooth, and this contrasts with the lighter, rough surface around it.

Textures can also carry meaning.

Let's have a look at this piece of textile.

What ideas might we associate with the visual language in this piece? So what ideas might you associate or link with the visual language this piece? What does it evoke? Sofia, again, says, "It feels modern and abstract.

The colours pop." They really do, don't they? "And the textures are repeated in different sizes.

It feels quite young," doesn't feel old or worn.

It feels energetic.

A check for understanding.

Have a look at these three pieces of art, and can you decide which works contain implied texture? Well done.

Should we have a look? Yes, it is, of course, A and C.

B contains real texture.

So let's now look at some examples of artists who explore texture in their work.

So the first is Kalman Varady, who uses layered paint and mixed media to create textured surfaces that evoke, that make associations with, the struggles and resilience of the Roma people.

Anselm Kiefer incorporates materials like straw, ash, and lead to create heavily textured works that explore history and mythology.

And Winston Branch uses bold strokes and layers in textured abstract work.

Other artists that explore texture in their work include Rosey Prince, who uses mark-making to explore our impact on the landscape.

Sougwen Chung explores the relationship between humans and machines, and she uses texture to create organic, flowing forms that contrast with the mechanical precision of the machines.

And lastly, Lalla Essaydi integrates henna, fabric, and calligraphy into her photographs, exploring Islamic culture and female identity.

Examples of how texture has been used in traditional art, craft, and design practises includes: Celtic metalwork, which features interwoven, intricate textured designs, and it symbolises the interconnections of life, nature, and the spiritual world.

We also have Polynesian tapa cloth, which is made from the bark of the mulberry tree and is often decorated with textured patterns using dyes and stamps.

And we also have classical sculpture, such as Augustus of Primaporta, which often has smooth, polished marble surfaces reflecting classical ideals of human perfection.

And lastly, we have Chinese jade carvings, which involve a very tricky polishing process, reflecting the high value placed on jade as a material of spiritual and political significance.

I'd now like you to find an example of texture in artwork for our first task, and then I'd like you to annotate it using great vocabulary to describe it.

Remember that annotations mean that you are writing written notes.

And to support you on this, you might want to use the provided words that I'm gonna show you in a minute to help you describe the textures you find.

So remember, you are focused on the textures and annotating and describing them.

So here is a list of very good descriptive vocabulary that you might like to include in your annotations, if relevant for the texture you have chosen.

Pause the video.

Well done.

How did you get on? I wonder how much of that vocabulary you used, or your own vocabulary.

Now I'd like you to explain how the use of texture contributes to the visual language of the artwork.

So consider how the implied or actual texture can help to create intrigue or interest, create contrast, or communicate ideas, associations, or feelings.

Pause the video.

Well done.

So let's see what our Oak pupil has said.

So Alex chose this piece of artwork and then has explained that the texture is very rich and varied, with soft, fluffy wool and smooth, shiny yarns creating a very tactile surface.

So Alex has used some of our keywords today.

And then he's explained that the different textures make the piece look interesting, and it looks inviting to touch, as each area feels different under your fingers.

The use of thick, chunky yarns versus thin threads adds a sense of depth.

Take a moment to reflect upon your work.

Well done.

Okay, now let's move on to our second part of our lesson, which is creating experiments with textual effects.

So this Oak class are generating new ideas for building texture in their work.

One saying, "I'm not sure really where to go next." Their classmate is saying, "You need to find inspiration and consider a range of ideas, because that will help you develop your creative journey in new directions." So if you are not sure where to go next, think about a range of ideas.

Find inspiration.

True or false? Check for understanding.

The more you look, the more ideas you'll have.

Well done.

Yes, of course, that's true.

As we've just seen the Oak pupils say.

Looking at art for inspiration connects you to a broader artistic community.

It helps you discover new ideas to refine your style and create more meaningful work.

Izzy is reviewing her own work for inspiration.

So she's got bold, contrasting textures and tones, interesting surface texture, but it's very, very faint.

And this is successful due to the shiny, smooth versus the drier, broken skin's surface.

So Izzy is saying, "I'll use bold, contrasting textures, and I can contrast colours and tones too." What can you learn from what you've already made? Like Izzy, can you review what you've already done to inspire you for moving forwards? So you could make implied textures, so the illusion of textures, by using crosshatching, stippling, or dry brushing.

Adding digital textures, grunge, paper, or applying filters.

Creating relief prints or rubbings to create textures from surfaces and use lighting or editing to emphasise or enhance textures.

You could create tactile surface texture, so real texture, by: Carving patterns into plaster or clay like we can see in this first image; building up paint, plaster, tape, or paper-mache for a rough surface like in the second image; attaching fabric, sand, fabric, or found objects, so objects that you find; pleating, quilting, or embroidering textiles like in the third image; and pressing objects into clay or plaster.

How could you then combine both tactile and implied textures? So how could you combine both of those elements? This is an example here.

Sam says, "I really like the contrast of the implied texture of the biro mark-making and the rough, sanded surface of tissue and PVA glue." So the artist has created a surface of tissue and PVA glue, real texture, and then once that's dried, they've gone over with a biro and used crosshatching and other mark-making techniques to create implied texture.

You might combine tactile and implied textures by: Creating textured backgrounds for drawing, pairing raised textures with smooth elements, printing photos on textured paper, attaching physical objects to the artwork, ripping, tearing, or fraying your artwork.

A quick check for understanding: Which example describes a tactile artwork? Is it a line drawing of a cactus, a digital photograph of a rough stone wall, or a clay sculpture with carved grooves and raised patterns? Well done.

Of course, it is C.

Because a line drawing of a cactus and a digital photograph of a rough stone wall are both implied texture.

Sam is exploring tactile surfaces, and she tries layering tissue, PVA, and book pages to create wrinkles.

And she sands back the surface once dry, scraping paint over collaged papers and drawings.

And she also tries building up a surface using masking tape, scrim tape, and paint.

She reflects on how the visual language communicates through each experiment, so that the surface feels uneven and aged.

In this one, there's a modern feel which is reminiscent, reminds her of the blur effect in a film.

And the third, of course, feels quite graphic.

It feels solid and layered, and the grid pattern is repeated, creating a sense of order.

Sam has then applied the knowledge from these initial experiments to make more refined outcomes.

Have a really close look at those refined outcomes.

And Sam says the forms emerge from the layers of collage in the background, and that she's added texture with a dry brush effect.

So let's move on to our last task, and I would like you to now review your theme, your source, and the materials available to you, and think to yourself: what ideas do you have for developing the use of texture within your work? And then I'd like you to share your work so far and discuss how to develop your ideas.

Pause the video.

Well done.

So Aisha says, "My source of party food is full of texture.

I'm going to refer to that to make some clay models that create really tactile and tempting surfaces." And Andeep says, "I've been looking at spaces, and I found an artist that uses print to make textures in landscapes.

So I might try and develop that as a focus." And then, looking at the sharing and developing of ideas, Aisha continues and says, "I will use clay to make textured models of the food on the table, and I can use a range of tools and glazes to create tactile surfaces." Lucas discusses that with her and really challenges her to think even more deeply.

He says, "Will you just copy the food? Or last time, you zoomed in on a section and found some really interesting textures.

Could you actually explore how to make these textures using different tools? And perhaps you'll discover something." So hopefully your discussion was as rich as this, challenging one another to think further.

The third part of our task is to experiment with materials to create those textural effects.

So you might: produce thumbnail experiments in your sketchbook, produce design drawings, or draw or create a photo shoot or shoot plan, make maquettes or small models, test material combinations, and evaluate them.

Or finally, you might work digitally.

Pause the video.

Well done.

Well, let's have a look at what Andeep has done.

So Andeep says he's been experimenting with inks and acrylics to roll and scrape and paint with them, and then to press print to reveal textures in the ink on the new paper.

He's working in layers to reflect the landscape photos in my fine art spaces project.

Now the last part is to evaluate how effective your use of texture is.

Consider how your use of texture: creates visual interest, creates contrast, communicates ideas, feelings, and meaning.

Pause the video.

Well done.

How did you do? Well, let's see what Alex says.

So Alex says about his design that his textures are interesting and very tactile and that the contrast is effective in places, but it could be better.

So he's looking at what's good and what could be better.

He says, "I tried to communicate a feeling of joy and fun," which I think he's really got here, actually.

But he says, "I think while the textures are quite fun, the feeling is lost due to the colour choices and the straight lines produced by weaving." So perhaps you could have more colour, bright, poppy colour.

Well, well done, and thank you for joining me today for this lesson: "Texture." We've learned that texture can make an artwork more engaging by providing a tactile quality that draws viewers in.

We've learned that these different textures can evoke different feelings.

They can make associations to different feelings.

For example, rough textures might convey rawness or chaos, while smooth textures can suggest calmness or serenity.

Texture can create contrast within a piece, emphasising certain areas or elements and adding a sense of three dimensions.

And textures can carry meaning, reflecting concepts like decay, growth, or transformation.

Thank you again, and I hope to see you very soon.