Concerning Texture
The world about us is teeming with texture, and as visual artists it is one of our great challenges to explain the textural surfaces of objects in visual terms. By its very nature, paint, when it is applied, tends to create a smooth brushstroke, unless [a] it is a granulating colour (caused by one or more of the pigments used in its manufacture), or [b] it is applied to a rough surface.
These two conditions make life much easier for the artist if texture is on his or her mind. Granulation produces an interesting, random grainy pattern within the brushstroke, and rough paper is largely responsible for creating a dry-brush technique.
Here, I thought it might be useful to list what other techniques are available for creating texture:
Stippling is where paint is applied to the paper in a stabbing motion. Varying the pressure of those stabs and twisting the brush around in your hand as you perform this manoeuvre will increase the random nature of the result.
Spattering is flicking the paint at the paper. Knocking your brush against the side of your hand is the traditional method of launching it. The result is a random smattering of paint spots of different sizes. Care must be taken with your aim – the surrounding wash can be protected by using card or paper as a ‘mask’.
Spongeing, not unsurprisingly, is the application of paint using one of those little yellow natural sponges you can buy in art shops, instead of by brush. Since no two natural sponges are identical, the random pattern can be altered almost indefinitely.
Wax resist is the daubing of clear (or coloured) wax onto the surface of the paper in a random pattern before applying paint to it.
Cling-Film, applied to a damp wash and ‘crinkled-up’ where it lays, creates an interesting, random ‘marbling’ pattern.
Salt Glazing is the sprinkling of sea-salt onto the surface of a damp wash. The salt flakes (better than crystals because they come in a random variety of shapes) soak up moisture from the wash in an unpredictable fashion. Timing is crucial with salt-glazing; the earlier you add it, the more moisture is soaked up, and the larger the pattern.
A key word mentioned several times in the above is Random. Some techniques are, by their very nature, more unpredictable and less easy to control than others. In my book, this makes them more effective. A technique repeated several times is in danger of creating a repetitive ‘wallpaper-type’ pattern. It’s best not to have too steady a hand! There you go then. Just a few texture-creating techniques for you to have a play with. That’s not to say that this list is complete by any means. The resourcefulness of artists never ceases to fascinate me. If I’ve missed out any favourite technique of yours, please let me know.
