2. Objectives Students should be able to: Perceive and appreciate the textural elements of a design. Express your views on an issue through your artwork. Use appropriate collage techniques.

3. Vocabulary Texture Real texture Visual texture Simulated texture Invented texture Matte surface Trompe-l’oeil Collage Frottage Grattage Decalcomania Foreground Middle ground Background

4. Texture Project: Use collage techniques to complete a textured collage that expresses your views on an issue.

6. TEXTURE (pg. 191-192): Every surface has a texture. Texture is the element of art that refers to how things feel or look as though they might feel if touched. Textures play an active part in many of the decisions you make about the clothes you wear. The textures of food influence what you eat.

9. HOW YOU PERCEIVE TEXTURE (pg. 193-194): You perceive texture with two of your senses: touch and vision. When you actually touch something to determine its texture, you experience real texture. When you look at a photograph of velvet, leather, concrete, or ice, you see surface patterns of light and dark that brings back memories of how those objects actually feel. When this happens, you are experiencing visual texture. Visual texture is the illusion of a three-dimensional surface. There are two kinds of visual texture: simulated and invented. Simulated textures imitate real textures. (Example: plastic tables that are meant to look like wood) Invented textures are two-dimensional patterns created by the repetition of lines or shapes. These textures do not represent any real surface qualities, but the patterns stimulate the memories of actual textures. What types of textures do you see in each one of the pictures on page 192?

11. Raffaelo Monti. Veiled Lady. c. 1860. Marble. The Minneapolis Institute of Arts

12. TEXTURE AND VALUE (pg.196-197): The look of a surface depends on the manner in which it reflects light. Every surface is an arrangement of light and dark values. The roughness or smoothness of a texture can be determined by looking at the shadows. A rough surface reflects light unevenly. Rough textures show irregular patterns of light and shadow. A smooth texture reflects light unevenly. Your eyes glide across objects with smooth texture, uninterrupted by shadows. The same as your fingers would glide across them without feeling any bumps or dents. A matte surface is a surface that reflects a soft, dull light. It absorbs some light and reflects the rest. Matte surfaces have a soft, dull look. (Example: unfinished wood) Look at figure 8.11 and explain why the cotton has a matte surface. A shiny surface reflects so much light that it seems to glow. Shiny surfaces have highlights. (Example: a new car) – Matte and shiny surfaces can be rough or smooth. – Sandpaper = matte rough, – Ironed pillowcase = matte smooth, – Aluminum foil = shiny and smooth, – Aluminum foil when it’s crumpled up = shiny and rough. Look at figure 8.12 and explain why this surface is shiny.

13. Vincent van Gogh

15. HOW ARTISTS USE TEXTURE (pg. 199- 204): Artists use both visual and real textures to make you remember texture experiences. Compare and contrast figure 8.15 and figure 8.16. And how did each of these artists use texture as part of their composition? Trompe-l’oeil is French for “fool the eye”. With this style artist were masters of visual texture. These objects were painted so realistic; that you almost feel you can touch them. Many painters add real textures to their painting by using thick paint on the canvas with swirling brush strokes. (Example: Vincent can Gogh’s painting figure 8.17). A collage is when bits and pieces of textured paper and fabric have been pasted onto a painting or other surface. Architects use a variety of materials to create interesting surfaces in buildings. You can find stucco, brick wood, stone, concrete, metal and glass in modern buildings. How did Frank Lloyd Wright use texture in figure 8.19, Taliesin West? Also, what about this work makes it a work or art, instead of just another building?

16. HOW ARTISTS USE TEXTURE (pg. 199- 204): Sculptures must be aware of texture as they work because the texture of the work must fit the whole. Some sculptors imitate the real texture of skins, hair and clothes, where others create new textures. - Weavers use fibers and weaving techniques. - Potters press different objects into wet clay or apply different types of glazes. Max Ernst used three unusual techniques – frottage, grattage, and decalcomania. In frottage, the artist places freshly painted canvas right side up over a raised texture and scraped across the surface of the paint. The paint that remained created a pattern that was an image of the texture below. To create grattage effects, the artist scratches into wet paint with a variety of tools, such as forks, razors, and combs. With decalcomania, the artist squeezes wet blobs of paint between two canvases and then pulls the canvases apart. So paint is forced into random textured patterns. (Example: figure 8.26 on page 205.)

20. Foreground: The area of a picture or field of vision, often at the bottom, that appears to be closest to the viewer. Middle ground: The part of an artwork that lies between the foreground (nearest to the viewer) and the background. Background: The part of a picture or scene that appears to be farthest away from the viewer, usually nearest the horizon.

22. Collage: A picture or design created by adhering such basically flat elements as newspaper, wallpaper, printed text and illustrations, photographs, cloth, string, etc., to a flat surface, when the result becomes three-dimensional.

28. PROJECT DIRECTIONS: You will complete a textured collage that expresses your views on an issue. Brainstorm a list of possible issues you would like your collage to represent. For example: Pollution, Freedom of speech, Animal rights, etc. Decide on a topic or issue that will be the focus of your collage. Brainstorm objects, symbols, and feelings associated with this issue. Collect a variety of materials you would like to use in your collage. You must show at least 5 different textures in your collage. You must show foreground and background in your collage. – Hint: work on your background first. The entire sheet must be filled (with no poster board showing). – Hint: Do not glue anything down until you are sure of where you want them to be.