Week 4 Texture

leavesSeptember 20 Texture pages 69 – 79; Additional reading: Seeing, PDF Annie Dillard, Pilgrim at Tinker Creek, 1974.

Reading Presentation; Quiz #3; Discussion; Photography

September 22 Design Activity # 3:

Observe the contemplative photography texture gallery and the pxl gallery

Design activity: Read the assignment on Texture here. 

Use a digital camera to capture compelling textures from the outdoors environment.Experiment with a DSLR, ProCamera app, or the Olloclips, if you desire. 2. Write a descriptive blog post about your experience photographing texture, focusing on the images’ formal characteristics.

Include  1)  5+ clear and engaging images (photographs, screenshots) or a video of your work from the day’s design related activities and 2) a 100+ word write-up, video, or sound file (think short podcast) of what you achieved (or what you were working toward) from a design thinking perspective. Use vocabulary, concepts  and ideas from the week’s material. The blog post is due Sunday by midnight.

*Optional design challenge: Try to re-create one of the textures typographically in an illustration program such as Adobe illustrator, employing repetition, scale, layers, and color. Select a typeface/font that illustrates the texture you are trying to represent. Examples:


Activity tips (from the Miksang Institute for Contemplative Photography:

You can feel visual texture everywhere: from the roughness of a concrete wall, to the smoothness of a car’s trim, to the bumpiness of a maple tree’s bark, to the softness of a child’s skin. Seeing texture has an almost tactile quality, which can help you connect deeply with form. As you move through the world, you can feel your way as you look.
Notice how the quality of light affects the perception of texture. Rough surfaces will look one way on an overcast day; another on a bright, sunny day; and another in twilight. When an object is lit strongly from the side, the sharply contrasting brightness and shadow will give it more depth and dimension. When the light is indirect, the texture will be apparent but less pronounced. At twilight the texture will be muted.
As you do this assignment, it’s important to look not for textured things but for the visual experience of texture itself. Whether it is rough or smooth—creases in soft leather or the sheen of satin—it should become tangible visually. Feel the surface with your eye, mind, and gut. If you try to shoot textured things, you might think, “Bark is rough and rocks are jagged. I should go looking for some bark and rocks to shoot.” When you find bark and rocks, you could shoot them without actually experiencing their textures. You see them, and they confirm your preconceptions: “Yup, those things are pretty rough.” Then you take some pictures without really seeing anything. That would defeat the purpose of the exercise.