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Once I've got a good structure underneath and put the tones in the right places, all I have to do is suggest texture thoughtfully... and the viewer's eye will fill in the rest. (Gaye Adams)
A subtle amount of texture attracts the eye. (Clyde Aspevig)
Texture can occur before you put brush to paper, it can be added during the process, or as the final step of the painting... The eye will be attracted to the textured areas... guide your viewer through the painting. The general rule is to use less not more. (Donna Baspaly)
Texture is most evident where dark meets light on the turning edge and at the outer edge. Experience has taught us to assume that the areas in between have similar features. (Rex Brandt)
Surfaces reveal so much. The marks painters make reveal so much about their work and themselves; their sense of proportion, line, and rhythm is more telling than their signature. Looking at the surfaces of nature may offer equivalent revelations. What do these shapes and patterns reveal about the world and their creator? Surfaces hide so much... (John Paul Caponigro)
My paintings of the landscape continued quickly in a free, impressionistic manner, until Mother Nature provided the texture in the form of rain! (John Darlinson)
Texture adds variety and visual stimulus to the surface of a painting. (Britton Francis)
The texture at the edge or value change tells what it is. (Tony van Hasselt)
Texture is the most enduring and ubiquitous underpinning of form... certainly a calming, meditative and appealing world for both the eye and mind. (Lynda Lehmann)
I paint in acrylics, initially diluted as watercolour, then I overpaint with undiluted paint using square brushes and, finally, a palette knife. My aim is to combine the translucent effects of watercolour with impasto textures. (Terry McKivragan)
A smooth paint surface will reflect light and a rough surface will absorb light. A smooth surface will also attract the eye, because it reflects more light... Thicker paint will attract the eye more than thin paint, because the thick layer of paint appears closer to the observer. (Neil Patterson)
Towards the end of the painting, I start to use my fingers to build up thick impasto layers of texture. (Deborah Phillips)
The impression of wood-grain... must be considered, not only as regards texture and visibility, but for the occasional possibility of the expression of form. A soft wood, with hard annulations, such as fir, prints very dearly. (Walter J. Phillips)
Texture adds quality to a painting and makes it appear more realistic. Texture draws the eye of a viewer – drybrushing, sponging-on, spattering with paint-loaded brush... Spattered dots become the 'diamonds' that add sparkle even in the darkest shadows. (George Politis)
If the painter has a good sense for the feeling that is to be conveyed in the painting, it will be easy to select the right texture to work with it. (Stephen Quiller)
interesting brushwork creates the kind of music that you can only see close up, a key element of a great master. Velasquez and Titian both realized this a long time ago, and set artists down a path that led to master works by great artists such as Sargent and Sorolla. (Barry John Raybould)
I aim for an abstract element of a realistic subject and use texture to add interest and suggest depth. (Margaret Roseman)
Indifference is isolation. In difference is texture and wonder. (Edwin Schlossberg)
There is a better chance of getting an exciting painting from a laboured study with texture than from a fine drawing without it. (John Sloan)
My approach is to build up layers of textured paint, allow them to dry, then drybrush over them. It's a time-consuming process, but I love the rich, vibrant, colorful results. (Raquel Taraborelli)
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