![]() ![]() ![]() Natural scenes like this one are great: the craggy, snow covered terrain conveys tons of tactility. Savvy designers like the folks at Poco People, a design firm, overlay flat graphics on top of a photograph that is particularly texture heavy. Website landing pages are a great place to showcase photography. In these cases it may not be possible to bring in actual texture, but it is always possible to evoke texture by letting photographs of particularly texture-heavy scenes do the work. Now say you’re working in one of the many graphic design products that do not involve thick paper or fabric-web sites, posters, magazine layouts, and so on. Meanwhile, the label at right uses a technique that is unique to labels: it uses a ribbed adhesive that results in subtle ridges on the finished label, giving it a distinctive hand feel. The labels shown above nicely demonstrate the effects of embossing in positive relief (left) and negative relief (center). Grainy paper stock and embossing work well here too. A label that is nicely textured will convey an elegance that visual design alone cannot. When a customer goes to buy a bottle, he or she often picks it up by its body, where the label is. Labels Left to right: Embossed label for Vedernikov Winery negative embossing for Sea Smoke a label using flexible dieīeer and especially wine labels are also great candidates for a textured approach. Letterpress printing is a common way of of achieving such textured letter forms. They can also use techniques like embossing-molding or stamping a surface so certain elements are recessed or stand out in relief. To achieve interesting texture in business cards, designers can employ special paper stock of different thickness and grain. ![]() Texture here can convey key information about the owner’s social status and taste (at least according to Patrick Bateman). Business cards Clockwise from left: Textured business cards for Lift, Arūnas Kaltanas and Koodoz DesignĪs anyone who has seen “American Psycho” knows, it is not only the look but the feel of a business card that is important. With soft cover books, designers can introduce texture in the form of raised letters (above, bottom right). Today book cover designers continue to take advantage of the texture of fabric-based hard cover books (above, top right). Thus, besides clothing and tapestries, perhaps no design product better exemplifies texture than books, the hard covers of which used to be made out of woven fabric, as you can see in the Victorian volume shown above left. The word “texture” comes from the Latin textura, meaning “weaving.” The feel of fabric is central to the term’s significance. Book covers Clockwise from the left: Binding for The Scouring of the White Horse, 1859 single color letterpress cover for “Topophobia” paperback embossing for “2666” It is typically limited to paper-based items like book covers, business cards and product labels. This category refers to graphic design products that are able to incorporate actual three-dimensional texture effects. New tools have allowed illusionistic texture to become ever more sophisticated its place in the design world is smaller now, but still important.īut what exactly is texture in graphic design? We are talking about a generally two-dimensional medium, after all. We can answer this question by exploring three types of texture that are trending today: actual texture, texture in photographs and simulated texture. And the old, trompe l’oeil approach to texture has not completely disappeared either. On the contrary, texture has become arguably even more important as a foil for flat design, with each component amplifying the other’s qualities. Leading designers have adapted to this new condition by avoiding 3D illusions and instead focusing on striking shapes and outlines, rendered in bold, unmodulated color areas. Does this mean the end of texture in graphic design? Not at all. ![]() Graphic design is in a very flat phase right now-designed on and often for computer screens. ![]()
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