It is said that color and form are the dual media for expression. But for those who know better, the fusion of both in the form of texture is also a distinct medium. The root word for texture means to weave but this term has been broadened to the arts and even in interior design.
When observed in this manner, all materials that are used for interior design have a texture which is one of the most important characteristics there is. When the walls are without texture, you are literally putting everything on a meaningless canvas, hence, brown, when used as a flat color is boring and bordering unpleasant. Use this same hue on an interesting texture such as that in walnut, oak, paper, wool or silk; and it becomes significant.
Texture in Everything
The texture is relevant because it makes color gradation possible. Going back to that flat color – it will never be beautiful when left on its own. In a broader sense, flat colors do not appear in good art or natural architecture. Flat tones may be useful in interior design only when it is used to contrast the tones of walls, rug or hangings. On its own, it is unfeeling and monotonous.
Texture also offers a beautiful surface irregularity. This unevenness in flock papers, woven fabric, wrought iron or hardwood grains causes surface colors to break up into the smallest gradations of shade and light. It, therefore, banishes lifelessness and hardness.
Apart from tones and hues, texture also possesses emotional values because of the association of ideas. An interior designer is trained to group textures with different textures. As this expert designs and converges colors and forms, he produces design unity through likeness insignificance or appearance.
For example, when you feel or see the texture of oak, you think of subtle crudeness and strength. The way to go is to group it with low tones or simple shades but with relatively heavy textures such as velvet, leather or tapestries.
On the other hand, satinwood is seen to be delicate and smooth so it must be grouped with brocade, damask or taffeta because they are relatively smooth, lustrous and graceful.
Without a doubt, the significance of texture lies in the association. The flawless application of texture defines the home more than the consistency in style or ornaments. Be careful in using certain textures because some, when grouped together, can be unsympathetic.
Harmonious grouping and the choice of texture is a difficult part of the interior designer’s work. If there is one aspect that is not applicable to texture, though, this would have to be the cost or price of the materials.
The most expensive lighting fixtures can still go well with moderately-priced furniture. There are other applicable elements to consider but the price is never a factor.
Lustrous textures should be grouped with equally lustrous pieces while the dull ones should go with their dull cousins. But, keep in mind that all rules have their exceptions such as in the case of bright-colored fabrics. Take for instance the light cretonnes which are better paired with Scotch or Brussels ingrain types. At the end of the day, harmony in color is a more important aspect.
In essence, the texture isn’t there for the designer to freely express his ideas. He merely uses this to affirm colors, form and to highlight decorative effects. He must also learn to group accordingly without the understanding of which ends up in chaos. The texture is slowly being recognized and appreciated in interior design. Beauty, after all, is also dependent on it. As your interior designer makes suggestions later, at least, now you can discuss in terms that he would understand.
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