Texturas
Si tocas algo (muy probablemente) alguien lo sentirá.
Si sientes algo (muy probablemente) a alguien le tocará.
Rick Valicenti
Pintura de dedos de alta tecnología Las
letras del alfabeto Touchy Feely de Rick
Valicenti fueron pintadas sobre vidrio
vertical y registradas con fotografías de
larga exposición mediante una cámara
digital de gran formato Hasselblad. Rick
Valicenti, Thirst.
La textura es el grano táctil de las su-
perficies y sustancias, nos ayuda a
comprender la naturaleza de las co-
sas: los rosales tienen espinas para
proteger las delicadas flores; una
carretera de piso uniforme indica un
tránsito seguro; una niebla espesa
tiende un velo sobre nuestros ojos...
La textura de los elementos de diseño
se corresponde con su función visual.
Una superficie elegante con delicados
estampados puede servir para ador-
nar el interior del edifico de un spa o
sus folletos publicitarios; de la misma
forma en que una alambrada de púas
puede funcionar como una metáfora
de la violencia o del encarcelamiento.
En diseño, la textura es física y vir-
tual. Comprende tanto la propia su-
perficie empleada en la factura de una
pieza impresa o de un objeto físico,
como la apariencia óptica de dicha su-
perficie. Un papel puede ser rugoso o
liso, un tejido fino o rústico, y el mate-
rial de embalaje brillante o mate. Las
texturas físicas afectan al tacto de los
objetos, pero también a su aspecto.
Una superficie lisa o brillante, por
ejemplo, refleja la luz de manera dife-
rente a como lo hacen una blanda o
una pedregosa.
Muchas de las texturas que mani-
pulan los diseñadores existen como
efectos ópticos y como representa-
ción, el receptor no las experimenta
físicamente. La textura incrementa el
nivel de detalle de una imagen, pro-
porciona una cualidad general distinti-
va a su superficie, y recompensa la
mirada que la observa desde cerca.
Ya sea al componer la tipografía o
al representar un árbol, el diseñador
fija un tono determinado, refuerza un
punto de vista, o transmite una sensa-
ción de presencia física. Un cuerpo de
texto compuesto en Garamond cursi-
va tendrá una apariencia delicadamen-
te irregular, mientras que otro en Uni-
vers romana será homogéneo desde
una perspectiva óptica, y de tonalidad
uniforme. De forma similar, una ilus-
tración vectorial dibujada con líneas
suaves transmitirá una sensación dife-
rente a la de una imagen tomada con
una cámara o generada por código.
Como sucede en la vida misma, la
belleza de una textura en diseño estri-
ba a veces en yuxtaposiciones y con-
trastes marcados: puntiagudo/suave,
húmedo/seco, encrespado/liso, etc. Al
poner una textura en relación con su
opuesta, o con otra análoga, el diseña-
dor puede amplificar las propiedades
formales exclusivas de cada una.
Este capítulo presenta un amplio
espectro de texturas generadas ma-
nualmente, con cámara, por ordena-
dor o por código. Las hay abstractas y
concretas, y han sido capturadas, con-
figuradas, troceadas, construidas y
bien cepilladas. Han sido escogidas
también con la finalidad de recordar-
nos que la textura posee una capaci-
dad genuina, visceral e irresistible-
mente seductora para atraparnos y no
soltarnos.
70  Diseño gráfico: nuevos fundamentos

Textura concreta
La cualidad física que resulta de los
procesos repetidos de cortar, quemar,
marcar y extraer origina superficies
de texturas concretas enormemente
atractivas. Los estudios mostrados a
la derecha partieron de un ejercicio en
el que se prohibió la utilización del or-
denador en las fases iniciales de desa-
rrollo conceptual y formal. Turbulence
(debajo), un alfabeto de Rick Valicenti,
evoca, de manera parecida, una cruda
fisicidad. Dicho alfabeto nació en for-
ma de vigorosos y sinuosos garabatos
que posteriormente fueron traducidos
a código.

Manipulación de superficies La textura

física de estos estudios tipográficos refleja
con habilidad los procesos activos que
describen las propias palabras. Las líneas
que se entrecruzan en la tabla que el artista
utiliza para cortar recuerdan a la retícula de
un plano urbano. Alumno: Jonnie Hallman.
Asignatura: Diseño gráfico I. Profesor:
Bernard Canniffe.
71 Texturas
72  Diseño gráfico: nuevos fundamentos

Hayley Griffin

Texturas físicas y virtuales Este ejercicio

consiste en construir conexiones entre
texturas físicas y virtuales (entre el tacto
y el aspecto de las superficies). Los
diseñadores emplearon cámaras digitales
para captar texturas sugerentes de su
entorno. A continuación, escribieron un
párrafo descriptivo de cada de una de las
texturas, centrándose en las características
formales de sus imágenes.
Con estos textos descriptivos
como contenido, recrearon las texturas
tipográficamente en Adobe Illustrator,
utilizando la repetición, la escala, el color
y diferentes capas. La selección de
los tipos era libre, pero no se permitía
distorsionar la escala. Asignatura: Diseño
Grey Haas Gráfico l. Profesor: Mike Weikert. Tim Mason
 73 Texturas
Textura generada por código El tipógrafo
suizo Emil Ruder afirmó una vez que las
máquinas no pueden reproducir los ritmos
vitales e individuales de la tipografía. Estas
letras generadas por código demuestran
lo contrario. Creadas mediante el lenguaje
informático Processing, componen formas
efervescentes, orgánicas y, de hecho,
llenas de vitalidad. Alumna: Yeohyun Ahn.
Asignatura: Estudio del Máster de Diseño
Gráfico.
 On the season premier episode of extreme home makeover, host decided
to start things “bang”. Usually when comes time for the demolishing
the house, volunteers, bring bulldozers, steam shovels plows wrecking
ball, and other equipment. They usually take down the house clear
On Wednesday, owners and workers downtown
74  Diseño gráfico: nuevos fundamentos
debris away three hours This time the demolition part took seconds the boom shattering glass Everyone first feared add
surprise pulled out a timer and told stand across the street from house another These fears were quickly dispelled mad
Everyone counted down from ten When the timer reached zero what
once the house was now a huge ball of fire Simultaneously fire began
when sources noise traveled into sight fighters a
lake behind the house marching band started marching down the street Witnesses couldn’t believe their eyes Building its
playing music. All the onlookers started singing along they watched the
sized vegetables were bouncing down the foxes
dynamite exploded house continue to smolder. Fire trucks performed
crowd by releasing spurts of water at the house in time to the music fire street smashing things that got into their wand
trucks, acrobats did routines on the lifting lowering ladders Everything Small found throughout city had begun vegetable
seemed to wrap up in ten minutes. The plows moved in remove debris
and things went back to normal for at least an hour. It took an hour for
their Suddenly some unseen force dervish fusion
the explosion blast to effect the tectonic plate located underneath the levitated tarnish and into the streets water cared
home. At approximately 12:35, people in the area experienced a class humongous siblings Fire trucks and cops sandy
four earthquake, a three on the richter scale. It lasted approximately five
shoot down hose down, and rope down every an
traffic hazards Nothing worked. vegetables alter
Look in thy glass, and tell the face thou viewest Now
is the time that face should form another Whose fresh
repair if now thou not renewest Thou dost beguile
the world, unbless some mother For where is she so
fair whose unear’d womb Disdains the tillage of
thy husbandry Or who is he so fond will be the tomb
Of his self-love, to stop posterity Thou art thy mother’s
only leaked lifesize seeds tons of juice onto most
buildings, pedestrians streets. The parade of lost
glass, and she in thee Calls back the lovely April
of her prime So thou through windows of thine age
shall see Despite of wrinkles this thy golden time But

vegetables apparently was first spotted upper

if thou live remember’d not to be Die single, and
thine image dies with thee Look in thy glass, tell the
face thou viewest Now is the time that face should

Manhattan and traveled all the way to the Statue

renewest Thou dost beguile the world, unbless some
mother For where is she so air whose disdains the

Liberty, where they then moved out to sea. Mast

Shall I compare thee to a summer’s three hours the parade had managed structurally
day Thou art more lovely and more damage thirty five buildings, scare the population
of the New York City, and leave them without add
temperate Rough winds do shaken vegetables for potentially a week (a scary thought

the darling buds of May And much

summer’s lease hath all too shorting
Cinco cuadrados 25 centímetros a date Sometime too hot the eyes
of heaven shines And often is his
For instance, pick a geometry we have studied which you find interesting. Is there some aspect of it which was discussed briefly

Todas las familias tipográficas poseen una in class but which we didn’t pursue? Is there some way of changing the rules which intrigues you? If you’re not having much

textura óptica inherente que resulta de la gold complexion dimm’d And every luck, browse through the textbooks. Look at the books on reserve at the library. Talk to me. Once you have tentatively chosen

acumulación de rasgos como los terminales, fair from fair sometime declines By
a topic, write a few sentences explaining it. If you are creating your own model, describe exactly what it is. If there’s something

chance or nature’s changing course

missing from a proof, or from the coverage of a topic in one of the books, or whatever, describe what’s missing. Turn in your

la inclinación, la anchura o la proporción. choice of topic, together with the brief explanation. Make an outline. Now that you have chosen the topic, you should know at

Estos atributos interactúan en la página

con el tamaño, el interletraje, el interlineado
untrimm’d But thy eternal summer least in principle what geometry model(s) you will be working with. The next step is to decide what questions to ask about it

shall not fade Nor lose possession

So make up a list of questions about your model. Does it need a distance function? Do you plan to determine what corresponds

y el estilo de párrafo seleccionados por el to circles? Select several of these questions (1 is too few; 10 is too many) which you hope to answer while writing your essay

diseñador para configurar una textura of that fair thou owest Nor shall tie Divide them into appropriate categories. Now you’re ready for the outline: Start with an introduction, end with a and put the

general. Death brag thou Julie

wander’st in these
various (categories of) problems in the middle. Briefly describe each part. Turn in your outline. Do the math Solve

Diewald
shade When in eternal lines to time
the problems. This is the fun part! Make a rough draft Write up what you did. You need to include enough detail so that

En este ejercicio, los diseñadores people can understand it. Most calculations should be given explicitly. Lots of figures (with suitable captions/descriptions) are a

compusieron cinco cuadrados justificados

de tipografía dentro de un marco de
thou growest So long as men can big help. But you also need to include enough words so that people can understand it; theorems and proofs may be appropriate

breathe or eyes can see So long

but are certainly not sufficient. Turn in your rough draft. Rewrite as needed Be a perfectionist. Fix your math mistakes

25 centímetros. La variación en el estilo

tipográfico, la textura y el valor se lograron lives this and this gives life to thee
mediante la combinación de rasgos dispares,
como terminales en cursiva de estilo clásico,
tipos de palo seco de peso uniforme, tipos
egipcios geométricos, etc. Los valores de luz
y sombra (color tipográfico) se controlaron
de nuevo mediante la combinación de la
anchura de los tipos, el interletraje y el
espacio entre párrafos.
Por último, los estudiantes manipularon
la escala y la colocación de los cuadrados
para conseguir un equilibrio compositivo,
tensión y profundidad. Se permitía que los
cuadrados fuesen a sangre para reforzar la
ilusión de amplificación o de alejamiento.
Asignatura: Tipografía I. Profesora: Jennifer
Cole Phillips.

Anna
Student
Eshelman
Name
 My mouth tastes like menthol, newly minted coins, and

75 Texturas
blood. the flavor of clean. flossed and metallic, french
kissing a robot. You told me something wednesday night
My mouth tastes like menthol, newly minted
coins, and blood. the flavor of clean. flossed
and metallic, french kissing a robot. You told
me something wednesday night that made

that made me chirp and glow. Do you know you do me chirp and glow. Do you know you do that?
Your love is one to revel in. You mean so many
subtle things. Like the way wassail burns the

that? Your love is one to revel in. You mean so many subtle back of your throat, but draws you back for
more. like waking up and keeping your eyes
closed and your heartrate low. like the color

things. Like the way wassail burns the back of your throat
of the sky when it snows. like that second when
the blades on a ceiling fan finally come to a
smooth halt. you embody everything i have
ever known, loved, and stored in mind. If I

yet draws you back for more. Like waking up and keeping were a transformer, I’d fold into a cat. Maybe

your eyes closed and your heartrate low. Like the color of
the sky when it snows. Like that second when the blades
on a ceiling fan finally come to a smooth halt. you embody
My mouth tastes like menthol, newly
minted coins, and blood. the flavor
of clean. flossed and metallic, french
kissing a robot. You told me something
wednesday night that made me chirp
and glow. Do you know you do that?

everything i have ever known, loved, and stored
in mind If I were a transformer, I’d fold into a cat. Maybe.
My mouth tastes like menthol, newly minted
coins, and blood. the flavor of clean. flossed
and metallic, french kissing a robot. You told
me something wednesday night that made me
chirp and glow. Do you know you do that?
Your love is one to revel in. You mean so
many subtle things. Like the way wassail
burns the back of your throat, but draws you
back for more. like waking up and keeping
your eyes closed and your heartrate low. like
the color of the sky when it snows. like that
second when the blades on a ceiling fan finally
burns the back of your throat, but draws you
back for more. like waking up and keeping
your eyes closed and your heartrate low. like
burns the back of your throat, but draws
closed and your heartrate low. like come
to a smooth halt. you embody everything
Your love is one to revel in. You mean
so many subtle things. Like the way
wassail burns the back of your throat,
but draws you back for more. like waking
up and keeping your eyes closed and
your heartrate low. like the color of
the sky when it snows. like that second
when the blades on a ceiling fan
finally come to a smooth halt. you
embody everything i have ever known,
loved, and stored in mind. If I were a
transformer, I’d fold into a cat. Maybe
My mouth tastes mentholey, newly
minted coins, and blood. the flavor of
clean. flossed and metallic, french
kissing a ro bot. You told me something
wednesday night that made me
chirp and glow. Do you know you
do that? Your love is one to revel
in. You mean so many subtle things
Like the way wassail burns the
back of your throat, but draws you
for more. It’s waking up, keeping your
eyes closed and your heartrate
low. like the color of the sky when
it snows. It’s that second when the
blades on a ceiling fan finally come
to a smooth halt. you embody
everything I’ve have ever known,
loved, and stored in mind. If I were

Anna Eshelman Ellen Kling

At the Pentagon, Defense Secretary Donald H

Rumsfeld said that while it was unclear what
role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the United
States or any other nation to do so unilaterally
At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did not

At the Pentagon, Defense Secretary Donald H expect the United States or any other nation to do so
At the Pentagon, Defense Secretary Donald H Rumsfeld

Rumsfeld said that while it was unclear what

said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did not
expect the United States or any other nation to do so

role the U.S. military might take in enforcing At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military

new U.N. sanctions, he did not expect the United might take in enforcing new U.N. sanctions, he did not
expect the United States or any other nation to do so

States or any other nation to do so unilaterally

At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did not

At the Pentagon, Defense Secretary Donald H expect the United States or any other nation to do so
might take in enforcing new U.N. sanctions, he did not

Rumsfeld said that while it was unclear what

role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the United
States or any other nation to do so unilaterally
At the Pentagon, Defense Secretary Donald H
Rumsfeld said that while it was unclear what
role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the United At the Pentagon, Defense Secretary Donald H.
Rumsfeld said that while it was unclear what role
the U.S. military might take in enforcing new
U.N. sanctions, he did not expect the United
States or any other nation to do so unilaterally.
At the Pentagon, Defense Secretary Donald H.
Rumsfeld said that while it was unclear what role
the U.S. military might take in enforcing new
U.N. sanctions, he did not expect the United
States or any other nation to do so unilaterally.
At the Pentagon, Defense Secretary Donald H.
Rumsfeld said that while it was unclear what role
the U.S. military might take in enforcing new
U.N. sanctions, he did not expect the United
States or any other nation to do so unilateral-
lyAt the Pentagon, Defense Secretary Donald H.
Rumsfeld said that while it was unclear what role
the U.S. military might take in enforcing new
U.N. sanctions, he did not expect the United

At the Pentagon, Defense Secretary Donald H

Rumsfeld said that while it was unclear what
role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the
At the Pentagon, Defense Secretary Donald H
Rumsfeld said that while it was unclear what
role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the
At the Pentagon, Defense Secretary Donald H
Rumsfeld said that while it was unclear what
role the U.S. military might take in enforcing
new U.N. sanctions, he did not expect the
At the Pentagon, Defense Secretary Donald H
Rumsfeld said that while it was unclear what
At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did
not expect the United States or any other nation to do so
At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did
not expect the United States or any other nation to do so
At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did
not expect the United States or any other nation to do so
At the Pentagon, Defense Secretary Donald H Rumsfeld
said that while it was unclear what role the U.S. military
might take in enforcing new U.N. sanctions, he did
not expect the United States or any other nation to do so

Student
HyunSooName
Lim Student Name
Julie Diewald
76  Diseño gráfico: nuevos fundamentos

Wenji Lu
Retratos tipográficos Esta exploración de palabras extraídas de textos biográficos
texturas tipográficas parte de una fotografía de los alumnos. Asignatura: Tipografía de
en blanco y negro básica. Los diseñadores posgrado. Profesora: Jennifer Cole Phillips.
trasladan después las cualidades tonales
y de textura de la foto empleando solo
variables tipográficas, como el peso
(grosor), la variante, el cuerpo, la alineación
y el espaciado, para tratar de lograr una
imagen semejante. Las soluciones van de
lo más fiel y articulado a lo más libre y
expresivo, y están construidas a partir de
 77 Texturas
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DIG E LE D
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USE CT TO LIGH T T H E Y

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S A BE S RST I
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AL A
T H E L I G H T N E S S

T W I IC
H A I GHT A C T N E T
FR NI M R E B E I N G

T S ATEND E N S E
O F
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OF D I F O M A
ON CT R ALI
U D E M ’M A N I O JE
P R E S E N T I N

E
EL N G D
NG AN

Yushi Luo Katrina Keane

Lolo Zhang
78  Diseño gráfico: nuevos fundamentos

Armonía y contraste de texturas

Los detalles de una superficie pueden
tener características armónicas o con-
trastantes y producir distintos efectos
visuales. Algunas texturas gozan de
un alto nivel de contraste y se confec-
cionan a partir de elementos de tama-
ño relativamente grande; otras, bajas
en contraste, poseen un grano fino y
delicado. La textura gomosa y flácida
de un preservativo contrasta con la
piel blanda y amoratada de un plá-
tano. Las letras pueden construirse
con dramáticos brochazos, vigorosos
y densos; o con crujientes tiras de pa-
pel; y cada técnica imbuirá a la página
de una cualidad física particular.
Satoru Nihei
 79 Texturas
Textura alfabética Estos alfabetos pertenecen
a una colección heterogénea creada para
el experimento de Rick Valicenti titulado
“Playground”, en el que las letras están
construidas a partir de objetos y procesos
físicos. Diseñadores, de arriba abajo: Michelle
Bowers, Rick Valicenti, Jenn Stucker.