APA 6th Edition Gaj, B. (2009). Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti. Školski vjesnik, 58 (2.), 171-187. Preuzeto s https://hrcak.srce.hr/82594
MLA 8th Edition Gaj, Barbara. "Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti." Školski vjesnik, vol. 58, br. 2., 2009, str. 171-187. https://hrcak.srce.hr/82594. Citirano 19.10.2021.
Chicago 17th Edition Gaj, Barbara. "Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti." Školski vjesnik 58, br. 2. (2009): 171-187. https://hrcak.srce.hr/82594
Harvard Gaj, B. (2009). 'Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti', Školski vjesnik, 58(2.), str. 171-187. Preuzeto s: https://hrcak.srce.hr/82594 (Datum pristupa: 19.10.2021.)
Vancouver Gaj B. Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti. Školski vjesnik [Internet]. 2009 [pristupljeno 19.10.2021.];58(2.):171-187. Dostupno na: https://hrcak.srce.hr/82594
IEEE B. Gaj, "Prilozi definiranju i analizi teksture i taktilnosti u likovnoj umjetnosti", Školski vjesnik, vol.58, br. 2., str. 171-187, 2009. [Online]. Dostupno na: https://hrcak.srce.hr/82594. [Citirano: 19.10.2021.]
Sažetak The aim of this paper is to explain in details the concept and the use of texture in artistic production, as well as the role of tactility in the development of perception and the creation of artistic works. Tactility and the experience of texture are extremely important factors both in the reception of visual artwork and at the very beginning of artefact creation as an impetus. In visual arts, texture is one of the means for articulating reality and immediacy and at the same time a signifi cant visual variable. In contemporary art there are different models of texture application that have been developed throughout history in the use of textures in visual arts. With the analysis of individual examples and their comparison, it is obvious that texture affects other visual elements and variables in
visual compositions and that their mutual relations can be clearly defi ned. Therefore it is relevant to investigate the process of artistic creativity, without neglecting the direct experience of environment obtained through different senses, both visual and tactile, since touch is essential in cognitive development of a person from the very beginning of his/her life.
Visual thinking and visual production are a combination of the inwardly designed experience, obtained with the information from the outer world and an artistic act. A prerequisite for visual awareness is a well developed visual sense and, apart from visual observation which provides a person with the information from the environment, tactile experience of the environment is also important. In visual creation an artist creates different textures which are ultimately perceived visually and/or tactile. In visual hermeneutics formal analysis of a visual artwork is incomplete without a detailed analysis of visual morphology and visual variables such as texture.