Sentence examples for tactile textures from inspiring English sources
The phrase "tactile textures" is grammatically correct and can be used in written English
It can be used to describe the physical qualities or characteristics of an object, such as its texture or feel. For example: - The artist used a variety of materials to create a piece with rich tactile textures. - The fabric had a smooth, soft tactile texture that was pleasing to the touch. - The museum exhibit invited visitors to touch and explore the tactile textures of different sculptures. - The sensory bin was filled with different items that encouraged children to explore and discover different tactile textures.
Tactile textures must be experienced intimately.
To the light embellishment of undulating frills, the designers added further decoration, creating tactile textures on the light fabrics.
Mr. Tharaud's performance argues that only a live-wire interpretation, with hard-struck chords and tactile textures, reaches the music's core.
And there was a healthy dose of the core values Nicole Farhi is loved for: soft, sophisticated colouring; luxe tactile textures; a distinctively grown-up approach to fashion.
Specific tactile textures are peculiar to every material by virtue of its manufacture or natural composition, but they may be altered to produce a variety of expressive qualities.
As an element of design, texture includes all areas of a painting enriched or animated by vibrating patterns of lines, shapes, tones, and colours, in addition to the tactile textures created by the plastic qualities of certain mediums.
The handmade items – shells, fish, flowers, tiny boats, Scilly cowbells – are all inspired by the local surroundings and have a lovely, tactile texture.
It can be easily maintained, and its soft visual and tactile texture, as well as its sound-absorbing qualities, make it attractive for residential use.
Mr. Gordon has six percussionists beat rapidly on a simantra (a wooden slab) to create a magnificently tactile texture in which densities and implied harmonies unfold, often surprisingly, over five movements lasting 55 minutes.
Offsetting these dreamily consonant fantasies was an appealingly tart harp solo, Suzanne Farrin's "Polvere et Ombra" (2008), in which the juxtaposition of glissandos and brisk strumming effects created a richly tactile texture, and a dramatic, rhythmically complex piano work, "Times Three" (2006, revised 2009) by Jonathan Faiman.
Dating from Mr. Fleisher's teenage years (he was born in 1953), "Loretto Alfresco" is endearingly low-tech: its sounds are drawn entirely from recordings of a friend striking pots, pans and other items, which Mr. Fleisher sped up, slowed down and overlaid to create a rich, tactile texture.
