Texture

Fur is made of many fine hairs, so a soft, hairy texture is the most suitable way to represent it in a drawing. Artists can suggest it with short, repeated strokes that follow the direction of the hair. Option A is correct; stone-like hardness, glass-like smoothness, and an empty area do not communicate the fibrous surface of fur.

Texture describes how a surface looks or feels. Sand consists of many small grains, so its surface appears uneven, granular, and slightly rough. Therefore, the correct answer is A, grainy. A mirror-smooth surface reflects light evenly, silk feels soft and smooth, and transparency describes whether light passes through rather than the surface texture. Sand, gravel, and dry grains are useful examples of grainy texture.

An artist suggests fabric texture by observing its woven threads, soft folds, creases, and changes of light across the cloth. Thus, option A is correct: weave lines and soft folds communicate both the construction and flexible surface of fabric. Sharp stone-like marks suggest a hard or rough material, while smell and sound cannot be drawn as visible surface texture. Careful line variation makes the cloth appear believable.

Metal generally has a smooth surface that reflects a strong source of light. In a drawing, a sharp bright highlight beside a darker reflected area creates the visual impression of polished metal. Therefore, option B is correct. Dull soil-like marks and sandy strokes suggest an opaque, rough surface, while bark-like irregular lines suggest wood or another coarse organic material rather than metal.

Wood has a recognisable grain produced by the direction and pattern of its fibres. An artist can show this texture with long, curved, or broken grain lines that follow the natural flow of the wood. Therefore, option A is correct. A glass-like highlight suggests a reflective smooth surface, empty space shows no material detail, and a circular sun does not describe the structure of wood.

Texture adds visual variety by making different areas of an artwork appear smooth, rough, soft, hard, shiny, or grainy. This contrast attracts attention and provides details that help the viewer understand the depicted objects. Therefore, option A is correct. Removing colours is not required, invisible paper is impossible as an art method, and turning a drawing into sound does not explain how visual texture creates interest.

A polished metal spoon has a smooth surface that reflects light in a concentrated way, producing bright highlights and a shiny appearance. Therefore, option A is correct. A dry brick and tree bark have uneven surfaces that scatter light, so they appear rough or dull. Sand is granular and usually produces a matte, uneven effect. The material and the condition of its surface together determine the visible texture.

A matte surface scatters reflected light in many directions instead of producing a sharp, concentrated reflection. As a result, it appears dull or less shiny, so option B is correct. A mirror-like surface and polished metal are glossy because they create strong highlights or reflections. Transparency is a different property: it describes light passing through a material, not the amount of surface shine.

Repeated lines, varied strokes, and organised patterns can imitate the visual structure of a surface. For example, short parallel marks may suggest hair, curved lines may suggest wood grain, and clustered strokes may suggest roughness. Therefore, option A is correct. Removing lines eliminates a useful texture tool, paper folding is a physical process rather than line drawing, and written sound does not create visible surface texture.

Using dots of different sizes, spacing, and darkness to represent a surface is called stippling. Closely packed or irregular dots can make an area appear dark, rough, or grainy, while widely spaced dots can make it appear lighter. Therefore, option A is correct. Straight rows do not automatically create a smooth texture, invisible dots cannot be seen, and dots cannot directly create a sound effect.

In the rubbing technique, paper is placed over a textured surface and a crayon, pencil, or similar tool is rubbed across it. The raised areas transfer darker marks to the paper, creating an impression of the original surface texture. Therefore, option A is correct. The method is used to study and record texture; it does not produce a price list, a sound pattern, or an intentionally empty frame.

Frottage is a texture-making technique in which a sheet of paper is placed over a textured surface and rubbed with pencil, crayon, or another suitable tool. The rubbing transfers the surface pattern to the paper, so option A is correct. Singing, burning paper, and frame polishing do not describe this art process.

A collage is made by arranging and attaching different materials on a surface. Papers, fabric, threads, leaves, or other safe materials can contribute visible or tactile texture, making option A correct. Blank paper adds no material variation, sound recording is unrelated to visual texture, and hiding a brush does not change the collage surface.

Softness is suggested by surfaces that appear or feel yielding, gentle, and comfortable. Fur and cotton are familiar examples because their fibres look fine and cushion-like, so option A is correct. Broken glass suggests sharpness, while stone and dry brick usually suggest hard or rough qualities rather than softness.

Hardness is communicated by a surface that appears firm, rigid, and resistant to pressure. Stone and metal are common references for this quality, so option A is correct. Cotton and fur normally suggest softness because they are fibrous and yielding, while a cloud is conventionally associated with a light, soft appearance rather than a hard surface.

A leaf’s texture can be represented through its veins, edges, spots, and other surface patterns. Veins are especially useful because they are visible structural lines that reveal how the leaf is organised, making option A correct. Glass shine, paper price, and brush sound do not describe the physical or visual surface qualities of a leaf.

Wall texture is suggested by irregular surface evidence such as uneven marks, cracks, bumps, or rough patches. These marks help the viewer imagine a non-smooth wall, so option A is correct. Transparent air has no wall surface, a mirror-smooth effect suggests the opposite quality, and removing all marks cannot reliably communicate roughness.

Texture describes the quality or character of a surface, including whether it appears or feels smooth, rough, soft, hard, or grainy. Therefore, surface is the correct answer, option A. Sound belongs to hearing, while price and address provide information about an object but do not describe its visual or tactile quality. Texture may be actual or suggested, but it remains surface-related.

Visual texture is an illusion of texture that is seen but cannot actually be felt in the image. Drawn wood grain uses lines and tonal marks to suggest the appearance of wood, so option A is correct. A real stone, pasted cloth, and raised clay provide actual physical texture because their surfaces can be touched and felt.

Actual texture is physically present and can be felt by touch. Real sand pasted onto an artwork remains grainy and raised, so option B is correct. A photograph, drawn dots, and a painted stone pattern only represent the appearance of texture; their paper or paint surface does not become real sand or stone. This distinction separates tactile texture from visual illusion.