The senses of sight and touch are strongly linked. Tactility in art adds another level of impact to the more obvious formal elements of shape, line, and color. Texture can be both actual and visual, the first being a factor of the materials used, and the latter generated by the mark-making of the artist. Students in this project investigated texture as a design element using “frottage,” a strategy first developed by the Surrealists, to lift textures from the world around them. A period of foraging for textures armed with an array of different media and papers was followed by designing with the raw materials of found textures. In the designs below students worked within the constraints of two different design constructs. A columnar structure defines the first problem. Students selected textural elements by cropping and experimenting with various arrangements with the goal of breaking down the taxonomic effect of the columns. In the best designs similarity groupings and continuities lead the eye across the borders, configuring larger patterns of movement within the whole. Contrasts provide forces of variety, emphasis, and visual weight that organize to produce a balanced, integrated and dynamic whole. The second design was developed from a previous problem involving isometric forms. The final design is a large square composed of four smaller squares, each of which contains an isometric figure translated into three values, black, white, and a middle-value consisting of the optical gray of the frottage elements.