Prompting Texture and Material Feel - Nano Banana 2

“Rough” is nearly useless. Rough concrete, rough burlap and rough tree bark share a word and no visual properties at all. The strongest thing you can put in a prompt is the material itself: oak, cast iron, raw linen, glazed ceramic, cracked leather, unfinished plaster. Materials carry their own grain, colour range, absorbency and light response bundled together, and the model has seen thousands of examples of each.

Once the material is named, adjectives finally have something to modify. Cast iron, pitted and dull. Linen, loosely woven and slightly rumpled. The adjective is doing narrow work now — it adjusts a known thing rather than trying to conjure a surface out of a feeling.

The same logic applies to how a material sits. Fabric has weight, and weight shows in how it falls. Heavy wool folds in a few large shapes; silk breaks into many small ones; stiff canvas holds a crease. Saying how the cloth drapes tells the viewer what it is made of even at low resolution.

Texture is only visible where something reveals it, and what reveals it is the angle at which light hits the surface. Grain, weave and pitting appear when light rakes across a surface and vanish when it hits head-on. You do not need to write a lighting brief inside a texture prompt, but a few words about the light skimming the wall or crossing the fabric will bring out detail no amount of material description can produce on its own.