Terrazzo Typography

Terrazzo Typography

Terrazzo Typography

3D Embossed Typography in Terrazzo

3D Embossed Typography in Terrazzo

This typographic style features letterforms created as subtle relief surfaces within terrazzo materials, combining dimensional typography with contemporary material aesthetics.

No AI was harmed used in the making of this art

3D Embossed Typography in Terrazzo

This typographic style features letterforms created as subtle relief surfaces within terrazzo materials, combining dimensional typography with contemporary material aesthetics.

No AI was harmed used in the making of this art

Technical Approach

The technique relies on creating shallow embossed or debossed letterforms that catch light through their depth variation rather than colour contrast. In Cinema 4D with Octane, this is achieved through displacement mapping or boolean operations applied to terrazzo shader surfaces.

The technique relies on creating shallow embossed or debossed letterforms that catch light through their depth variation rather than colour contrast. In Cinema 4D with Octane, this is achieved through displacement mapping or boolean operations applied to terrazzo shader surfaces.

Material Construction

The terrazzo material typically consists of a base colour with scattered aggregate particles of varying sizes and hues. The shader combines noise-based distribution for the chips with proper subsurface scattering to achieve the characteristic semi-translucent quality of polished resin composites. Surface normals are critical, the shallow relief creates gentle highlight and shadow transitions that define the letterforms.

Lighting Considerations

Everything in this style depends heavily on lighting angles. Grazing light emphasises the dimensional quality, whilst too-direct lighting flattens the effect. HDRI environments with soft, directional components work well, often supplemented with targeted area lights to accentuate the embossed edges.

Rendering Setup

Octane's path tracing handles the subtle surface variations effectively, with particular attention needed for:

  • Adequate sampling to resolve the fine aggregate detail

  • Proper IOR values for resin materials (typically 1.4-1.5)

  • Slight roughness variation to simulate polished but imperfect surfaces

  • Depth of field to enhance dimensional perception


The monochromatic approach prioritises form over decoration, letting the interplay of geometry and light carry the visual interest.

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Copyright © 2025 - John Kappa - All Rights Reserved

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