A painting, as a form of art work, consists of a carrier, potential treatment and layers of paint. It is a materialistic realisation of the artist’s idea. Every material segment of a painting has a particular artistic quality/significance and thus its own expression, and inevitably participates in the result of faktura, i.e. the total artistic quality of the created work and with it to the better or worse realisation of the idea itself. In this case the concept of faktura does not refer only to the totality of the materialistic and roughness characteristics of the surface, but it implies the entire artistic effect of a painting. Faktura is the carrier of the artistic quality/significance which we experience subjectively, and it is provoked by objective facts/stimulants. For experiencing faktura the same thing can be said as for experiencing colour, that it expresses psychological, personal experience, primarily conditioned by our genetic make-up, and is dependent on outside stimulants and centuries old hereditary experiences of man as a species and as an individual. The aim of this research was to establish the importance of a painting’s carrier and its artistic quality/significance or the expression in realizing an idea as a work of art. Painting carriers are all materials on whose surfaces they are painted and their role in implementing an artistic idea is today traditionally neglected. To indicate the inevitable role and significance of the carrier, not only in realising but in an idea’s development itself, it was treated in my research as the only changeable variable in realising a painting as a integral faktura work that we feel in all its parts. The artistic research defined itself during the project as a unit of three important phases. The first phase of research played through making of sketches of the artistic problem and it represents the first part of the idea itself. From products arising from artistic experiments according to criteria of further development, and the possibility of realising an idea in the sense of changing and developing on different carriers, one sketch was selected on which practical painting research was conducted via the acrylic technique on four main types of carriers of smaller size paintings, rather on cloth, metal, wood and plexi-glass, by creating forms and structure with an equal author’s handwriting. Carriers were worked on simultaneously with maintaining the surface's characteristics. Thus, a different number of new works developed form the basic trial depending on the possibilities of a specific carrier and the author's affinities, where carriers were given the main role in the further development of the idea. After creating a large number of small sized works on individual carriers in four basic groups by surface material, those that were most suited for the goal of the research under established criteria were selected and were created in larger sizes (cca. 200-300cm) on cloth, metal, wood and plexi-glass. Permanent segments in realising and defining the artistic idea were represented by the acrylic technique and the author’s handwriting, while the changeable material segments were the painting carrier and its treatment. A number of results, annotations and revolves presented in this work confirm the claims that the idea and materials used, with its specific artistic quality and expression determined by unique possibilities and capabilities, are an inseparable unit. Based on the results reached, the significance of the need for knowledge and being informed while selecting painting materials was taken into account. The conclusion is that each individual carrier (different material) brings inevitable change to the effects of an artwork, in an approach to its building and developing the idea, which certainly backs up the overall doctorate thesis about the specific effect of each material and accentuates the need for thinking and planning before selecting the material segments of an artwork. These findings point out that every segment of a painting, even a material one such as a carrier, inevitably influences the final totality or the work's factura.