The word “speckled” has long been employed by authors to evoke vivid images of textured, mottled surfaces in both the natural and the man-made world. In literature, it has been used to describe everything from the distinctive appearance of animals—as seen in the speckled hair of a wild dog in Lewis Carroll’s work [1] or the patterned feathers and markings of birds in the explorations of Lewis and Clark [2, 3, 4, 5]—to mysterious and foreboding elements, such as Sherlock Holmes’ famously eerie “speckled band” [6, 7, 8]. This descriptive term also lends a tactile quality to objects and settings, whether it’s the spotted facade of a straw hat in Mark Twain’s narrative [9] or the interplay of color and light on nature’s canvas, as noted by Katherine Mansfield [10, 11]. Through these varied usages across genres and periods, “speckled” serves as a bridge between the concrete and the symbolic, enriching the sensory detail and atmosphere of the text.