Learn to Speak in Pattern - Graphical Pattern Communication

Learn to Speak in Pattern Graphical Pattern Communication A Research Paper

by Kason Cheung

University of Melbourne Social Practice and Community Engagement Bachelor of Fine Arts ( Honours )

INDEX

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I.

INTRODUCTION

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A. B.

Problem Statement Statement of Purpose

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II.

BASICS OF PATTERN

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A. B.

How to make repeated patterns Functionality and Meaning

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III.

GRAPHICAL PATTERN ARRANGEMENT

A. B. C. D. E. F.

Sense of Order and Law of Geometry Pattern Perception and Gestalt Theory Simplicity and Processing Fluency Theory Balance and Tension Tiling and Cell Structure Spacing

IV.

PATTERN AS TRIGGER OF EMOTION

A. B. C. D. E. F.

Three Levels of Emotion Behavioural Level Reflective Level Man, Nature and Universe Paisley Be Fluent in Pattern

V.

PROJECT : ECHO

A. B. C.

Inspirations Future Directions Conclusion

VI.

BIBLIOGRAPHY

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VII.

IMAGE CREDIT

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15 16 16 17 19 21 23

25 26 27 28 29 33 34

35 36 41 43

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INTRODUCTION

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Look at the tiles on the ground, the leather on your wallet, the fabrics on your clothes, we can see patterns everywhere in our everyday life. From gift wraps to snakes’ scales, patterns are not limited to packaging or, clothing, but they are an essential design element. Patterns not only consist of colour and images, they are combinations of mathematical, geometrical and graphical motifs, and we can alter the outcome of a pattern by playing with these factors. Have you ever wondered why pattern is composed this way? Why do you have a particular emotion when gazing at patterns?1 Which patterns are the easiest to remember?

As a civilised species, our ancestors have been using patterns on clothing, artefacts, and publications for religious and decorative purposes for millennial.

People often undervalue what patterns are made of and what they can do. Yet, pattern is much more than you think it is. Not only do patterns represent an identity and tradition, they can also convey messages such as warning signs. Hence, pattern is an early representation of graphic communication. It is because of its omnipresence that it makes our brains and eyes so sensitive to repeated graphics. Then you start to wonder, how perceptions are form by what kind of stimuli, and what operations determine these processes.2 1  Rudolf Arnheim, Art and Visual Perception: A Psychology of the Creative Eye (USA: University of California Press, 1974), 55.

2 Arnheim, Art and, 105.

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A. Problem Statement Previous graphic design research was predominantly focused on topics such as shape, typography and colour theory. In comparison, research on pattern communication is not nearly as thorough as the aforementioned realms. Although Nahhas’s research on the influence of pattern and colour interaction in object colour preference laid an important foundation regarding on how pattern density, colour contrast in two-coloured pattern have effect on pattern preference,3 limited research has been done or shed light on how pattern can act as a graphical communicator and about the suitable application of pattern.

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One thing that concerned me more is that designers nowadays do not seem to actively and fully seize the potential of patterns to communicate with audience.

We often encounter shallow and affectless patterns on products packaging. This has made pattern become a mere decoration which cease to invite attention, care and scrutiny as it sinks below our threshold of awareness. It is essential to consider the social and psychological implications behind each pattern.4 The reason why we are being driven to uncover the mysterious veil of pattern is because of the rarity of these forms in the nature, the human mind therefore has the urge to search for regularity. These uniformities are undoubtedly a signal, an intentional meaning that stand out against the random medley of the wild.5 Poor patterns communications in the design industry can lead to ineffective design outcomes and a waste of resources during the production process or misunderstanding.

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3 Shuruq Nahhas. “The Influence of Pattern and Color Interaction in Object Color Preference,” The University of Minnesota’s Digital Con servancy. (May 2019): 168, http://hdl.handle.net/11299/203574.

4 Joe Cottington, Pollyanna Poulter, Jane Ace, Patternity (UK: Conran Octopus, 2015), 120.

5 E.H. Gombrich, The Sense of Order: A Study in the Psychology of Decorative Art (New York: Phaidon Press Inc, 1984), 7.

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B. Statement of Purpose

Hence, this research explores how pattern making can apply meanings and symbolism to these repeated imageries.

This writing aims to raise awareness of the value of patterns and explore how it operates as a universal language to transmit messages and communicate. This introductory paper offers a framework and inspiration for designers to take reference from while constructing pattern in the most effective manner to start off making meaningful pattern design. Once designers have realised and comprehend the value embedded in patterns, more possibilities and outcomes will also be available, for instance, enabling creators to merge meaningful pattern with retail products and specialist crafts.6 1

As such, it is absolutely vital for designers to understand the value of patterns, thus this research is to maximise its strength as a design element and allow designers to successfully apply patterns practically and conceptually. As Gombrich stated that, “Once we realise what advantages rational man derives from the application of the simplicity principle, form this preference for straight lines and standardised geometrical shapes, we may be better placed to study the emergence of analogous behaviour along the whole evolutional scale”.7 Some may argue that a rational approach which attempts to develop “rules, taxonomies, classifications and procedural design systems leads to reductionism and frequently results in sterility and the sort of high-tech functionalism that disregards human psychic needs at the expense of clarity”.8 This research is not to standardize design, but an

attempt to share inspiration to designers on how and where to start making communicative patterns. I should clarify that I do not intend to discuss the fundamental qualities of visual elements, rather, to emphasise how those elements could play a role in human cognition and arousal. This paper provides a glimpse into how pattern has influenced and stimulated people by certain graphical arrangements and employment of emotional properties.

To achieve this, firstly, we need to delve into the basic elements, operations of patterns and their functions before making purposive patterns. Next, I will uncover how our psychological system and brain help us perceive graphical patterns and how designers could utilise the sense of order and law of geometry to convey messages and emotions to the viewers.

On top of that, I will discuss how patterns can be served as a trigger for emotion and how to incorporate cultural and historical value into the patterns. To complement my essay, I have created an online platform called Echo to allow readers to visualise the malleability and variety of patterns.

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6 Cottington, Pollyanna Poulter, Jane Ace, Patternity, 120.

7 Gombrich, The Sense, 25.

8 Victor Papanek. “The Future Isn’t What It Used to Be,” The MIT Press 5, no. 1 (1988): 4- 17, doi: 10.2307/1511555.

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BASICS OF PATTERN

Pattern may look erratic and unpredictable at first sight, they share the same underlying constructing mechanism. Pattern is an arrangement of multiple visual elements including an element or motif and symmetry operations on a surface.

9 A repeat pattern is formed when the elements are replicated base on any of the symmetry operations that will be introduced shortly. Motifs are recurring shapes and symbols which can be illustrated as line vectors, or intricate vegetal art.10 The motif in one pattern is limitless in terms of numbers, forms, style and iteration. As our society grows, the complexity of the motifs and repeating methods also advanced. In contemporary terms, patterns are now rendered as motifs plus transformation.

Transformation represents the structure and properties of a pattern, which includes repeating methods, scale, spacing and density. Structure is the foundation to any patterns. Only if it is created based on a structure, will the pattern be perceived logically and brings aesthetics, attention and meaning to the eye of beholders.

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has the potential for becoming a unique trademark especially in recent days, such as Burberry or Louis Vuitton. This contrasts with a singular trademark which is only experienced in one place at one time such as a simple logo or label of a car or computer.

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What distinguishes images from pattern is that pattern has a more versatile systematic structure. It covers a greater surface area and further dispersed. Unlike image, pattern can act as a connecting device, or unifying element, of design which is more unique and specific than the simple application of colour. This specificity 9  Paul Jackson, How to Make Repeat Patterns: A Guide for Designers, Architect and Artist (London: Laurence King, 2018), 8.

10  Ibid., 17.

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A. How to Make Repeated Pattern

One unique characteristic of pattern is symmetry. There are four types of symmetry operation including translation, reflection, rotation and glide reflection. (1) Translation symmetry is defined as “the movement of a figure a described distance in a described direction”. The distance and angle between the figures remain constant and the figures neither rotate nor reflect. Simply put, it is a simple repetition of a figure along a line creating an identical motif.11 (2) Reflection symmetry mirrors one half of a figure and reflects to create the other half.12 (3) Rotational symmetry is created around a central point rather than a line or across a plane . Different degrees of rotation will result in different orders of variation and outcomes.13 (4) Glide reflection symmetry, as the name suggests, involves two operations, gliding and reflecting in no particular order.14 When creating a motif, different operations could be combined to yield diverse motifs, for example, by synthesising the concept of spacing and rotation. With different orientation, spacing and symmetry operations as described, they may constitute to a completely different set of patterns.

Linear symmetry and planar symmetry are types of pattern created by manipulating and duplicating symmetry operations in a one dimensional and two-dimensional way. Linear symmetry describes operations made along a line.15 In contrast, planar symmetry refers to a symmetrical figure made in two- dimensions or across a plane.16 It is made by putting a motif inside a cell and repeating along the x axis and y axis across the plane.

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11 Paul Jackson, How to Make Repeat Patterns: A Guide for Designers, Architect and Artist (London: Laurence King, 2018), 22.

12 Ibid., 26.

13 Ibid., 30.

14 Ibid., 34.

15 Ibid., 39.

16 Ibid., 39.

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Cell size, cell shape and direction of translation could be some of the variables in building different styles of patterns. Tiling completes and directs the entire pattern.

It is similar to cells where a tile is a simple polygonal element and serves as structural skeleton. Tiling are not limited to quadrilaterals. Examples include quadrilateral tiling, triangular tiling, 60- 120 degree tiling, semi- regular tiling. etc.17 Depending on the transformation, each property is a crucial indicator of the motion, direction, translation of the pattern. Understanding the fundamentals of pattern can help developing a language for designers to encode messages while making meaningful patterns.

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17  Jackson, How to make, 110 -132.

This theoretical exploration of how to make repeated patterns may give you an idea of how pattern is formed, however, there are no absolute rules that designers must be bound by. Patterns can evolve through time and space, and be altered into different types, arrangements and styles. These visual structures have infinite variables and possibilities that can be expanded and scaled into any dimensions and apply to any object surfaces.

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B. Functionality and Meaning

While patterns are evident everywhere in nature, the use of patterns among humans start out as simple repeated motifs that reflect the creator’s tradition and beliefs, which were decorated on their bodies, objects and surroundings. These decorative patterns breakthrough the limitations of pure decoration and transmute redundancy into fullness and ambiguity into mystery.18 Patterns have greater value than the rest of us anticipated.

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In nature, camouflage is a vivid example to demonstrate the function of pattern. Camouflage is usually about blending in. Camouflage in pattern imitates a random range of elements such as species habitat and is often employed as a method to disguise from enemy in military context.19 Yet, ship camouflage is a form of military deception in which a ship is painted in one or more colours in order to obscure or confuse an enemy’s visual observation. In early 20th century, British warships were occasionally painted in razzle-dazzle, a type of brightly coloured pattern that was meant to make a target visually confusing rather than hide them as concealment.20 Besides, featuring wild colours, razzle dazzle consisted of contrasting lines and shapes going in various directions. This made it difficult for an enemy to figure out important details such as the type of vessel, the size of it, how fast it was going and in what direction.21 Each warship had a unique pattern and colour scheme, for example, a red, grey and black version, or a zebra version. Instead of attempting to hide a ship, the goal was to conceal the ship’s course through flashy misdirection similar to deimatic display.

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18 Gombrich, The Sense, 116.

19 Ibid., 6.

20 “Most Unbelievable Camouflage In The World,” Origins Explained,16 Oct 2019, 11:04, 21 Cottington, Pollyanna Poulter, Jane Ace, Patternity, 108.

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Pattern itself could also be represented as signs and semaphores.22 Speed and sports are one of the representations of black and white chequers, for example Grandprix racing flag. The NASCAR offers two common explanations. Firstly, horse racing back in the days often ended with everyone companionably tucking into a meal, with food being placed on a black and white chequered table- cloth.

Thus, waving this cloth symbolises the time to have a feast and break.23 Secondly, in the context of the visibility argument, the chequered racing flag punched through the dusty haze, clearly contrasting with the finish line. 24 Hence, the black and white chequers become a finishing sign for the majority of racing events.

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The above examples demonstrate the utility of certain patterns and implies their purpose beyond decoration. Thus, pattern is not a mere decorative ornament, but an artifact with a given purpose for communications to deliver meanings or help us navigate and survive.

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22  Jude Stewart, Patternalia (USA: Bloomsbury USA, 2015), 60.

23 Stewart, Patternalia, 84.

24  Ibid., 84.

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Decoration is seldom being scrutinised with the same kind of attention as we pay to a painting. Painting constantly demands attention in an implicit manner while decoration can hardly register people’s attention.25 Since the patterns imprinted on the wall and packaging do not often impart information and therefore rarely invite conscious scrutinization.26 Designers play a crucial role in reshaping the value of pattern and create function on patterns to push beyond the boundaries of decoration. The power lies in pattern- makers.

They are responsible in probing and inviting the audience to view patterns in a different way. It is essential to strike an equilibrium between aesthetics and functionality.

Leaning to either one may result in unfavourable design. The essence of design seeks to solve daily questions and makes life easier and better. A good design looks good, a great design solves problems. By manipulating repetitions, symmetry and rhythm, we can use pattern as a medium and stimuli to perceive higher dimensions and abstract concepts or analyse the connotation within a pattern’s structure.

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25 Gombrich, The Sense, 116 26 Ibid., 116

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GRAPHICAL PATTERN ARRANGEMENT

Pattern perception may be considered as a subjective matter, mostly relying on individual predilection and lies in the eyes of beholder. Nevertheless, it has been proven in the realm of neurology and psychology that different pattern designs and combinations yield different psychological effect known as psychological force.27 The mechanism underpinning pattern recognition stems from the pre- coded network of our brain and our instinctive ability to configure and “experience” patterns in a subconscious way.28 Having said that, I suggest designers can communicate through pattern by manipulating different properties of visual structure. There are several perceptual groups that might affect how we perceive patterns including the arrangement of various elements and the operations of symmetry (as discussed in part 2), simplicity of motifs, stability and balance, tiling and cell structure, to name a few. Precise organisation of visual characteristics is needed in order to communicate in an effective manner.29 This section attempts to establish both the aesthetics and functionality of design on a psychological basis.30 1

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27 Arnheim, Art and, 16.

28 Cottington, Pollyanna Poulter, Jane Ace, Patternity, 33.

29 Arnheim, Art and, 157.

30 Gombrich, The Sense, 117.

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A. Sense of Order and

Law of Geometry

Gombrich believed what arrests and shifts our attention and perception is the contrast between sense of order and disorder within a frame.31 The sense of order stems on the law of geometry which could be interpreted as spatial proportions.32 Geometric proportions provide a framework of how each element within a pattern should be organized and in relation to their bordering elements.33 The underlying force that enable natural harmonies and regulate the order of patterns is mathematical ratios, for example, golden ratio. Thus, they are considered as “the proportions of beauty”.34 As Dabbour stated, “geometric proportions regulate primarily the order of patterns, while at the same time they mediate between the two poles of order and diversity as well as among different aesthetic levels”.35 It is essential for designers to use law of geometry as a self- guiding tool to set out the underlying structure of the pattern while searching for equilibrium between order and disorder to communicate clearly.

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B. Pattern Perception and

Gestalt Theory

To communicate through patterns, the following paragraphs encapsulate some of the major aspects when designing purposive pattern. The purpose of developing this idealised model is to avoid the audience being drowned in the state of frustration, doubt and confusion when our designed pattern is presented. These undesired effects are mostly the product of the limited span of human focused vision and attention. Gestalt theory provides an excellent foundation in describing how the human eye perceives visual elements.36There is an observable bias in our perception for simple configuration. Humans have a natural tendency to extrapolate or interpolate the missing outlines between gaps.37 This process limits and determines what we can see in a given visual array and what we are compelled to elide during the encoding process.38 Hence, designers should take cognisance of these psychological limits when creating patterns.

Giving acknowledgment to a framework of predetermined disposition not only exhibit features of aesthetic interest/preference, it also offers unrivalled insights into the operations of our sense of order in the perception of complex patterns.

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31 Arnheim, Art and, 5.

32 Gombrich, The Sense, 2.

33 Arnheim, Art and, 99.

34 Loai M. Dabbour, “Geometric proportions: The underlying structure of design process for Islamic geometric patterns,” Frontiers of Architectural Research 1 (Aug 2012): 381, 35 Dabbour, “Geometric proportions”, 382.

36 Gombrich, The Sense, 2.

37 Ibid., 106.

38 Gombrich, The Sense, 95.

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C. Simplicity and Processing

Fluency Theory

Whether explicitly or subconsciously, we all have a preference or inclination toward a specific visual element. In Processing Fluency Theory, it has been defined that the easier, faster and smoother for the perceiver to process an object or information, he or she will consider the stimuli to possess a higher level of aesthetics.39 This denotes a positive correlation between simplicity and attraction. This theory takes both the subjective and objective factors into consideration. The subjective factor refers to the perceiver’s affective perception while the objective factor is determined by the object’s characteristics in context.

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To manipulate the design, elements should be simple. Similarity is not merely referring to a piecemeal element but “the entire structural features that human minds is able to spontaneously understand with any given objects according to the laws of its context”.40 When creating highly complex motifs and operations, it is important to consider the sense of order within. The smaller the amount of information needed to define as compared to other alternatives, the more likely that the figure will be perceived more favourably.41 Designers could manipulate the audience’s eyeballs to direct their attention to the anticipated details. Although different operations could yield ample patterns, the concept of a sense of order (see above) is the key to maintaining that simplicity. Here, I must clarify that simplicity should be not interpreted as shallowness.

Simplicity requires some correspondence in structure between meaning and tangible pattern. Therefore, designers have the autonomy to apply as many visual elements as they wish as long as they are essential and the combinations of them constitute to meaningful purpose or message.

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39 Rolf Reber, Norbert Schwarz and Piotr Winkielman. “Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver’s Processing Experience?” Personality and Social Psychology Review 8, no. 4 (Feb 2004): 364- 382, doi:10.1207/s15327957pspr0804_3.

40 Arnheim, Art and, 141.

41 Ibid., 55.

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COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS COMPLEX ≠ COMPLICATION SIMPLICITY ≠ HOLLOWNESS

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D. Balance and Tension

The stability and balance of a visual image directly affects how one perceives a message. A sense of balance aids the audience to visually picture themselves within a perceived environment by implying what is up and down, nearer and further, crowded and separate etc in relation to gravity.42 The arrangement of space and balance creates different psychological forces by different point of attack, direction and intensity of the lines.43 Thus, interfering with this aspect could persuade audiences with a certain tension and ambience/dynamic. For instance, if the designers want to indicate a pull effect in a particular direction, a kaleidoscope- like rotational symmetric pattern would easily draw the audience in or out from the centre of the composition. This is achieved by striking an equilibrium between scales, gravitation and direction in relation to its surroundings. Wherever the centre is located, it will be affected by the forces of all the hidden structural factors in the surroundings. The relative strength and distance of these factors will determine their effect in the total configuration.

A messy and unfavourable effect are produced if the pulls are so equivocal that the eye fails to decide where and whether there is any direction.44 This makes the visual statement unclear and disturbs the observer’s perception and judgement.

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42 Gombrich, The Sense, 2.

43 Ibid., 113.

44 Arnheim, Art and, 14.

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E. Tiling and Cell Structure

For any spatial relation between objects, there is a “correct distance, established by the eye intuitively” known as a “structural skeleton”. 45 Structural skeletons are auxiliary lines that help to determine the role of each pictorial element within the balance system of the whole and serve as a frame of reference.46 In general, any location that coincides with a feature of the structural skeleton introduces an element of harmony. Patternwise, tiling is the structural skeleton which serves as the framing grid. In pattern, tiles are blank cells. The shape of a cell can be defined by the element, motif or metamotif, the creation of a tile can either precede any consideration of the graphic images it will contain, or the repeat pattern can be made solely from the tiles themselves, without any graphic content.

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For example, a drop/off- setting in tiles creates a sense of direction within the pattern and makes a dynamic system by altering the position of the repeated motif.47 Changing the size, shape, position of the tiles and cells results in unexpected perceptual outcomes that even a complex motif cannot achieve. As mentioned in part 2, there are a vast array of ways to design the tiles, including variations of shape and size. Inspired by Gombrich, “They must be set into the framework of devices allowing the organism to orient itself in space and in time, and these devices must of necessity relate to general geometrical relationships”.48 As such, I advise patternmakers to consider using simple geometric shapes as motifs while playing with the arrangement of tiles and cells when sewing the thread of ideas into pattern.

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45 Arnheim, Art and, 12.

46 Gombrich, The Sense, 75.

47 Ibid., 88.

48 Ibid., 114.

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The idea of continuity is deeply rooted in the nature of patterns. Tilings and frames are not the boundary of a pattern. The basis of a pattern means that it can be expand infinitely. The spectator often has an impression of the pattern bleeding out of the margins of the applied surface or objects. Therefore, the usage of pattern is beneficial to concepts in relation to infinity, prediction and expansion.

Designers have to be careful in selecting the form and media to present an idea. If the brief of the design is against the essence of pattern, designers may as well consider forgoing the use of patterns.

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F. Spacing

Besides tiling, the spacing between elements and between cells also requires meticulous organisation to manipulate the sense of space. Spacing determines an array of factors within a pattern including depth level. Among them, the degree of density is presumably the greatest variable depends upon spacing operations.49 Operations can be compressed or expanded so that the final cell is small or large, as required. Spacing between each individual element, motif and tiles are indicator of density. Larger negative space may give rise to a wider and scattered distribution. The low-density arrangement results in a minimal and relaxed impression. If a patterncreator demands, for instance, a sense of crowding, urgency or grandiose personality, a high-density pattern is needed in their design by making elements where cells could cram together, with little emptiness or negative space between them.

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49 Arnheim, Art and, 20.

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Hence, if designers fail to bear this in mind, the intended artistic statement and message might become incomprehensible and lose its virtue. Striking a balance between the sense of order and disorder, simplicity and complexity and spatial relation are one the few aspects to consider when making meaningful patterns. Without any shadow of doubt, there are more aspects that are worth mentioning for manipulation such as colour and movement, yet this section hopes to offer a guiding framework and introduction to inspire pattern- makers on how to manipulate graphical elements in order to make pattern more meaningful and communicative.

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PATTERN AS TRIGGER OF EMOTION

After establishing a framework for designers to communicate better through patterns, I should acknowledge that these psychological reaction towards the construction and properties of pattern are only predispositions rather than full- fledged systems.50 In other words, responses to patterns still rely upon on other factors such as emotion, cultural and historical factors. Not only do aesthetics and particular arrangements influence cognition and psychology, personal heritage and emotional dispositions also change how a person responds to certain visual elements based on their experience and prior knowledge. Thus, in order to create a purposive pattern, designers could also consider integrating cultural, historical and emotional value to visual elements. Such pattern can be easily found in branding, series line and products packaging. In our contemporary environment, a thoughtout and well- communicated pattern has the potential to serve a more advanced function than mere decoration, such as advocating ideas, raising awareness and creating resemblances. The design of the patterns becomes a tool to evoke emotions. This section explains how pattern can act as a medium/language for channelling messages and how it can be applied onto design and products.

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50  Don Norman, Emotional Design (New York: Basic Books, 2005), 30.

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A. Three Levels of Emotion

In order to create purposeful and communicative patterns, adding emotional value to the design will facilitate the delivery of a message in a more efficient way. Introduced by Norman, emotions can be mapped into three levels.51Firstly, the automatic, pre- coded network, called the visceral level, appeals to what people are genetically programmed for as an automatic and instinctive affect.52 This idea is parallel to the psychological force and perception theory that have covered in the previous section.

Nevertheless, as mentioned, this does not necessarily translate into an explicit statement or context that designers are intended to deliver.53 Thus, in this section, more focus will be placed on the other two levels. Secondly, the behavioural level emphasises use and experience.

Thirdly, there is the contemplative part of the brain, known as the reflective level.54 1

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51 Norman, Emotional Design, 21.

52 Ibid., 21.

53 Ibid., 39.

54 Ibid., 21.

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B. Behavioural Level

The four components of good behavioural design are function, comprehension, usefulness and physical feel.55Although patterns are not usually the stand- alone products or the main event inviting behavioural appraisal, they play a crucial and assistive role in supporting products and ideas. Based upon this principle, I recommend designers to ask the following questions to themselves before and during pattern making: 1

Does your pattern or design satisfy intetions or have a purpose?

Will the pattern create confusion?

Does your pattern contradict with the texture, or material of the design surface?

Is pattern an appropriate medium to work with?

How does pattern distinguish itself from other media such as image and text?

55 Norman, Emotional Design, 70.

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C. Reflective Level

If attractiveness is a visceral- level phenomenon, beauty comes from the reflective level. The reflection level is where the highest levels of feeling, emotions, and cognition reside.56 This level emphasises the message and meaning of a design, where it could be achieved in dual and simultaneous pathways. In one way, universal triggers of the element itself involve, pre-existing and known associations with a symbol or element. In another way, the meaning could be bestowed by the designers and their methods. To compare, the visceral and behavioural levels are instant and subconscious, but the reflective level brings a transcendent effect through interpretation, understanding and reasoning.

It requires a sustained interaction to create association and memory stimulation.

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To achieve these higher dimensions of processing, the reflective level is the most sensitive to culture, experience and individual differences.57 This is where designers could “manipulate” and interfere to add value to the products or pattern.

I have stumbled upon a pattern design 2

56 Norman, Emotional Design, 38.

57 Ibid., 38.

58 “Traditional Japanese Patterns” Nippon, published February 2020.

called Asanoha in a Japanese anime, in which the pattern appears on the female protagonist’s dress. Asanoha is a fabric pattern often used on the cloth of the Japanese kimono, illustrating hemp leaves with simple geometric lines and shapes.

Hemp as an exuberant plant has a tenacious vitality, so this pattern was usually used on children’s and teenager’s kimonos. Hence, in Japan, Asanoha serves as a symbol of hope for parents for their offspring growing up strong and healthy by wearing this pattern.58 After acknowledging this backstory, it came to my surprise that the Asanoha patterns hints towards the later personal growth of the character in the anime series. From vectors and shapes to blessings, patterns become a vehicle for ideas and emotions. Rather than a simple, plain kimono, or kimono with meaningless patterns, the designer selects a culturally meaningful element (hemp leaves) which carries association within Japanese society and arranges them in a balanced careful way. In this personal experience, it is evident that the designers utilise the cultural factors to make their designs more meaningful. Patterns here exhibit a certain analogy to language.

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D. Man, Nature and Universe

To create a universal language through patterns, law of geometry may offer insights for designers to start with.

The effect/ influence of law of geometry expand far beyond the structural and proportional aspect of pattern. Geometric proportion is also inherent in man, nature and the universe,59 for example, the cross section of a seashell constitute to the construct of golden ration; the human body ratio of 1.618 as suggested by Leonardo da Vinci; the hexagonal patterned hives of the honeycombs. We could gain inspiration from these law of geometry within natural things to trigger emotions and harmonize your creations. Islamic pattern is a good example to demonstrate this application.

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Islamic pattern is built according to the understanding of geometric rules in natural form.60 The human mind can perceive harmony and order by reflecting on these visual elements in the pattern. Such gravity of visual harmony establishes a higher understanding of the cosmos and facilitate spiritual epiphany for the viewer. With this philosophy, “the viewer is not a mere observer; he or she is a participant in the realization and discovery of the link between geometry and the nature”.61 The mechanism in Islamic patterns also illustrates infinite possibilities, by which to encourage contemplation. Dabbour concurred that “geometry possesses abstraction and the capacity to express and reveal objectively immutable and spiritual truths”.62 Thus, designers could utilize this concept in the process of pattern creation to communicate and trigger similar emotions.

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59 Dabbour, “Geometric proportions”, 383.

60 Ibid., 386.

61 Ibid., 391.

62 Ibid., 381.

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E. Paisley Besides, designers should be aware of how many different things a simple pattern can mean across cultures, disciplines, times period and contexts.63 In the case of Paisley, it is a patterned cloth featuring a droplet shape motif. The motif of paisley was first appeared in Iran and Kashmiri region about a millennia ago named as buta and boteh.64 This resembles a flower, a lotus or some kinds of plantation. In the 11st century, this flowery pattern was first woven onto Kashmiri shawls and given to cosseted powerful men in Khil’at as a robe of honour.65 1

them .68 From a royal privilege in the middle east to a fashion frenzy and crawl into the closet of gay men and gang members, paisley is more than a pattern but a representation of an array of human desires, belonging, exclusion and experience.

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In the late 18th century, after the shawls were imported into Britain, they soon became very popular among aristocrats in Europe. A lot of fabric manufactures at the time were trying to mimic this extravagant woven pattern and Paisley, the Scottish town, was one of the most successful manufactures in shawl production.66 This explains how this curling pattern got the name paisley in the western world. Then in 1850- 60, due to the advancement in fabric technology, paisley was printed instead of woven onto clothing. It became more affordable among the working class which gave rise to high popularity of this pattern. However, paisley ran out of fashion after the 1870s.

Paisley sprung back into mainstream in the 1960s thanks to the hippies fashion.

Later, it became a signal for gay men recognising one to another.67 In the 1980s, it even represented gang wars between the Crips and Bloods wearing blue and red bandannas, respectively, with paisley on 4

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63 Norman, Emotional Design, 5.

64 Stewart, Patternalia, 95.

65 Ibid., 97.

66 Ibid., 97.

67 Ibid., 99.

68 Ibid., 99.

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F. Be Fluent in Pattern

Therefore, designers need to be careful in blending the idea of whether a pattern is cultural and temporally appropriate before incorporating these factors into a design. It is crucial “to plumb the backstories of individual patterns, the spring kinks in how each developed, the uncanny parallels and overlaps between patterns natural and invented, and the curious personalities patterns develop over time�.69 Designers could also consider creating association with elements base on law of geometry. In this way, even with little artistic merit and arrangement, messages can also be delivered through yielding tremendous emotional and reflective value.

Designers always have the autonomy to create a mere decorative pattern. However, they should never underestimate the potential of pattern and settle for superficiality. There is no simple set of rules or single products that can hope to satisfy and cater to everyone. Designers must know the audience for whom the product is intended and its purpose. Pattern is a language where its operation is the grammar, and the sophistication of its vocabularies determine the richness of its motifs.

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69  Stewart, Patternalia, 4.

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PROJECT : ECHO

To allow my audience to witness and learn about the complex matrix behind each cell, array and repetition of patterns, I have launched an online programme called Echo to assist patterns making. It was crucial for me to present something that would inspire hands- on interaction and play, rather than something to merely observe. The aim was to create a unique and joyful experience for users through “real time interaction� with the intelligence of computer software. By creating this online platform, I invite designers to engage, inspiring them to create a new language, definitions and potential in patterns.

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A. Inspiration

I have always been fond of designs created by a set of systems, not strict rules but a set of designs that can enable more complexity and dynamism. Similar to the famous MIT Media Lab Branding by Pentagram. Using a 7x7 grid, they have generated simple monograms and series of logos for all 23 research groups with one skilfully crafted system.70 This system easily established a fixed identity for the MIT Media Lab. 1

Creative coding and generative design are the evolution of those systems that are enabled by the power of technology. Designers can create a series of parameters or codes to create, change and refine their designs, and these parameters also allow the designers to quickly iterate different forms and constructions for every occasion. This creates a fluid system rather than a final form, and a contemporary approach to immerse the audience in the designer’s works and ideas.

Denounced by Madsen, “The fundamental problem with traditional computer graphic approaches is that static design tools like Illustrator and Sketch fail at prototyping digital systems”.71 I strongly believe this will be the next revolution in graphic design follow by the invention of computer and vector graphics.

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70 Michael Bierut, How to (UK: Thames & Hudson, 2015), 293.

71 Rune Madsen, “Programming design Systems,”

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A great example of merging coding and graphic design is from kinetic design and generative system design pioneer – DIA studio. “Primary” is a health and wellness co- working workplace. DIA creates their logo and identity based on specific colour psychology. They have developed a generative platform, a tailored software that creates unique colour combinations in a series of logos.72 The colours are based on different moods, times, ambience and activities. These parameters adjust the gradient, hue, and saturation of different logos. All members and employees are given an individual logo that matches their personality and the work they do.73 This generative system has created an ever evolving and flexible design that is distinctive in every instance but also cohesive as a whole.

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72 “Primary by DIA,” The Brand Identity, https://the-brandidentity.com/feed/primary-by-dia/ 73 Richard Baird, “Primary by DIA, United States,” BP&O, https://bpando.org/2016/09/14/branding-primary/

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Echo was inspired by the potential of the above precedents and technology. It can explore billions of types of patterns which unfold in front of your eyes in a matter of a few clicks and slides. My project is based on a philosophy in which, enable and encourage designers to define the instructions or rules of their design so that it can be used for multiple and varied purpose but remains the core element as constant. The parameters allow the audience to get instant feedback of different forms, colours, arrangement and more. The created pattern can act as the entity of your personal imagination, message and preference. One of the reasons I chose this medium was to bridge the gap between the seemingly complicated world of code and design, and in parallel close the gap between the mathematical structure behind pattern and everyday people. Echo provides a precise justification of how my project could bring greater contributions than the existing design software as“ Variations of a design can be tested much faster during the prototyping phase, and randomization, customisation and adjustment can be used to reveal designs that the designer would never have created with a pencil”.74 It is a place of learning and experimentation on the topic of pattern for everyone in a fun and entertaining way. I believe the future of design lies in the creation of tools like this.

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The fundamentals of creating art and design with instructions and systems is nothing new. Artists and designers have been doing it for decades; most notably, in the world of art, we might think of Sol Lewitt’s instruction-based work. His art is not valued on the final product itself but the concepts and structures that he creates with words and diagrams.75 Thus, many people can recreate his work based on his instructions. As Sol Lewitt himself said in 1967, “The idea becomes a machine that makes the art”.76 His role is comparable to that of an architect who designs the buildings which are then constructed by other workers. This mirrors to the rationale of my projects. This time, however, the coded system in generative art is a framework/ instruction from me, the distinctive aspect is that the “workers” are given a higher degree of freedom to create something which originates from their own in lieu of any given instructions.

74 Madsen, “Programming design Systems.”

75 “The Art of an Idea: Math and Art Integration with Sol Lewitt’s Instruction,” Art Class Curator, published March 2018.

76 Sol Lewitt, “Paragraphs on Conceptual,” Artforum 5, no. 10 (1967).

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Throughout my process in breeding my new pattern- design system, I have considered several issues/concerns that that may come into sight. For example, a common question that raise by many people “Is this really design”/ “Isn’t it just coding”. I believe design can take many forms, including photography, products and imagery, and coding is the newest segment in the design industry. It is designing a process to create a new design.

As stated by Madsen, “digital products are systems, and designers who code are no longer confined to the creation of design systems that end up in printed manuals”.78 With that being said, this indeed take designers into a more advanced level of design generation. There is always an inseparable relationship between the design discipline and technological advancement. It is essential for designers to become fluent and literate in the new digital reality to prevent being irrelevant.

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The coding language/ program I used is called P5.js. According to the official website, P5.js is a JavaScript library for creative coding, with a focus on making coding accessible and inclusive for artists, designers, educators, beginners, and anyone else.77 This coding language has simplified coding for non-professional programme engineer and caters to artists and designers. This allows us to visualise and create ideas that cannot be done with traditional methods and opens doors for more new and interesting results. Besides, it enables designers to create dynamic systems that can finetune their creation based on different variables such as time, place, or use. P5.js is also a web-based programme that does not require the user or viewer to download anything. This allows the finished product to be shared effortlessly or even to be modified by another designer or programmer.

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B. Future Directions

Given a longer time frame, I believe future research could dwell on other aspects of visual elements as mentioned in Part 3. A case study regarding specific cultural and historical elements would also be beneficial to pattern- makers in creating purposive patterns. Future directions could also investigate ways to apply patterns onto different textures and surface of products.

77 P5.js. http://content.acca.melbourne/uploads/2018/02/Feminisms-3.pdf.

78 Madsen, “Programming design Systems.”

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As for Echo, I expect to build more functions and options. For instance, different shapes of cells and tiles, arrangement and orientation of tiles and different symmetry operations. Curvature of lines and animation would also assist for a substantial comprehensive system and optimal usage to enable greater unexpected outcomes. More parameters such as spacing and density could also be included. On top of that, introducing a randomness function into the generator would also be considered. This function would allow the system to randomly generate a pattern without input from the user. This random generative system could produce surprising results for designers and provide a springboard for novelty and new ideas.79 The parame-

ters the user sets can act as a limiter to provide a certain degree of autonomy for the computer to experiment with random patterns and observe order from the seemingly chaotic results. I anticipate a broad uptake by allowing the designed patterns to be shareable and be used in every device which will encourage and stimulate further discussion on pattern- making.

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79  Philip Galanter, “Generative Art Theory,� A Companion to Digital Art (2016): 168.

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C. Conclusion

To summarise, this research paper first debunks the superficiality of lazy pattern design, then introduces the basics operation and potential functionality of repeated motif and lastly uncovers two pathways/approach of how designers can make meaningful patterns. I have offered an elementary framework to inspire designers to manipulate visual elements within patterns in accordance with the concept of psychological force and with reference to theory such as gestalt theory and processing fluency theory. I have also suggested designers to take considerations of cultural and historical elements as emotional trigger and incorporate those contexts in pattern-making. This paper does not intend to set rules for pattern makers nor generalise the aesthetics of pattern but to demands for awareness of the magnitude of pattern. I even encourage designers to go against the rules and testimonies if the brief allows you to.

Finally, the main project Echo serves as a tool to enable us to achieve the above intentions. Echo invites the audience to engage as designers and students to truly understand the nature of pattern. Echo achieved this by focusing on the response from the audience, in this case, creating patterns that responds individually to the user’s world of thoughts. My project is the integration of new technology and graphic design that strive to bring novelties that have previously been impossible to accomplish in the realm of patternmaking.

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BIBLIOGRAPHY Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye. USA: University of California Press, 1974.

Art Class Curator. “The Art of an Idea: Math and Art Integration with Sol Lewitt’s Instruction.” Published March 2018. https://artclasscurator.com/ sol-lewitt-instruction/ Baird, Richard. “Primary by DIA, United States.” BP&O. https:// bpando.org/2016/09/14/ branding-primary/ Bierut, Michael. How to. UK: Thames & Hudson, 2015.

Cottington, Joe., Poulter, Pollyanna., and Ace Jane. Patternity.

UK: Conran Octopus, 2015.

Dabbour, Loai M. “Geometric proportions: The underlying structure of design process for Islamic geometric patterns,’’ Frontiers of Architectural Research 1 (Aug 2012): 380391, http://dx.doi.org/10.1016/j. foar.2012.08.005.

Lewitt, Sol. “Paragraphs on Conceptual,” Artforum 5, no. 10 (1967): http://theoria.art-zoo. com/paragraphs-on-conceptual-art-sol-lewitt/ Madsen, Rune. “Programming design Systems,” https://programmingdesignsystems.com/ introduction/ “Most Unbelievable Camouflage In The World,” Origins Explained, 16 Oct 2019, 11:04, https://www.youtube.com/ watch?v=qFHicbDgGlI&feature=emb_title&ab_channel=OriginsExplained Nahhas, Shuruq. “The Influence of Pattern and Color Interaction in Object Color Preference,” The University of Minnesota’s Digital Conservancy. (May 2019): 1- 201, http://hdl.handle. net/11299/203574.

P5.js. http://content.acca. melbourne/uploads/2018/02/ Feminisms-3.pdf.

Reber, Rolf., Schwarz, Norbert., and Winkielman, Piotr.

“Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver’s Processing Experience?” Personality and Social Psychology Review 8, no. 4 (Feb 2004): 364- 382, doi:10.1207/s15327957pspr0804_3.

Stewart, Otto. Patternalia. USA: Bloomsbury USA, 2015.

The Brand Identity. “Primary by DIA.” https://the-brandidentity. com/feed/primary-by-dia/

Nippon. “Traditional Japanese Patterns” Published February 2020. https://www.nippon.com/ en/japan-data/h00478/traditional-japanese-patterns.html.

Galanter, Philip. “Generative Art Theory,” A Companion to Digital Art (2016): 168.

Norman, Don. Emotional Design. New York: Basic Books, 2005.

Gombrich, E.H. The Sense of Order: A Study in the Psychology of Decorative Art. New York: Phaidon Press Inc, 1984.

Ong, Jyni. “The future of design is in the creation of tools: Meet the Space Type Generator,” It’s Nice that. Published May 16, 2019. https://www.itsnicethat. com/articles/kiel-mutschelknaus-space-type-generator-graphic-design-digital-160519.

Jackson, Paul. How to Make Repeat Patterns: A Guide for Designers, Architect and Artist.

London: Laurence King, 2018.

Papanek, Victor. “The Future Isn’t What It Used to Be,” The MIT Press 5, no. 1 (1988): 4- 17, doi: 10.2307/1511555.

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IMAGE CREDIT In Order : 1 The Fashionisto 2 Kason Cheung 3 NeverTrustaHogwallop 4 Motor Sport 5 ManvsMachine 6 Patternity 7 David Oliete 8 David Oliete 9 David Oliete 10 Interaction Design 11 Etsy 12 Soroush Zargar 13 Gavin Macntosh 14 Patternity 15 Treloars 16 Kason Cheung 17 Pentagram 18 DIA 19 DIA 20 DIA 21 DIA 22 DIA 23 Tate 24 Kason Cheung

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