Perceptual Patterns by Allie Nambo

ALLISON NAMBO

CONTENTS 05 Understanding Patterns 07 The Origin Of Patterns 15 Patterns In Contemporary Design 27 Kapitza Interview 29 Patterns In Package Design 35 Patterns In Brand Identities 41 Patterns In Infographics 45 NEXT AT THE CORCORAN 2013 52 Final Words 54 bibliography

UNDERSTANDING PATTERNS

A universal artistic principle, patterns are at the very existence of life as we know it. Patterns have been part of human life since its beginning. Present everywhere, from dwellings, to fabric—and even the human body, patterns play an important role in everyday life and have culturaL, religious, and philosophical significance. From the spiral of a hurricane, rippling sand dunes, waves in the ocean, a plant flowering, and the lines on the palms of our hands (Airey, “Patterns in Design”)—patterns result in the repetition of an element or elements in a work. Whether dictated by a mechanical grid, a digital algorithm, or the physical rhythm of a craft person’s tool as it works along a surface (Lupton & Cole-Phillips 187)—this artistic principle has been present throughout history in many visual mediums. From early cave paintings and ornamental religious texts to graphic ads on magazines and billboards, patterns are a fundamental principle in any visual practice. In graphic design specifically, patterns can play many roles when it comes to the different aspects of visual communication. Patterns are not simply a decorative tool, but can convey meaning and enhance the design’s message when used successfully. Three specific ways patterns can be employed in graphic design are by playing a supportive, representational, and/or an informative role in brand identities, package design and infographics. The creative evolution of ornament spans all of human history. Shared ways to generate patterns are found in cultures around the world. Universal principles underlie diverse styles and icons that speak to particular times and traditions. Styles and motifs of pattern-making evolve within and among cultures, moving in and out of fashion. They travel from place to place and time to time by the forces of commerce and the restless desire for variety (Lupton & Cole-Phillips 185). Whatever the original function of pattern design may have been, in process of time all of its primitive significance has become obscured, though never entirely eliminated by the recognition and cultivation of its possibilities (Christie 32). A universal artistic principle, patterns are the repetition of an element or elements in a work.

â&#x20AC;&#x153;There is no doubt about the importance of visual patterns, or that our ability to perceive patterns matures as we widen our experience of the world.â&#x20AC;&#x153;

THE ORIGIN OF PATTERNS Patterns can be found in works traced all the way back to the Prehistoric Era, where visual communication lived on cave walls and rocks. Abstract geometric signs, including dots, squares and other configurations are repeated and intermingled with various symbols of animals in many cave paintings (Meggs 5). In the 19th century designers began analyzing how patterns are made. They found that nearly any pattern arises from three basic forms: isolated elements, linear elements and the criss-crossing or interaction of the two. (Lupton & Cole-Phillips, 186). Figure 1 consists of petroglyphic figures, animals and signsâ&#x20AC;&#x201D;some with repetitive elements, that can be found all over the world carved and painted on cave walls.

Tim McCreight

Patterns can be found in the development of early forms of writing. The repetition of symbols and letter forms structured into grid zones by horizontal and vertical division can be found in many visual displays of early writing from the Sumerians, Egyptians and Chinese (Meggs 17). The development of alphabets tie in with the fundamentals of pattern-making through the structured and repetitive system it follows. In perspective, these alphabets are patterns in themselves, forming abstract symbols in repetition to any eye not familiar with their specific written system of communication. When looking into the role of patterns in many early printed works, one can assume the role of decoration and ornament as dominant.

Previous image: Figure 1, Prehistoric petroglyphic figures, animals and signs with repetitive elements found carved and painted on cave walls Left Image: Figure 2, The Book of Durrow, the man, symbol of Matthew, A.D. 680 Middle Image: Figure 3, The Book of Durrow, opening page, The Gospel of St. Mark, A.D. 680

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Specifically when looking into early illuminated manuscripts, these gold intricately embellished borders and carpet pages can seem more decorative than functional on the surface. When looking deeper into the meaning and intent of the monastic leaders, these ornate patterns have the ability to create a sense of mystical and spiritual overtones (Meggs 43), which were necessary to promote in religious texts. In Figures 2, 3 and 4, the abstract and complex geometric Celtic design can be found through the use of linear patterns and bright, pure colors used in juxtaposition. The Celtic craft tradition of intricate, highly abstract decorative patterns was applied to book design in the monastic scriptoriaâ&#x20AC;&#x201D;originally a stark, reclusive environment where copying of manuscripts took place, which let a new concept and image of the book emerge.

Right Image: Figure 4, The Book of Durrow, Folio 125, carpet page, A.D. 680

Figures 2,3 and 4 are pages out of the Book of Durrow, the earliest fully designed and ornamented Celtic book (Meggs 45). Patterned ornament was used in three ways: frames and borders to enclose full-page illustrations (Figure 2), opening pages of each gospel and other important passages were singled out for illuminationâ&#x20AC;&#x201D;particularly by the design of ornate initials (Figure 3), and full page decorative design called carpet pages (Figure 4) were bound into the manuscript (Meggs 46). The name of the carpet page developed because the densely packed design had the intricate patterning associated with oriental carpets.

In Figure 3 specifically, the passage and initials chosen for “illumination” successfully convey the message of spiritual importance through color, page layout and the repetition of various elements. The I and the N—linked into a ligature, become an aesthetic form of interlaced threads and spiral motifs. The I and N are singled out and illuminated through ornate patterning throughout the letter forms. This visual aesthetic highlights the start of the passage and creates intrigue and curiosity. Without the intricate patterning within the letter forms or the following, there isn’t a signifier as to where the start of the passage is or the importance of it. The warm tones and gold colors in the ornate letter forms add

to that sense of wonderment and spiritual authority the page conveys. As stated earlier, Figure 4 contains intricate patterning that mimics oriental rugs, giving it the name “carpet page.” Carpet pages are wholly devoted to ornamentation with brilliant colors, active lines, and complex patterns of interlace. They are normally symmetrical, or very nearly so, about both a horizontal and vertical axis. Throughout many illuminated manuscripts these carpet pages can be found. Full pages of complex intricate patterns and enchanting colors, these too are full of wonderment and spiritual significance, though only serve a decorative role in these early manuscripts. Containing no text in these elaborate designs,

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Figure 5, Qur’an manuscript in Arabic on polished paper, Kashmir, 18th c., detail

these pages only enhance the spiritual and mystical authoritative message being portrayed. Removing these pages from the manuscripts will not take away the meaning and message being conveyed, they simply add to what is already being explained through the ornate patterns and text presented in Figures 2 and 3. Other religious works carry patterns within them as well. In Islam, intricate patterns function quite differently in the presentation of the Qur’an. Islamic artistic traditions depend heavily on the use of geometric, floral and textual patterns due to their aversion to the depiction of heavenly or earthly creatures, so as not to encourage idolatry (Lings 15). Unlike the ornate patterns in the Celtic Illuminated Manuscripts, the patterns in the Qur’an serve to abstractly represent the message conveyed in the text. In Figure 5, a page of the Qur’an manuscript in Arabic contains abstract repeating elements. The rhythm, harmony and structure of the page, combined with the elegant script and design compose and inner rhythm, and unending melody (Lings 16). The function of these intricate patterns is parallel to that of the “Revelation” itself as a means of causing repercussions in the human soul in the direction of Transcendent (Bantjes 25). Through these ornate patterns the door to the imagination can be accessed.

Figure 6, William Morris, The Works of Geoffrey Chaucer, Opening page, Kelmscott press, 1896

Figure 7, William Morris, The Works of Geoffrey Chaucer, Canterbury Tales, Kelmscott press, 1896

During the Arts and Crafts Movement patterns were used as a form of protest towards mass production during the Industrial Revolution. Many favored the idea of honesty in architecture and design and announced that “all ornament should constitute an enrichment of the essential form” (Meggs 73). A strong leader in the Arts and Crafts Movement, William Morris was an architect and designer who fervently rejected those forces that would separate art from everyday life. His system decreed that craftsmen, artists, and designers themselves would take direct responsibility for their creations and thus restore the pride in work that had been violated by the anonymous production line. Morris encouraged the return to simple figures, colors, and ornamental backgrounds. It was his emphasis on “decorative honesty” rather than his revivalists tendencies, that proved the lasting significance. From it arose the modern concept of the “Total Work of Art,” which inspired the various Arts and Crafts designers in England and America and later the Modernists on the continent (Heller & Chwast 31). Figures 6 and 7 shows a page from The Works of Geoffrey Chaucer which was printed in 1896 by William Morris under the Kelmscott Press. Limited to 425 copies, this book was printed in two columns on handmade paper with specially designed large Gothic type in red and black, and numerous woodcut borders and initial letters designed by William Morris. The opening page dazzles the eye with the sheer richness

of its appearance. William Morris was particularly concerned that this book be conceived as a total unity so that the paper, ink, type and decorative motifs had a uniform and complementary style (Puffer & Schreyer, “The Arts”). The patterns play a supportive role within this design as the text and image cannot stand alone on this page. Without the ornate borders the designed layout would not be harmonious and have a continuous flow through the book, which is essential to any page layout design. In the twentieth century, modern designers avoided ornate detail in favor of minimal adornment. In 1908 Adolf Loos, a Viennese design critic, wrote “Ornament and Crime”, linking the human lust for decoration with primitive tattoos and criminal behavior. Despite the modern distaste for ornament, the structural analysis of patterns is central to modern design theory. Thanks to Owen Jones’ Grammar of Ornament which was created in 1856, many designers then recognized the principles that unite an endless diversity of form (Lupton & Cole-Phillips 185).

“Ornamental pattern work, to be raised above the contempt of reasonable men, must possess three qualities: beauty, imagination and order.”

PATTERNS IN CONTEMPORARY DESIGN In our society today visual patterns can be found everywhere. From the clothes we wear, the products we buy to customized websites online, patterns can be seen daily and have a dominant presence in modern society. Patterns have enjoyed an undeniable cultural resurgence of late, where decoration has made a joyful return to the private and public domain alike—pattern is now a fundamental of contemporary life (Thorogood 4). Through the technological advancements, the process in pattern-making has evolved into a digital window open with many possibilities. Unlike the protest of William Morris, designers today are embracing the new technologies available to help communicate their message. When looking at contemporary

William Morris

designers whose work contains dominant and elaborate patterns, one thinks of Marian Bantjes. This graphic artist’s designs consist of ornate patterning through obsessive hand-work and precise vector art. Marian Bantjes’ work can be found on several magazine covers, posters and elaborate store window displays (Bantjes, “Projects”). Her designs have been heavily influenced by 14th to 18th century calligraphy, illuminated manuscripts, Islamic art, Art Nouveau, the Arts & Crafts Movement, textiles from around the world, Persian carpets, old lace, and money engravings (Bantjes, “About”). Though her designs are heavily influenced from past works and movements, Bantjes uses new technology to embrace the creativity and

Top Left: Figure 8, Marian Bantjes, I Wonder, Book Cover detail, 2010 Top Right: Figure 9,

freedom of exploration. She doesn’t merely repeat a technique that has been used throughout time, she takes her inspiration and turns it into something of her own. Several examples of this can be found in Figure 8, Marian Bantjes’ book I Wonder which was released in late 2010.

Marian Bantjes, I Wonder, Introduction, detail, 2010

In figure 9, the introduction for Marian Bantjes’ book I Wonder is pictured. Embellished with patterns of repeated floral arrangements, this spread is held together with the grid-influenced structure of this pattern and small block of introductory text on the right side. Referencing early illuminated manuscripts, Marian Bantjes has “illuminated” the W—first letter to start the article, with flower petals. Marian Bantjes talks

about her process in creating this section of her book under the “Notes of Production” section in I Wonder. She says, “The Art for this was inspired by the decorations and offerings to deities in Bali that are set out on the street every morning. Some of these were made in Bali, using local flowers, stems, leaves and palm fronds, which I either bought in the market or harvested from the garden where I was staying. Various arrangements were assembled and stitched together with grasses and fern stems, then photographed and arranged in repetitions in Photoshop” (190). Marian Bantjes use of new technologies can be found in many of her works. In the “Wonder” section in her book, I Wonder, pictured in Figure 10 depicts many

gold ornate patterns surrounding the white blocks holding the text. To create this dynamic section of illuminated patterns, Marian Bantjes combined units in variable configurations in Adobe’s Illustrator program to create a different patterning effect on each page (Bantjes 191). Through the use of new technologies Marian Bantjes’s work contributes to the ever-changing and evolving field of design. Enabling ornamentation, from historical sources to more contemporary fixations to be appreciated and communicated for the digital age (Thorogood 6). The diversity within her book I Wonder, sums up the over all aesthetic of Marian Bantjes’ designs. The patterns used in I Wonder serve as a supportive and representational role in

Figure 10 , Marian Bantjes, I Wonder, 2010, Wonder, pages 26 and 27.

the identity of the book. Creating a sense of association and homage to her style of work and influences. As Marian Bantjes’ describes her book on her website she stresses how each article and image can not live without the other. She says “As a book experience, the relationship between the content and the graphics is very important. They are totally interdependent and neither the articles nor the graphics can live without the other” (Bantjes, “About the Book”). Both personal, structured and ornate the design of the patterns, text and material come together and unify I Wonder for a dynamic experience both visually and literarily. The identity of the book. Creating a sense of association and homage to her style of work and influences. As Marian Bantjes’ describes her book on her website she stresses how each article and image can not live without the other. She says “As a book experience, the relationship between the content and the graphics is very important. They are totally interdependent and neither the articles nor the graphics can live without the other” (Bantjes, “About the Book”). Both personal, structured and ornate the design of the patterns, text and material come together and unify I Wonder for a dynamic experience both visually and literarily. As technology provides new ways for the field of design to evolve and innovate, it enables decoration and ornamentation—whether from historical sources to more contemporary

Figure 11 , Paperlux, Cover of Novum’s November Issue, Germany, 2011

fixations, to be appreciated and communicated today (Thorogood 4). The cover of Novum’s November issue by Paperlux found in figures 11 and 12, is a perfect example of blending new and old. Novum is an international magazine on graphic design that originated in Germany. The cover of the November 2011 issue was done by Paperlux, a design studio located in Germany. The cover was inspired by Richard Buckminster Fuller, an American theorist, architect, engineer, author and designer best known for his Geodesic Dome (Paperlux, “Projects: Novum Cover”). The repeating triangles reference this Geodesic Dome and create a pattern that draws the eye into the design. Using current printing technology Paperlux turned

this cover into an interactive print piece. By die-cutting the outline of each triangle, the cover shifts into a three-dimensional space when one interacts with it, as seen in figure 12. In 48,000 passes and with 140 extremely detailed die cuts per magazine, Paperlux created six differently colored versions of the cover. The result is a metamorphosis of paper (Paperlux, “Projects: Novum Cover”). Pattern is employed in Paperlux’s design as a representational role by referencing the work of Buckminster Fuller. Pictured in figures 11 and 12, the triangles mimic those used to construct the Geodesic Dome as one interacts with the cover and shifts the two-dimensional design into a three-dimensional space. In

addition to the interactive pattern the use of bright colors and simple typography add to the overall aesthetic of the design. Though, without the brightly colored pattern the design would not successfully convey the message and homage to Richard Buckminster Fuller’s Geodesic Dome.

Figure 12, Paperlux, Cover of Novumâ&#x20AC;&#x2122;s November Issue, Germany, 2011

Figure 13, Kapitza, Kapitzaâ&#x20AC;&#x2122;s Geometric Pattern App, 2012 Figure 14, Kapitza, Organic Pattern Font Book, cover, 2011 Figure 15, Kapitza, Organic Pattern Font Book, page detail, 2011

Kapitza, a multi-disciplinary design studio run by sisters Nicole and Petra Kapitz, have gained a global following in the design world for their inspirational pattern art books and picture fonts. (Kapitza 1) Their work results from the technological advancements found in our society today. Kapitza generates nonalphanumeric fonts through digital systems, something that wouldnâ&#x20AC;&#x2122;t have been possible in the past. Kapitza has even released a font generating app, shown in figure 13, that puts the power of creating these dynamic, repetitive fonts into the hands of many with just one swipe on a tablet or smartphone. Their artworks are bright, colorful and minimalist, featuring abstract graphic art and flower illustrations

in bold color compositions and compelling arrangements. Figure 14 and 15 displays Kapitza’s pattern font book Organic, released in 2011. Organic is Kapitza’s second book project that features 200 unpublished works using their brand new collection of custom designed pattern fonts, all created through a unique process (Thorogood 1). Kapitza utilizes these new technological tools to create these works so each font is different and distinctive in style and character. The diversity of textures, color and visual synergy in these patterns come from a playful but exacting process of analysis, discovering what happens when font characters are acutely and elaborately pushed to extremes in order to create

orders, configurations and themes that might not exist otherwise (Thorogood 3). The patterns that make up these fonts play a representational and informative role in Kapitza’s designs. Representing the elements of nature in these organic fonts, the patterns are the focal point, playing an integral role of information. Kapitza’s dynamic fonts found in Organic push into fresh and creative territories, providing new and original insights for font software and design.

KAPITZA INTERVIEW Why do you create pattern fonts such as the Organic and Geometric series? Did they evolve out of an earlier project, develop simply for your visual pleasure, respond to a visual communications need, or something else entirely? Our first pattern font was Pop. With Pop we discovered how well a pattern font lends itself for creating patterns. Does your usual working process involve sketching by hand at all, or are your designs created using only digital tools? We have different starting points. Some fonts start with sketches, some with photos and others with computer sketches. If you start by hand there is usually more cleaning up to do and the font has a more “hand made” look. Are there any structures you established at the outset—such as having a set grid or spending a set amount of time—that you followed when designing your both of your books Geometric and Organic? With Geometric we had a set grid, with Organic our main objective was to break the grid and try to move away as far as possible from the regularity which is enforced by the font software.

“Whether dictated by a mechanical grid, a digital algorithm, or the physical rhythm of a craft person’s tool as it works along a surface, a pattern results from repetition.”

Ellen Lupton and Jennifer Cole-Phillips

PATTERNS IN PACKAGE DESIGN TCHO is a high quality fair-trade chocolate brand located in San Francisco, California. The brand identity was created by UBERSEE, a design firm located in Los Angeles, California in 2006. The packaging was specifically designed by Susanna Dulkinys and reflects the brand’s identity through the “high-tech” metallic patterns, vibrant colors and bold logo used to promote the product. TCHO prides themselves on being a company with cuttingedge technology. Being a company founded by the co-founder of Wired magazine and an ex NASA engineer, TCHO chocolates are high quality and manufactured using the most modern technology (UBERSEE, “TCHO”). As seen in figure 16, the individual chocolates

are sold in roughly 3” x 3” squares. Emphasis on this modern factory can be seen in the “space-like” wordmark and metallic patterns. These metallic, cyclical patterns mimic the boutique factory’s production cycle and invites viewers to gaze and absorb this modern high-tech feel the patterns evoke. The patterns serve as a supportive and representational role throughout this design. Without knowing anything about the company the viewer can assume that this company prides itself on the high-quality aspect of their chocolate through the many different colored and patterned packages. Without the metallic ink in the patterns the message of new and high-quality wouldn’t reach the viewer as successfully.

Previous image: Figure 16, UBERSEE, TCHO Chocolate, package design, 2006 Figure 17, Louise Fili, Ambessa Tea, package design, 2012

Pictured in figure 17 are four tea tins designed by Louise Fili, a designer located in New York. The Ambessa tea brand is represented through the use of color, typography, and ornate patterning that can be seen to reference foreign textiles. The idea of exotic and high-end can be conveyed through the design choices within this package. The Ambessa brand represents Chef Marcus Samuelsson. The flavors trace his personal voyage across the world throughout his life (Fili, “Ambessa”). The patterns used in this design play an informative, supportive and representational role. The dominant pattern is the same within each tea design, only varying in color. The pattern represents a tie with foreign and imported products with the pattern design revolving around one similar to a foreign textile design. The pattern supports the overall brand through enhancing a sense of consistency within the different tea flavors and creates a sense of harmony by interacting with the text. An example of patterns playing a supportive and representational role in package design can be found in figures 18 and 19. Both the Diet Coke cans and Proper Attire condom packages are reaching out to a “fashionable” crowd through the use of patterns designed around textiles. These patterns represent the high-end, must have, encouraging attitude that can go along with the “fashionable” crowd. In figure 18, the Diet Coke cans have silhouetted women faces containing different fashionable patterns. In a partnership with Benefit

Figure 18, Diet Coke, Limited edition cans, In partner with Benefit Cosmetics, 2012 Figure 19, Fangohr,

Cosmetics, Diet Coke released these cans for a limited time in an effort to reach out to a fashion customer base. (Kulik, “Patterns in marketing”) The variation in patterns on the cans also help add a unique quality and a preference in choice for the fashionable consumer.

Proper Attire, condoms, 2009

In figure 19, Proper Attire’s condom packaging is shown. Originally designed by Fangohr in 2009, these condoms incorporate a variety of pattern designs on the packaging to sell as a “must-have” fashion accessory (Kulik, “Patterns in Marketing”) which makes people proud to carry and retailers want to sell. The patterns used in this package design play a representational and supportive role through the textile reference being conveyed. Without the pattern this condom wrapper wouldn’t stand out as a “must-have” accessory, leaving it stripped of its ability to stand out and be seen.

“The secret to success in all ornament is the production of a broad general effect by the repetition of a few simple elements.” Owen Jones

PATTERNS IN BRAND IDENTITIES David Airey, author of Logo Design Love: A Guide to Creating Iconic Brand Identities states in his article Patterns in Design, “A basic human skill is the ability to interpret patterns. We use them to gauge the past, present, and future in all kinds of things: the layers of earth that allow archaeologists to date their findings, or the movement of pressure systems that enable weather predictions. We also use patterns to articulate messages in design, think about logos that are seen everyday, and how they use pattern to inform.” The City of Melbourne is a dynamic, progressive city, internationally recognized for its diversity, innovation, sustainability, and livability. In

figure 20, the City of Melbourne’s brand identity can be seen. Created by Landor, a global brand consulting firm, the City of Melbourne’s logo consists of different repeating geometric elements within a bold “M.” At the heart of the new design, the “M” presents a full expression of the identity system. As it is immediately recognizable and as multifaceted as the city itself: creative, cultural, sustainable. A celebration of diversity and personal interpretation that is both future-proof and iconic (Landor “Case Studies”). The role of pattern within this brand identity is both supportive and representational. The repeating geometric elements through each version of the logo supports the overall brand aesthetic through the variety in patterns.

Previous image: Figure 20, Landor, The City of Melbourne Logo, Brand Identity, 2009 Figure 21, Paul Rand,

The bold “M” cannot stand alone and convey the same message of a cultural, diverse and sustainable city without the patterns. In addition to the many patterns within the logo variations, the use of bright colors and solid text help project the brand’s message.

IBM logo, 1972 Next images: Figure 22, Pentagram, The Brooklyn Historical Society logo, 2005 Figure 23, Tom Geismar, National Aquarium logo, 1980

IBM has been recognized as the powerhouse of high-quality computer products and services. The IBM logo, pictured in figure 21, is an image of expertise, innovation, service and trust, thereby reinforcing the strength of IBM in the industry (IBM, “Archives”) through the use of a bold, serif typeface called “City Medium” and a pattern of horizontal lines within the lettering. Designed by Paul Rand in 1972, the IBM logo uses pattern to help communicate the company’s message. The logo depicts the company’s promise of commitment to its principles through these design aspects. As seen in figure 21, the repeating horizontal lines within the logo communicates the emphasis on equality, speed and dynamism within the company. Without these lines the IBM logo would turn into a faceless bureaucratic identity. The supporting and representational role that pattern plays within this logo is integral and would change the brand’s identity completely if absent. Through the use of a horizontal pattern within the bold, capitalized typography and cool-toned color, The IBM logo continues to define the company’s promise, symbolizing trust, value, quality and advanced technology.

In a world of integrated IT systems, the IBM logo is uniquely reassuring, conveying authenticity, reliability and quality of the brand and its mechanics (IBM, “Archives”). Designed by Pentagram, a large design consultancy firm, owned and run by 19 partners (pentagram, “About”), is the Brooklyn Historical Society’s logo, shown in figure 22. This brand identity employs pattern as a representational and informative role through the repeating circles that make up a larger circle. Designed in 2005, this logo represents the connection between the past to the present that the Brooklyn Historical Society provides. By making the vibrant history of Brooklyn tangible, relevant, and meaningful for today’s diverse communities and for generations to come (Brooklyn History, “About”), the Brooklyn Historical Society’s message can be found within the brand identity. Without the repeating circles that form a larger circle that radiate outward, the identity and message of connecting the past to the present would not be understood within the logo. Another example of patterns within a brand’s identity can be found in figure 23, the National Aquarium’s logo designed by Tom Geismar. This brand identity employs pattern as a resentational and informative role as well within the brand identity through the repetition of abstract fish within the logo. The use of negative a positive space create this almost abstract image of a school of fish and waves which represent the

design of this non-profit aquatic education and conservation organization in Baltimore, MD and Washington, DC (National Aquarium, “About Us”). The use of the color blue helps the pattern stand out and convey that message of being an organization in aquatic education and conservation.

“To divine the significance of pattern is the same as to understand beauty itself.”

PATTERNS IN INFOGRAPHICS Siang Ching is a Singapore based graphic designer and illustrator. She is the founder of Pattern Matters, a graphic design-based project inquiring on possible ways to augment the role of pattern by looking into the design process and tactile exploration through pattern making (Ching, “About”). In figure 24 a three-dimensional info-graphic by Siang Ching can be found. This infographic represents the frequency of blood groups and donor populations in Singapore. The repeating triangles make up a pattern of information within the overall info-graphic. This employment of pattern within this design is purely an informative role. The triangles hold visual, key information through the distinction in the

Soetsu Yanagi

different shades of red. Figure 25 shows an info-graphic from GOOD magazine in 2009. A collaboration between GOOD magazine and Gavin Potenza, this info-graphic depicts the growth of food stamps in the United States through pattern design. The repeating food icons convey the rising number of people using food stamps. The use of color and rules helps distinguish which row pertains to what year, though the main information being displayed is the informative pattern. The role that pattern plays in this specific info-graphic is informative and representational as the repeating elements are actual images of food products. This representation helps add to the overall aesthetic and message of this infographic.

Previous image: Figure 24, Siang Ching, ABO: Frequency of Blood Groups in Singapore, Donor Population, 3D Infographic, 2012

Figure 25, Gavin Potenza, The Growth of Food Stamps in the United States, featured in GOOD Magazine, 2009

NEXT at the COrcoran 2013 Organic Pattern, digital vector print, 20” x 20”, 2013

NEXT at the Corcoran is an annual festival that celebrates work by the graduating students of the Corcoran College of Art + Design. For my installation in the NEXT at the Corcoran 2013 thesis exhibition, I was interested in presenting patterns that have developed a distinct meaning over time. All originating from the natural elements that surround our environment, each of the eight patterns presented carry a distinct persona that changes the design’s message when used. Whether they are simple organic lines, geometric shapes or even a cross-stitch within a complex embroidery, each element within these patterns cannot stand alone and carry the same message. Through various placements, scale, and color applied to each element within the patterns, an intricate design and distinct meaning can be created successfully. In the installation, the stark white space that is surrounded by the patterns, represents the design’s message. As each pattern is placed in this space the message of the design changes depending on the pattern used within it. From sharp geometric tessellations and intricate tile designs, to the fashionable textile patterns—each pattern presents a different perceptual message.

Organic Pattern, digital vector print, 20” x 20”, 2013 Medieval Pattern, digital vector print, 20” x 20”, 2013 Camouflage Pattern, digital vector print, 20” x 20”, 2013 Craft Pattern, digital vector print, 20” x 20”, 2013

Visually organic and naturally structured, the micro-patterns formed from various plant cells have been one source of inspiration for several pattern designs. These visually irregular, yet still structured forms create dynamic and intriguing compositions that have been used in visual communication throughout time. In the Middle Ages pattern designs were composed of geometric, floral or figurative motifs. Many times these motifs were used in combination with varying sizes and colors to create more intricate compositions. These designs were an essential part in churches, castles, and noble houses throughout Europe. Featuring small, rectangular blocks of color, the computer generated digital pattern’s design was originally derived from the Canadian pattern, CADPAT. As its digitized composition better reflects the dappled textures and irregular edges found in nature, it has since been adopted by all branches of the US military in one form or another. Cross-stitch is one of the oldest forms of embroidery and can be found all over the world. Traditionally, cross-stitch was used to embellish items like household linens, tablecloths, dishcloths, and doilies. Although there are many cross-stitchers who still employ it in this fashion, it is now increasingly popular to work the pattern on pieces of fabric to be displayed on walls.

Mehndi Pattern, digital vector print, 20” x 20”, 2013 Geometric Pattern, digital vector print, 20” x 20”, 2013 Islamic Tile Pattern,

Also known as henna, mehndi is a temporary form of skin decoration created from the henna plant. Mehndi is a ceremonial art form which originated in South Asia. Intricate patterns of mehndi are typically applied to brides before wedding ceremonies. Today people all over the world have adopted the ancient traditions of adorning their bodies with these intricate patterns.

digital vector print, 20” x 20”, 2013 Fashion Pattern, digital vector print, 20” x 20”, 2013

Tessellation is the process of creating a twodimensional plane using the repetition of a geometric shape with no overlaps and no gaps. Although tessellations have been traced back to ancient human cultures and are found within our natural world, they have had a relatively short history as a topic for serious mathematical and scientific study. 51 Geometric patterns are popularly associated with Islamic art, largely due to their aniconic quality. These abstract designs not only adorn the surfaces of monumental Islamic architecture but also function as the major decorative element on a vast array of objects of all types. Designed to blend in and worn to stand out, leopard print has played a significant role in adornment throughout the history of man. As the evolution of animal motifs as adornment has developed significantly over time, animal fur has long been regarded as a status symbol. Today a variety of animal prints are found on runways, celebrities and everyday goods.

Perceptual Pattern installation, NEXT at the Corcoran 2013, Corcoran Gallery of Art, detail, 2013

final words

One must remember that patterns are at the very existence of life as we know it. Not only are patterns found in many forms of visual communication, but also in our natural surroundings, science, and even our perception on both our external and internal environments. There is no doubt about the importance of visual patterns, or that our ability to perceive patterns matures as we widen our experience of the world. Pattern recognition is a large part of the human ability. When no pattern is obvious, one can be invented. Our ancient ancestors watched the passing of celestial events in a compulsive attempt to find order. In some cases, like the orderly revolution of the moon, they were able to find it. In others such as the random patterns of stars, they invented a pattern by imposing figures of gods upon constellations (McCreight, “Pattern”). When one looks at traditional practices in our visual, social, aural and psychological environments, one will find the principle of pattern present. From creating maps out of a pattern that originate from a series of observations to society’s idea of etiquette formed by social patterns, or the music composed of aural patterns, to even our relationships that are formed by psychological patterns, it is evident that patterns have been and will continue to be a part of human life throughout all of time. From early cave paintings and ornamental religious texts to graphic ads in magazines and on billboards, patterns are a fundamental principle in any visual practice. Patterns are not simply a decorative tool, but can convey meaning and enhance the design’s message when used successfully. Through exploring the three specific roles that pattern can have in graphic design specifically, the role of pattern can be seen to branch out in usually more than one distinct path in visual communication. Whether it be a supportive, representational or informative role that patterns take, patterns are a fundamental principle in any visual practice and can be employed several different ways in graphic design.

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PERCEPTUAL PATTERNS This thesis publication was written and designed by Allison Nambo for completion of Corcoran College of Art + Designâ&#x20AC;&#x2122;s BFA degree in graphic design. Typeface: Locator Spring Semester 2013 allisonnambo.com be.net/allisonnambo