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. 1
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. 2
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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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