I. INTRODUCTION

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,1 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.

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. 2 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.3 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.

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 5 E.H. Cottington, Gombrich, Pollyanna Poulter, Jane Ace, Patternity (UK: Conran Octopus, 2015), 120. The Sense of Order: A Study in the Psychology of Decorative Art (New York: Phaidon Press Inc, 1984), 7. 5

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.1

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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”.2 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”.3 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.

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.

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.1

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.2 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. 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 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.