III. GRAPHICAL PATTERN ARRANGEMENT

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.1 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. 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”.2 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.3

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.

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.

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

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.1 42 The arrangement of space and balance creates different psychological forces by different point of attack, direction and intensity of the lines.2 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.3 44 This makes the visual statement unclear and disturbs the observer’s perception and judgement.

For any spatial relation between objects, there is a “correct distance, established by the eye intuitively” known as a “structural skeleton”. 1 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. 2 46 In general, any location that coincides with a feature of the structural skeleton introduces an element of harmony. Pattern- wise, 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 meta- motif, 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.

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.3 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”.4 48 As such, I advise pattern- makers 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.

45 Arnheim, Art and, 12. 46 Gombrich, The Sense, 75. 47 Ibid., 88. 48 Ibid., 114.

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.

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.1 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.

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.

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.1 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.

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.1 51Firstly, the automatic, pre- coded network, called the visceral level, appeals to what people are genetically programmed for as an automatic and instinctive affect.2 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.3 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.4 54