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Abstract
This article examines the emotive significance of culturally prominent patterns and sets out an agenda for their purposeful use in design. An exploratory study reviewed 16 distinct patterns and asked participants to judge to what extent a set of emotion terminology related to the aesthetic of each. The results suggest the dynamics of observing aesthetically complex pattern are both exciting and interesting. Drawing on aesthetic theory, it is also argued that discrete geometric motifs within pattern may be subjectively related to emotions such as trust and fear. Connecting these motifs with specific concepts in aesthetic perception and interpretation, it is proposed that pattern can be selectively applied by designers hoping to develop emotively attuned product aesthetics.
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No potential conflict of interest was reported by the author(s).
Additional information
Notes on contributors
Lewis Urquhart
Lewis Urquhart is a design researcher working towards the completion of his doctorate. His research interests include design emotion, form theory and advanced manufacturing technology. Currently, he is involved with research projects exploring virtual reality and generative design.
Andrew Wodehouse
Andrew Wodehouse is a Senior Lecturer in design. His research encompasses advanced manufacturing, product experience, and creative collaboration. He has collaborated with disciplines such as drama, bioengineering, history and business to deliver new methods and approaches for product design.