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Have previous Art and Design movements influenced the role of
pattern within the creative arts today?
With reference to Historical and Contemporary Artists and Designers

Pattern is everywhere we go and in everything we do. From Fashion, Art and Design, to the
natural world. We wear patterns, we walk over them, we even eat, drink and think them - we
always have and we always will (Conran, 2015). Pattern has always been a part of our lives as
well as a major influence in the art and design world, even dating back to cave painting and the
Victorian eras, pattern is still very much integrated in our lives today. In visual art, pattern
consists in regularity which in some way "organises surfaces or structures in a consistent, regular
manner (Conran, 2015). At its simplest, a pattern in art may be a geometric or other repeating
shape in a painting, drawing, tapestry, ceramic tiling or carpet, but a pattern need not necessarily
repeat exactly as long as it provides some form or organizing "skeleton" in the artwork (Conran,
2015). It is interpreted in numerous ways, from creating an aesthetically pleasing repetition of
shape and colour, to the challenging viewpoint of clashing elements. Many see it as a rhythm, a
repetition of elements to produce the look and feel of movements and a visual tempo (Conran,
2015).
Pattern has taken a journey through time and Art movements, gaining an ever increasing role in
both Art and Design, from the style of Art Nouveau and The Arts and Crafts Movement
particularly influenced by William Morris patterns and textiles in the 1860s, to the Bauhaus
movement and the works of textile artist Anni Albers in 1951. Bridget Rileys patterns in the
1960s Op art movement has also been a key impact on contemporary art today, which challenge
the eye of the viewer, and the illusion pattern can create within art. Contemporary artists such as
Damien Hurst and Fred Tomaselli push the boundaries of art and experiment with unusual
materials, challenging the traditional use of pattern in an unconventional way as well as
contemporary textile designers such Cath Kidston and Laura Ashley who create traditional floral
patterns and prints on fabrics, interestingly similar to the timeless fabrics and wallpapers from the
Art Nouveau style dating back over 100 years. Questions and discussions also arise about
whether Morris has had an influence on modern pattern and the role pattern plays today. The
subject of pattern, interests me as an artist because although pattern is around us daily, we
interpret it and use it differently which is clear through art and history how weve been influenced
by various artists and movements. I find it fascinating how pattern is transformed into various
forms, from art; textiles, fashion, household objects and furnishings, we can transform visual
shapes and repetition into a form of art and the various roles pattern plays. My practise of art and
textiles and the importance of shapes and pattern has influenced the body of research behind
this instigation and my desire to delve deeper into the background of pattern within art and
design, looking at the role of pattern within historical and contemporary artists and designers.
Throughout the history and movements within art, pattern has always been a key aspect over
time, integrated in our lives. Even dating back over 3,000 years in cave painting and repeat prints
using the human hand (Conran, 2015), we have understood the use of repetition to create a
piece of visual art. It can be argued that the patterns within the Art Nouveau style and the Arts
and Crafts movement in the 19th century, have had a huge impact on pattern throughout time,
with designers such as William Morris, in my opinion, even influencing contemporary pattern and
design today. Japanese figurative cultures have also had an influence on Art Nouveau's
development, they did not just contribute to innovating the decorative shapes and models of the
new style, but rather helped to lay down a modern design attitude inspired by unity. Suggesting
synthesis between function and decoration (Octopus, 2015). The arts and craft movement was
an international movement in the decorative and fine arts that began in Britain and flourished in
Europe between 1800 and 1910 (Victoria and Albert Mueseum). William Morris was a major
figure during the time, whose ideas inspired the movement. Morris aesthetic beliefs placed the
figure of the artist and designer as the person responsible for the formal nature of a product and
the phases of its creation (Vallance, 1897). Initially inspired by a natural love for pattern and
texture, visual and practical aspects became increasingly equally important to him, and his ability
to balance and harmonise these two vital elements in his own work was a rare quality and the
single most important reason for his success (Vallance, 1897). As early as 1862, Morris produced
his first three commercial repeating designs for wallpapers, these patterns Daisy, Fruit and
Trellis were the inspired only by the medieval motifs he admired, as well as the trees and
flowers in his garden and his knowledge of gardening and botany were major factors of his
success (Vallance, 1897). Morris quoted In my mind, all noble patterns should at least look
large, and that every line in a pattern should have its due growth, and be traceable to its
beginning he also quoted Remember a pattern is either right or wrong and cannot be forgiven
for blundering (Vallance, 1897) suggesting the true craftsmanship behind pattern making and
production and the skill necessary. Morris wanted to move away from the use of machines at the
time, and return to making things by hand. This contrasts to contemporary designers such as
Catch Kidston, whose designs are manufactured and printed in mass amounts to suit the vast
amount of consumers today.

Tulip (figure 1) is one of the designs drawn by

Morris in 1875 out of three (Marigold and
Larkspur). Originally printed with a block printing
technique and natural vegetable dyes, the
alternation and position of the floral shapes
created an interesting movement within the print.
The repetition of zig-zag leaves in the background
adds depth and creates further shapes to create
an aesthetically pleasing pattern and rhythm which
has been taken into modern design and fabrics
today, referring back to the vitality of pattern and
using pattern as a function as well as a visual.

Figure 1
The Arts and Crafts Movement led on to shaping The Bauhaus movement in the late 19 th and
early 20th century. The Bauhaus was the most influential modernist art school of the 20th century
and a combination of crafts and arts and taught the approach of Form follows function, making
sure readability, narrative and information came first. They also taught that there is always a
connection between colour and shape, striving for aesthetic (Fiedler, 1999). Pattern played an
important part in this where everyday objects were seen as a means to be beautiful to look at as
well as having a function. This is arguably where the role of pattern was having more of an
impact, combining the aesthetics of pattern with functionality (visually and practically similar to
Morris designs where the function of fabric and material was combined with the aesthetics of
pattern). Textile artist Anni Albers was part of Bauhaus education and became a German-
American Textile artist and printmaker who was influenced by pattern through her textile pieces,
she is arguably one of the most important textile figures and was among the leading pioneers of
twentieth-century modernism (Fiedler, 1999), particularly in weaving (Figure 2), which is
becoming more common in contemporary art and textiles today. Later in life, Anni also began to
create prints in the early 1960s inspired by her weave patterns as well as new, complex designs.
She practiced screen printing to create intricate patterns and repetition, taking forward the idea of
Form follows function (Fielder 1999). Her later works, where she practiced both screen-printing
and etching were possibly inspired by the Op art movement around the same time in the 1960s
as she created monochrome and visual geometric designs which challenged the eye and created
an interesting clash in pattern and structure (Figure 3). Although a different medium and work
style, both pieces create a similar visual impact and focus.

(Figure 2) A weave created by

Anni in Bauhaus.
(Figure 3) Anni Albers Second
Movement II, 1978

The Op art movement is seen to possibly derive from the constructivist practises of the Bauhaus
and the focus on overall design. Op art was unique due to its visual and optical illusions created
through pattern and structure and where it revolutionised the use of pattern and shape (Follin,
2004). In 1965, between February 23rd and April 25th, an exhibition called The responsive eye
was created by William c. Seitz at the Museum of Modern Art, NYC (Follin, 2004), and
showcasing works from artists including Bridget Riley. Bridget Riley was an English painter, part
of the Op Art Movement. She used geometric, monochrome patterns to produce sensations of
movement, challenging the notion of the audience and engagement, taking the use of pattern in
a completely new context. Riley also began experimenting with colour in the late 1960s and felt
an importance to use colour in her work to experiment with dimension, linking to both the Arts
and Crafts and The Bauhaus movement. The idea of using pattern to change dimension and
affect the viewer could be incorporated in my own upcoming projects, influencing my own ideas
and practise, experimenting with fabric and screen prints, taking them forward possibly on the
body, through structure, print and projection.

(Cataract 3 (1967) oil and pva) This

particular piece challenged the view and
eye of the audience, creating an illusion of
a 3D surface and movement. This was
shortly after Rileys experimentation with
colour, adding warmth and depth.
Contemporary artists such as Fred
Tomaselli has arguably been influenced by
Op Art and the idea of illusion, creating a
hallucinogenic universe through his
painting and pattern. Op art has arguably
also influenced previous artists such as
Anni Albers and her more recent prints,
using the concept of pattern to challenge
Figure 4 the eye, rather than being aesthetically
pleasing.
The use of psychedelic prints and optical
illusions have also been taken into the
fashion industry and onto the catwalk. Trend predictions of Concentric circles, spirals,
metaphysical and surrealist images and pulsating designs are possible to make the next fall 2016
print trends, ready to throw anyone into a psychedelic trance (Fashionisers, Figure 5).
Suggesting the impact of both the Bauhaus and the Op art movements on contemporary design
and fashion trends, still holding a significant role today.
I personally believe pattern is still as
important as it has been in previous art
movements, if not a more important aspect in
our lives. Pattern is a constant in
contemporary art today and is
incorporated in art and design in a variety of
ways. Contemporary artists from Damien
Hurst and Fred Tomaselli, to fabric
designers such as Cath Kidston and
Laura Ashley, pattern is still a fundamental
part of their work, whether an
unconventional piece of art to push the
boundaries of the contemporary art world or a print
design for fabric and interiors. English
Fashion designer and businesswoman Cath Kidston
used a similar repetitive floral pattern inspired
by vintage fabrics which I felt were
Figure 5
visually similar to previous fabrics designed by
William Morris and are still popular today.

Cath opened her first shop in Notting Hill, which was

where she created her first print Rose bouquet,
(Figure 6) inspired by vintage florals and traditional
rose wallpaper she had seen in wales. It can be
argued that Kidstons textiles and designs are similar
to those from The Arts and Crafts movements and the
repetitive, delicate florals which suggest similarity to
the designs of William Morris. Although the fabrics are
not specifically designed to represent this, there is a
definite visual link between the historical and the
contemporary which is still popular today, possibly
even more popular than at the time of the movement.
Figure 6
There is a contrast, however, between from The Arts
and Crafts movement and Cath Kidstons prints. The
change in modern culture and mass consumption has changed the production of fabrics. The
creation of prints has changed from William Morris, who wanted to focus more on creating by
hand, using natural dyes and techniques, to the use of factories and large scale equipment to
cater for the numerous shops and consumers today. Although the style of modern vintage is
encouraged by Kidston through her products and is interestingly still popular today from the
history behind pattern and florals, she is clearly more influenced by the style of the fabric and the
aesthetics of pattern, and less on the ethics or production at the time of the movement. Although
the production has changed, Kidston still does take forward the idea of function and decoration
from William Morris, where she uses her prints to create furnishing, clothing and accessories,
which has arguably been carried from the movement as well as Art Nouveau and Bauhaus style.
Pattern has also been a key influence in contemporary art, with more of a focus on visuals, it has
encouraged artists to push the boundaries of modern art and the use of pattern. Contemporary
artists such as Fred Tomaselli experiment with a variety of unusual materials and techniques on
large scale. Tomaselli incorporates pattern within his work to create his hallucinogenic universe
where he uses chemical cocktails which are embedded in the paintings, which travel to the brain
through the eyes (Jacobson, 2009). His pieces hold various components, both over-the-counter
 and controlled pharmaceuticals, street drugs, natural psychotropic substances and other organic
matter creating his personal past experiences, collaged elements from printed source are all
suspended in gleaming layers of clear, polished, hard resin. Forms implode, explode, oscillate,
buzz, loop, swirl, and spiral (Jacobson, 2009) to form various patterns and shapes and challenge
the eye and suggest an altered consciousness. Drawing upon various art historical sources such
as the use of phsycadelic pattern within 1960s art, as well as eastern and western mosaics,
Tomasellis pieces explode with mesmerising patterns that seem to grow organically (James
Cohnan Gallery, Figure 8). Contemporary art, particularly Tomasellis pieces, have taken on
complex connotations and meanings, with pattern only being a small aspect of the pieces, and
new media influencing and altering the visuals. Artists seem to be finding increasingly new and
unique ways to incorporate pattern within their work and the effect it has on the viewer. This has
also been the case within my own practice, exploring pattern through installation, light, shadown
and layering, combining techniques such as embroidery, paper structure, screen printing and
etching, with pattern being a small aspect of the pieces themselves (Figure 9). This depth could
have arguably stemmed from 1960s Op Art, where pattern was experimented in a way that was
unique and engaged the audience, with less emphasis function and more on aesthetics. As
Widewalls magazine editor Lorenzo Pereira quoted Maybe this statement might sound like an
exaggeration, but the fact is that Op Art movement deals with one of the most fundamental
elements of art practice the perception of the visual, illusion and optical effects which have
been intriguing the artists and art enthusiasts for centuries. However, the developments within
the fields of psychology and contemporary philosophy in the 20th Century put these issues in the
very centre of many artists interests (Widewalls). I personally dont see Pereiras quote as an
exaggeration, and believe that as modern technology and art grow, the outcome and meaning
within the pieces are gaining more depth and understanding, as well as having more of a
personal meaning.

The various use of pattern has influenced my own practice and the role of pattern within my work.
Movements and research have allowed me to understand the impact of pattern and how to use it
to change the audiences mood and emotion. Taking forward the use of pattern particularly within
fabrics and prints, I am able to look at both the functional as well as challenging the use of pattern
and their visuals. Another Contemporary artist, Damein Hirst, also pushes the boundaries of the
use of pattern. Within his piece I Am Become Death, Shatterer of Worlds (Figure 10) as part of
his Kaleidoscope paintings in 2006, he used thousands of different coloured butterfly wings to
Figure
intricate 7
geometric patterns, (mainly inspired by stained glass windows), into household paint on a
large scale (Burn, 1997). Hirst uses repetition of colour and pattern within his work to create depth
and movement which impacts to visuals of the piece in a similar way to Tomaselli. Although Hirst
doesnt usually use pattern as a focus in his pieces, when he does use it, it differs to the structure
and usual repetition within design, and in a similar way to Op art, alters the perception of the
viewer through pattern and material. The increasing use of unusual materials in contemporary art
today is pushing the influence of pattern and exploring the possibilities and how it can be
interpreted and affect the viewer.

Figure 9 - My own installation exploring

metamorphic rock pattern,Figure
using 10
shadow to create pattern and shape.
Figure 8
I have found the use of pattern within art and design has been influenced over time, not only by
art movements, but artist themselves. Pattern has taken on various roles throughout Art and
Design and with pattern being such an important aspect in the Art world, it has no doubt grown
over movements and periods within Art, and challenged, interpreted and influenced by various
artists. Ive found that there are differences between historical and contemporary pattern design,
within movements such as Bauhaus, there was more of an impact on functionality, which there is
less of within contemporary fine art and the use of pattern today. Within fabric and design, it can
be argued that Art Nouveau and William Morris have impacted our contemporary repeat prints
and florals still being produced today, in my opinion, there is clearly a visual link between Morris
fabrics and contemporary florals from chain stores such as Cath Kidston today and a similarity
between aesthetics and functionality using dainty repeat florals to produce an aesthetically
pleasing print. Although not stated that she was specifically influenced by Morris or the Art
Nouveau period, the repeat vintage florals produced by Kidston, used for fabrics and interiors
such as furniture and curtains have a very strong resemblance to those from the Art Nouveau
and Arts and Crafts movement and a strong visual comparison through colour and composition.
The production of fabrics and pattern today, however, differ from the Arts and Crafts and contrast
from the previous smaller and more specific markets within the Arts and Crafts movement,
therefore highlighting the social and cultural changes over time. Changes within technology and
the ability to now mass produce and create pattern easily through computer programmes and the
change of attitude within the design industry now means fabric and prints are produced on a
much larger scale. The availability of materials and dyes have also widened the amount of
fabrics and prints for consmers. This could also be argued that this is allowing pattern to lose its
meaning, although they are even more global from when Morris was producing them, being
mass produced could arguably lose the personal touch and production of the print, which was
Morris aim.
The role within each movement, in my opinion, has shaped the use of pattern today within both
Art and Design as well as combining it with the ever growing fashion industry.
Within my own practise (Figure
11), I have explored pattern
conceptually as well as the
use of repeat pattern within
screen printing, taking forward
the form v function idea from
the Bauhaus movement. I
explored the possibility of
pattern within other surfaces
such as fabrics to create the
functionality of a garment and
furnishing, also linking to
William Morris practise. This
allowed me to take further my
pattern exploration and its role
within not only my work but
Figure 11 from the research of 0thers
and understand this further.
The importance of pattern also evolved into our contemporary world of art today, using pattern to
affect the viewer during the Op Art movement, for example Bridget Rileys use of optical illusion
effecting visuals, in my opinion has had an influence on contemporary artists as well as fashion,
where pattern began to have less focus on typical repetition and design. Throughout Art
movements, it is clear that pattern was taken further than just being used for functional purposes,
moving from the Bauhaus and Art Nouveau movement, to Op art and contemporary art which
involved the creation of a piece of art, rather than just used for design. This shows the versatility
of pattern and its continual use, from where we may not even realise its around us, to how we
purposely use it for impact, particularly as a key visual in contemporary Art and Design. I believe
pattern is increasingly important within art and design, as each movement within art tends to
influence the next either visually or ideologically. This is evident through having a visual
connection and analysing pieces within different movements and comparing them to the use of
pattern today. Throughout my practise I have been influenced by a variety of art movements,
including those researched and focused on previously, taking influence from the use of pattern,
shape, and colour and experimenting with pattern in a variety of ways. This therefore suggests
that previous movements have not only impacted the use of pattern today, but have also
influenced my own work and practise today. I aim to break the barrier between applied pattern
and the pattern used in contemporary Art to focus on new possibilities, focusing on fabrics and
materials, combining surface and pattern. Although there are many similarities between
movements and artists who use and incorporate pattern in their work, aesthetically and visually,
there are also differences as to how these patterns are used to impact mood and feeling. The
use of pattern is endless and is a growing constant. It will always will be a part of our lives and
part of design and its future will no doubt continue evolving within interior design, fashion and
contemporary art as throughout Art Movements and research, this has evidently been the case.
Bibliography

Patternity: A new way of seeing (Conran Octopus 2015)

Arts And Crafts Victoria And Albert Museum, Vam.ac.uk,

http://www.vam.ac.uk/page/a/arts-and-crafts/
William Morris, The life and work of (Aymen Vallance)
p.85

Bauhaus Jeannine Fiedler, Peter Feierabend

Op Art Francis Follin
Op art, Tate.org.uk, http://www.tate.org.uk/learn/online-resources/glossary/o/op-
art
Cath Kidston, The story so far, Cathkidston.com,
https://www.cathkidston.com/thestorysofar/content/fcp-content

Fred Tomaselli Heidi Zucherman Jacobson (2009)

James Cohan Gallery at ADDA: The Art Show 2013 Exhibitions James Cohan Gallery,
Jamescohan.com

I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now
Gordon Burn, 1997

The significance of the Op Art movement, Widewalls, http://www.widewalls.ch/op-art-

movement/

Fashionisers, Print trends, http://www.fashionisers.com/trends/fall-winter-2016-

2017-print-trends/
Appendix

Figure 1 - https://www.google.co.uk/url?
sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0ahUKEwiry-
PVnZ_SAhUGCMAKHaSTDHkQjxwIAw&url=https%3A%2F%2Fwww.william-
morris.co.uk%2Fshop%2Ffabric%2Farchive-iii-prints%2Ftulip%2F%3Fcode
%3DDM3P224460&psig=AFQjCNETTnXqnIeaK8FfxWqVoKlyklf1aw&ust=1487699
235106680
Figure 2 - http://cover-magazine.com/news/editions-go-farr-2/
Figure 3 - http://artknowledgenews.com/201001219669/2010-01-20-23-29-08-
alan-cristea-gallery-announces-first-major-retrospective-of-bauhaus-artist-annie-
albers.html
Figure 4 -
https://en.wikipedia.org/wiki/Texture_(painting)#/media/File:Riley,_Cataract_3.jpg
Figure 5 - http://www.fashionisers.com/trends/fall-winter-2016-2017-print-trends/
Figure 6 - https://www.cathkidston.com/fabric-and-wallpaper/antique-rose-
bouquet-wallpaper-1012586
Figure 7 - http://www.jamescohan.com/artists/fred-tomaselli/
Firgure 8 - http://www.jamescohan.com/artists/fred-tomaselli/
Figure 9 My own photograph
Figure 10 - http://www.huffingtonpost.fr/charlotte-montpezat/damien-hirst-sans-
parler-_b_1402197.html
Figure 11 My own photograph