Dyalli 02

Description

The Dyalli 02 pattern is a modern reimagining of traditional African geometric ornamentation, drawing deeply from East African visual culture while presenting it through a contemporary lens. Rooted in rich African heritage, the design transforms historic motifs into bold, simplified forms that echo both tradition and modernity. While African textiles are often celebrated for their vivid colours, this pattern intentionally pairs strong black geometric shapes with gentle pastel backgrounds, creating an unexpected yet balanced visual experience.

The motifs that shape Dyalli 02 are inspired by traditional geometric ornaments found across the African continent, particularly within the architectural and craft traditions of East Africa. These include the ornate carvings of Swahili doors, decorative furniture, carpets, tapestries, ceramics, and architectural elements that define the region’s design identity. Many of these forms blend symmetry with deliberate distortion, resulting in symbols that feel both timeless and contemporary. In Dyalli 02, these shapes are rendered using bold black lines, sharp edges, and subtle irregularities, reinforcing their cultural roots while allowing them to sit comfortably within a modern design context.

My approach to pattern design is influenced by two iconic brands. From Marimekko, particularly the work of Maija Isola, I draw inspiration from her fearless play with colour, scale, and simplified motifs. From the Nigerian brand DyeLab, I take cues from its strong abstract symbols and confident use of colour—an aesthetic connection that aligns naturally with this design.

The Design Process

After deciding to focus on simple abstract East African ornaments as the foundation of the Dyalli 02 pattern, I began by exploring a wide range of sources, articles, and visual references. This research helped establish context and direction, guiding the next stages of development.

Stage 1: Initial Sketching
The process began with hand-drawn sketches, using pencil and coloured markers to explore variations, rhythm, and possible compositions for the pattern.

Stage 2: Digital Research and Sourcing
Once the conceptual direction was clear, I reviewed multiple digital archives and visual resources. Abstract African symbols from the Vectazee platform were identified and purchased for further use. These provided clean, high-quality references that could be reshaped into a cohesive original design.

Stage 3: Vector Development
Selected elements were reworked in Adobe Illustrator. Each motif was redrawn as a vector, first in black and white to focus on form, and later refined through multiple colour studies. This stage allowed for precise manipulation of line weight, scale, and visual balance across the pattern.

Stage 4: Seamless Pattern Construction
The final seamless design was assembled in Adobe Photoshop, created to meet the required competition dimension of 150 × 100 cm. Layered PDF and JPG files were then produced for submission and for use across digital and social media platforms.

Sources Consulted

– Mamdouh Sakr (2025), Dwindling Vernacular Architecture of the Swahili Coast: A Cosmopolitan Enclave in East Africa, ISVS e-journal, Vol. 12, Issue 1.
– University of Nairobi, Department of Art & Design – Ontology of Vernacular Interior and Exterior House Decorations in East Africa.
– Symbolism and Spirituality in African Architecture, Re-Thinking The Future.
– Isaac Samuel (2021), Monumentality, Power and Functionalism in Pre-colonial African Architecture.
– The Swahili Architecture of the East African Coast, AfricanHistoryExtra.