PT ee ly

PATTERN |
ATTERN! We see the sands break up into myriad form
Pp that tell tales and make pictures. We see the clouds dan
across the sky, and the branches of the trees intertwine i
panel and border. We feel the light and shade of music—the rise an
fall of the human voice—the wail of the seagull and the on
the waves—the joys and sorrows of experience—the faces of 2
and youth—all life is pattern.
So we sense it.
As artists we express it in line and colour—we shape our vision=
we design—we execute—we feel and understand our medium, re
spect its limitations and restrictions, profit from its suggestions an
become “‘doers.’’ Doing means learning.
We become craft-workers, leaving a trail of coloured thought wi
our needles on linen, silk or felt—releasing a bowl, a vase, a cu
from a plastic ball of clay—arresting in letters of gold on the trani
parency of our vellum, the visions of the poets and singers of é
ages—weaving design into the warp and woof of daily life—fash
ioning the clothes we wear, the houses in which we live, and ft
streets and gardens in which we walk. On all that our eyes rest, wit
in the limits of our man-made towns, has been designed; and #
big city of the west is waiting, expectantly, ready to absorb in
development beauty—and more beauty. Therein lies the impor
of the artist-designer’s ability to select—to extract the motif a
weave the pattern that tells his tale. q
He must store his memory with the forms around him, must bel
Nature’s rhythm and harmony, and find the form in the tiny peb
echoed in the bigness of the mountain.
There is no imagination without memory, and no design or Vv
without imagination. The designer is ever on the outlook for fo
and colour. This is as it should be, and this inward craving for |
beautiful can always be met by turning to Nature, who is a g
ous mother with boundless nourishment.

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