The mutations will seem internal, genetic. Of course the “feel” of the pattern will be different as it passes through those changes, but the juxtapositions of variants will usually, under scrutiny, support a sense of family resemblance. Taking interval as a constant, then, a single pattern can be maintained through changes in motif, through changes in color, and through changes in density (the scale of the interval relative to the size of the patterned area). The truth of that statement depends on what you decide to call “the pattern itself.” It seems natural to say that one pattern can have variant forms or that you can perceive a whole range of changes as presenting alternative forms of a single pattern. This does not necessarily vary the pattern itself. That assumption ignores the possibilities of pattern because, in effect, it allows the pattern-maker to vary only the way in which his motif is stated. The naive assumption that pattern is the repetition of a motif is fatal to any sophisticated understanding or use of it. The result will be legible as two patterns, regardless, again, of the marks you have actually made. To clinch the demonstration, introduce a new sequence of spacing in the next four lines. On a typewriter, four or five rows are needed if you are using the short side of the page and varying the “motif” (which, of course, engenders small-scale differences in the shape of the intervals). Second, a pattern only comes into phenomenal existence when there are enough repetitions of the space/interval to establish it clearly as a unit. He chooses small, simple linear motifs: stripes, diamonds, squares. And when he does begin to use true pattern, he is very cautious. At the beginning, Matisse’s painted pattern no more is a pattern than the painted lemon is a lemon. Early Matisses, like La Desserte, refer to patterned cloth as a pictorial element, but the motifs are so large, interrupted and dispersed that pattern does not actually appear. First, we must distinguish between the creation of pattern and allusions to it. Perhaps I should just say that what follows seems to me to be generally true. Its boundaries are vague, or, at least, I frankly don’t understand them. There is no beginning, middle or end to pattern. I’ll try to start at the beginning, although that is already a lie. Unlike painting, pattern has no mystique, and it has been underground so long that thinking about it reveals surprising complexities. Pattern itself remains unanalyzed, its salient characteristics unknown. Pattern carries the aura of craft and contrivance, although many individual aspects of pattern-its affinities with number, rationality, mechanical production and depersonalized imagery-have been reclaimed for art. Yet to artists now working with pattern (especially women, who may feel it as something particularly their own), it still seems to imply a lack of inwardness and freedom, and they are often defensive about it. The stylistic revisions of the last decade or so-remember the defense of boredom?-might have been expected to alter that situation. Associated with decoration and the machine, pattern was always outside the area of legitimate artistic concern. Our artistic self-consciousness: developed out of painting and, perhaps, architecture. Please refer to the Website Terms of Use for more information in this regard.PATTERN, FOR AMERICANS, HAS NEVER even been an esthetic issue. Any and all materials or information divulged during chats, email communications, online discussions, Support Center tickets, or made available to Developer Express Inc in any manner will be deemed NOT to be confidential by Developer Express Inc. Please refer to the Website Terms of Use for more information in this regard.Ĭonfindential Information: Developer Express Inc does not wish to receive, will not act to procure, nor will it solicit, confidential or proprietary materials and information from you through the DevExpress Support Center or its web properties. Developer Express Inc disclaims all warranties, either express or implied, including the warranties of merchantability and fitness for a particular purpose. Disclaimer: The information provided on and affiliated web properties (including the DevExpress Support Center) is provided "as is" without warranty of any kind.
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