In your study of Transfiguration, you may frequently come upon the need to change the pattern of your object. A pattern is the underlying general aesthetic layout of the object, which, for example, can be the blue on white design of your favorite china, or the black and grey splotches on the neighbor’s dog. The process of changing a pattern is one of the more artistic aspects of Transfiguration, and many students who consider the more scientific nature of Transfiguration difficult may find that pattern Transformations are a welcome break.

Patterns and Identity

Pattern Transfiguration is often easiest when the pattern is an obviously integral part of the desired object of your Transfiguration; the more universally recognized the pattern is, the more you are likely to have grasped the pattern necessary in the Transfiguration at the same point in which you grasp the very essence of the object itself. For example, if you were to attempt to Transfigure a piece of wood into a checkerboard, the square pattern is such an integral part of a checkerboard that any degree of successful Transfiguration would possess the correct pattern. Only the most distracted and whimsical students have ever managed to create an alternative pattern when attempting to create a checkerboard. (Although, that’s not to say many students found it difficult to change the wood at all – simply that very few of the checkerboards ended up with elaborate spirals carved into the wood.) This is because patterns can be just as much an integral aspect of the object as material, function, and inner workings are. Indeed, in many cases, an object’s pattern can contribute to its function.

The process of Transfiguration of pattern involves a firm understanding of how the pattern contributes to the identity of the object in question. In the case of the checkerboard, without the pattern, players would not know where to put their pieces, and, of course, the function of the checkerboard would be rendered moot. In the case of your china, however, the pattern is meant to make the object pleasing to the eye and can denote the origin (or inspiration) of the piece (whether it was made in France, Croatia, or Korea, for example). A pattern is not simply a mere accessory to an object; if that were the case, pattern changes would be covered by use of Charms. A pattern is integral to the very identity of an object you are creating, and in order to change the identity of an object, you must understand important contributing factors such as pattern.

In general, there are three main ways that pattern contributes to an object’s identity, which are: function in purpose of the object, aesthetics, or camouflage. While there are other possible ways for a pattern to contribute to an object’s identity, in most cases, the effect will fall under these three main categories. Function in purpose of the object can perhaps be best exemplified in the checkerboard example from earlier; without the pattern, the checkerboard is completely useless. Aesthetics usually refers to man-made objects in which the pattern of the object is used to attract the human eye, although it can often be used in other objects traditionally regarded as beautiful by humans, such as flowers. Camouflage refers to patterns that make something blend in with its environment, normally found in nature, but also used with man-made items that require stealth.

By understanding exactly how the pattern contributes to the object’s identity, you will be able to understand precisely how you are changing the object. That, rather than the simple aspect of knowing what pattern your object should have, will allow you to successfully Transfigure your object.

Practical Use

Once you understand how pattern contributes to your object’s identity, in order to successfully Transfigure your object, you must fully envision the pattern in your mind. Many artistic students will find this part the simplest, whereas many more scientific students may find that they will have to draw out the pattern before they will be able to Transfigure it successfully.

During the Transfiguration, you will have to envision the changes that the pattern of the original object will have to go through in order to turn into the pattern of the desired object of the Transfiguration. Will it change color, became more structured or more free? How will the previous pattern re-arrange itself? If you envision the necessary pattern and changes with enough accuracy and detail, you should be able to successfully Transfigure your object, pattern included.

CASE STUDY [Tortoise to Teapot]: When you feel that you have a strong grasp of the nature of pattern in Transfiguration, obtain a tortoise and attempt to turn it into a white teapot with a blue willow pattern.

The first step is to acknowledge the pattern of the tortoise. Most strident is the pattern of the tortoiseshell, which is a jigsaw pattern of brown, black, and yellow interlocking blocks. This pattern contributes to both the tortoise’s ability of camouflage and to the function of protecting the tortoise from harm.

The pattern of the teapot, on the other hand, is neither for camouflage nor for function; it is purely an aesthetic pattern, and one that is more whimsical and loose than the pattern on the tortoise shell.

At this point, you should imagine how the pattern of the tortoise shell would become the pattern of the teapot you wish to create. From where would the willow branches come? How will the colors change? Imagine the pattern change fully, and when you feel you understand exactly how the pattern change will develop, you may attempt the spell.

The wand movement for the spell is a lazy hook motion beginning at the top left corner and ending at the tip of the hook in the lower right. The incantation for the spell is “Porocei,” with the emphasis on the second syllable, which should be said as you round the curve of the hook.

It may take several attempts to successfully Transfigure your tortoise into a teapot, but if you have difficulties for several days, try drawing out the patterns on parchment before attempting the spell again.