It is interesting to hear the opinions of individuals who create new designs. We have already seen that the novelty consists generally in the combination of old pattern elements in new ways. Nevertheless, the authors of these designs are convinced that they have created something new. I have information on the attitude of these artists only from the North American Indians. They call designs of this kind “dream designs”, and claim that the new pattern actually appeared to them in a dream. This explanation of the origin of the new form is remarkably uniform over the whole continent. It has been recorded on the Great Plains, on the north western Plateaus and among the Pueblo Indians. There is little doubt but that this is merely another term for invention. It expresses a strong power of visualization which manifests itself when the person is alone and at rest, when he can give free play to the imagination. Perhaps the artists have greater eidetic power than most adults among ourselves. The few individuals who create new forms in this manner have probably a good control over the technique and wide command over a multitude of current forms. In the one case which has been investigated with some care by James Teit the woman who created new basketry patterns was also one of the best technicians and had full command over the greatest variety of forms. When the patterns made by individual artists are compared, it is seen that the number of designs made by different individuals differs very considerably. Some have command of the full range of forms, while others are satisfied with a small number which they repeat over and over again. The controlling power of a strong, traditional style is surprising. The Northwest coast people have characteristic methods of representing heads, eyes, eyebrows and joints; fig. 67 (p. 71) shows the attempt of an excellent Haida artist who tried to illustrate the tale of an eagle who carried away a woman. The general form of the eagle is quite realistic, but the artist could not avoid placing the characteristic eye design in the wing joint of the eagle, and to render the head in the conventional style in which the eagle is shown. The woman whom the eagle carries has the typical eyebrow and cheek patterns. The style has penetrated the picture which was planned as a realistic representation. Similar observations may be made in regard to the Wasgo, the fabulous sea-monster with a wolf’s body and large ears. In fig. 134 it is shown carrying a whale between its ears, another one in its tail, and a person in the mouth. It has the characteristic high nose of the wolf, the ears turned back (here shown as transparent). The large shoulder and hip joints and the hands and feet in form of eyes are features of Northwest coast art. The whale with its round eyes, blow-hole, and characteristic tail conforms also to the local art style. Still the artist attempted to give a realistic painting.