Research Task: Flow and Play
The purpose of this task is to find artists who use “flow and “play” theory in their work and I hope to eventually apply what I have learnt to my work.
Firstly, I looked at the recommended essay entitled Memory, Instinct, and Design: Beyond Paul Rand’s “Play Principle” Michael Golec
The essay was incredibly detailed, and I found it to be quite difficult to read so I hope I have understood it. I believe it to be a critical examination of the famous graphic designer Paul Rand’s design philosophies “Memory, Instinct, and Design Beyond Paul Rand’s “Play Principle.” The essay specifically criticises Rand’s emphasis on the “play principle” in design, which he claimed was essential for producing work that was both visually appealing and useful.
“Rand’s instructional theory is a tool for learning, it is not, as Rand proposes, learned. The play principle delivers what cannot be forgotten, what is relegated to some buried placememory. But first it draws an inruirive response, that which is outside of, or beyond, the play principle. The action beyond learning is actually before learning. Furthermore, if instinct is likened to a child’s response, then what is beyond the play principle is actually before Rand’s scene of play. Returning to the rime before learning allows the designer to continue learning, thus the play principle is not a model for memory per se, rather it accesses the very root of creation, which soon becomes just that which cannot be forgotten. This is precisely why play is a tool for learning, or, in other words, play is situated toward learning.” (Page 106 – Heller, Steven., (©1998) The education of a graphic designer Allworth Press [in association with the] School of Visual Arts)
Analysing the quote above and from my understanding of the essay, the author of the essay is arguing that, while the play principle can be useful as a starting point for designers, it is insufficient to produce magnificent work. Instead, to push the boundaries of what is possible and create designs that truly resonate with spectators, designers must be willing to draw on a variety of different cognitive resources such as instinct and memory.
Next, I looked at some of the recommended artists and I researched first Hilma af Klint.
Hilma af Klint
Hilma af Klint was a Swedish painter best known for her abstract works. Originally, she began as a botanical and landscape artist. Her later works were created in the late nineteenth and early twentieth centuries, long before abstract art as we know it today. Her paintings were notable for their use of bright colours and geometric shapes, as well as spiritual and mystical themes.
Many of Hilma’s paintings were part of a series titled “The Paintings for the Temple.” She explored various spiritual ideas through these paintings. What fascinating was that she began holding seances, during which she said the spirits would send her images, which she would then paint. I am not religious, but could she have seen something from the spirit world? Surprisingly, these artworks included a total of 193 pieces. The paintings frequently feature complex geometric patterns and abstract forms that are meant to represent spiritual ideas and concepts. Her paintings frequently feature bold and vibrant colours that radiate energy. Her paintings also use a variety of textures and patterns, with some using intricate lines and others using large, sweeping brushstrokes.
Below are some examples of the works.
When discussing a painting she created in 1907, Hilma af Klint said:
“The pictures were painted directly through me, without any preliminary drawings and with great force. I had no idea what the paintings were supposed to depict; nevertheless, I worked swiftly and surely, without changing a single brushstroke.” (Paintings for the Temple | The Guggenheim Museums and Foundation, no date, para. 2)
Above describes the act of play and flow extremely well.
Joan Miró
Following that, I looked at Joan Miró (1893-1983), a Spanish surrealist painter, sculptor, and printmaker. His work drew me in because of its playful and childlike style, which employs simple forms and bright colours to create dreamlike compositions. The colour palette and style reminded me a little of some of my previous work, which can be seen here.
Below are examples of some of his paintings
The Surrealist movement, which emphasised the subconscious and unconscious mind, had a strong influence on Miró. He frequently used biomorphic shapes, abstract forms inspired by living organisms, to create works that evoked a sense of mystery.
Miró began to experiment with varied materials and techniques later in his career, creating sculptures and ceramics in addition to his paintings. He kept using bright colours and playful imagery.
Overall, Miró’s work is characterised by a sense of freedom and experimentation, as well as a deep connection to the unconscious mind.
Bob Cobbing
I then looked at Bob Cobbing (1920-2002). I was interested in learning more about him for several reasons: one, I liked his artwork; two, I struggle with typography and thought I could learn something from his work; and three, I enjoy poetry.
He was a British poet and artist known for his work in concrete poetry, I discovered. Concrete poetry is a type of visual poetry in which the design and layout of the words on the page are as important as the words themselves. Cobbing was a key figure in the British concrete poetry movement, and his writing, performance, and publishing activities helped to popularise the genre. Cobbing’s work often featured experimental typography. He used a range of techniques to create his concrete poetry, including cut-up and collage methods, as well as hand-drawn lettering and experimental printing techniques.
Cobbing’s work, in general, pushed the boundaries of traditional poetry and helped to broaden the definition of what poetry could be.
Conclusion
From this research I have discovered that playing (meaning drawing without purpose) and drawing are both important activities that can stimulate creativity and imagination, but they serve different purposes and can have different benefits.
Drawing and playing (drawing without a purpose) are both important activities that can stimulate creativity and imagination, according to my research, but they serve different purposes and have different benefits.
Playing is important because it allows us to experiment and explore without feeling pressured to achieve a specific result or goal. We can try new things, make mistakes, and learn from them. Aside from that, it can assist us in relaxing and improving our mood. As a result, many people enjoy mindful colouring books, which have the same effect.
Drawing, on the other hand, is a more focused and deliberate activity that requires a result, which can be stressful at times. However, drawing can be a useful tool for capturing our thoughts and observing people and objects.
While drawing is important, it can also be structured and rigid at times. Simply playing would allow me to break free from my usual habits and thought patterns. It would motivate me to take risks and explore new opportunities. It would also be useful to ‘play’ if I were stuck for ideas or starting a project and was intimidated by the blank page. To summarise, both playing and drawing have distinct advantages.
References
Guggenheim Museum (2018) Hilma af Klint. Available at: https://www.youtube.com/watch?v=CHdud9km7bQ.
Joan Miro Sculptures (no date a). Available at: https://www.thehistoryofart.org/joan-miro/sculptures/.
Joan Miro Sculptures (no date b). Available at: https://www.thehistoryofart.org/joan-miro/sculptures/.
Paintings for the Temple | The Guggenheim Museums and Foundation (no date). Available at: https://www.guggenheim.org/teaching-materials/hilma-af-klint-paintings-for-the-future/paintings-for-the-temple.
Reporter, G.S. (2017) Bob Cobbing. Available at: https://www.theguardian.com/news/2002/oct/07/guardianobituaries.booksobituaries.
Tate (no date a) Joan Miró 1893–1983 | Tate. Available at: https://www.tate.org.uk/art/artists/joan-miro-1646.
Tate (no date b) Joan Miró 1893–1983 | Tate. Available at: https://www.tate.org.uk/art/artists/joan-miro-1646.
Wikipedia contributors (2023a) Bob Cobbing. Available at: https://en.wikipedia.org/wiki/Bob_Cobbing.
Wikipedia contributors (2023b) Joan Miró. Available at: https://en.wikipedia.org/wiki/Joan_Mir%C3%B3.
Visual Skills 2 