Research points, Part One: Being Creative

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.

Abstract Illustration

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.

Research Task: Where do good ideas come from?

For this research, I needed to read some OCA student quotations about their creative process. Then view a Stephen Johnson film that explains the source of good ideas and recognize any statements I agreed with.

“I generally start with an idea and a plan. But the plan usually changes during the process.”

Ros, OCA Textiles, Level 1.

I am in full agreement with the previous statement. I start with a concept and develop a plan from there. As I work on the first idea, the plan can change, and a completely different idea can come out of it.

“I have not been making art for very long yet and only just started to reflect on the process. For OCA exercises, I tend to start with realistic pencil drawings in order to get to know my subject. I then gradually leave that by changes in media and bolder interpretations. It is at this stage I feel creativity kicking in. I try to do many different versions because the doing sets in motion a chain of thoughts, ideas and things to explore. I stop when the ideas cease or I have a picture I am happy with.”

For my own work I go a similar path if I start with an idea of what I want to do. If I haven’t I mess around with water and water soluble media until I see something emerge. I then use that as a starting point. This makes for very surprising subjects and often abstract ones.

Ideas pop up at unexpected times and I have started to jot them down. When I am not able to develop them visually I use words. I think I should combine the two – visual and verbal – as they lead to different things. Verbal is faster and so allows for a train of thought to flow more freely. Visual development takes hold of a first idea and develops that out of the processes involved.”

Sibylle, OCA Drawing, Level 1.

I agree with the above statement. In my work, I usually begin with a pencil sketch and then when I am sure of what I am attempting to accomplish, I become more at ease with the question. This then gives me more motivation to try more mediums.

“I often start out with an intention but the work finds its own way somewhere else and that’s ok. Sometimes work that I’ve done for an exercise will offer itself up for development into something else and that’s fine. Once the work’s started it often feels as if I’m chasing after it rather than guiding the work.”

Kate, OCA Photography, Level 1.

The above statement is sometimes the way I work. I can have an initial idea, but as I work on it, it can lead to something different.

Next, I watched the recommended video ‘Where Good Ideas Come From’ by Steven Johnson. Then answered the following questions in response to the video.

Do you agree with Johnson that ideas take time to develop?

I agree with Steven Johnson’s idea that good ideas take time to develop. In his video, Johnson argues that many of the world’s greatest innovations and inventions were not the result of a sudden “Eureka!” moment but emerged slowly over time, through a process of trial and error, collaboration, and sharing of ideas.

Johnson points out that many of the most significant breakthroughs in the world have resulted from “slow hunches”. Each idea often gradually developed over weeks, months, or even years. He suggests that this process of gradual idea development is critical to creating truly innovative ideas.

In my opinion, this is an accurate description of how ideas often develop. It’s rare for a brilliant idea to appear fully formed out of nowhere. More often, it’s the result of a long process of experimentation and refinement.

Are his ideas equally applicable to creative disciplines?

Steven Johnson’s ideas about idea generation and creativity are equally applicable to creative disciplines.

In his video “Where Good Ideas Come From,” Johnson argues that creativity and innovation often emerge from a collaborative, networked environment. He uses examples from a range of fields, including science and technology, to illustrate this point.

This idea of collaboration is equally important in creative disciplines. For example, many successful artists often collaborate with others to create new and innovative works. Such as Andy Warhol and Jean-Michel Basquiat, who successfully worked together. From 1980 to 1986, they created many pieces of art together. A popular example of their collaboration together would be the painting of the Olympic rings. (2023)

Furthermore, Johnson’s emphasis on the importance of slow hunches and the gradual development of ideas is also relevant to creative disciplines. A long process of development is used to refine and improve ideas, resulting in many successful creative works. An example where an artist has done this is Graham Rawle with his book ‘Woman’s World a graphic novel’. In his quote below, it explains this long process of development.

“The book took five years to create. I first drafted the novel in outline, then searched through hundreds of women’s magazines, cutting out anything that seemed relevant to the scenes I’d written: sentences, phrases and words that when joined together might be rearranged to approximate what I wanted to say. These pieces were transcribed, filed and stored, and from them I began to assemble my story as a Word document. Little by little, my original words were discarded and replaced by those I’d found. Once the text was finalized, I pasted up each page from the organised snippets. The method was primitive: scissors and glue. Apart from a little post-production tweaking, everything was done by hand.” (WOMAN’S WORLD BOOK, n.d.)

Overall, while Johnson’s examples in his video focus on innovation, his ideas are equally applicable to creative disciplines, where collaboration and the gradual development of ideas are all critical to success.

Do you think collaboration is important to creativity?

Collaboration is an important aspect of creativity. As shown in the video, collaborating with others can bring new perspectives, fresh ideas, and diverse skills to a creative project. Which can lead to more innovative outcomes.

Collaboration also allows for the sharing of knowledge and expertise, which can help to overcome creative roadblocks and generate new ideas. For example, the collaboration between Andy Warhol and Jean-Michel Basquiat shows working with others can result in new techniques and approaches to art-making.

Furthermore, collaboration can provide a support network for creatives. I often will contact my peers using Discord chat. This allows me to bounce ideas off others and receive feedback on my work. This can help to refine and improve ideas and hopefully lead to better and more successful outcomes.

However, it’s worth noting that collaboration is not always necessary or appropriate for every creative project. Some projects may be better suited to a solo approach. Ultimately, the decision to collaborate or not should be based on the specific needs and goals of each creative project.

Given the opportunity, who would you collaborate with from another field or discipline? A scientist, for example, or a writer, or painter?

If I had the opportunity, I would love to work with Quentin Blake. Below are the following reasons:

To start, it would be an amazing experience due to his renowned status as an artist and illustrator.
He has made great strides in children’s literature thus has great experience.
He is best known for his illustrations of Roald Dahl’s books. These were my favourite growing up, especially “The BFG “and “Charlie and the Chocolate Factory”.
Working with Quentin Blake would give me the opportunity to learn from a master and gain insight into his creative process.
I could observe how he approaches illustrating a story, how he brings characters to life through his art, and how he uses colour and composition to create a cohesive visual narrative.
Additionally, working with Quentin Blake would likely be a fun and rewarding experience.
By collaborating with him, I could contribute to a project that inspires and delights readers around the world.

References

W. (2023, February 15). Famous Art Collaborations – AGI Fine Art – Advice Blog. Advice for Artists – AGI Fine Art – Advice Blog. https://agifineart.com/advice/famous-art-collaborations/

WOMAN’S WORLD BOOK. (n.d.). GRAHAM RAWLE. http://www.grahamrawle.com/womans-world-book.html