design& THE
PLAY INSTINCT BY PAUL RAND
The absence in art of a well-formulated
Depending on the nature of the problem,
and systematized body of literature
some or all of the psychological and
makes the problem of teaching a
intellectual factors implicit in game-
perplexing one. The subject is further
playing are equally implicit in successful
complicated by the elusive and personal
problem-solving:
nature of art. Granted that a student’s ultimate success will depend largely on his natural talents, the problem still
Motivation
remains: how best to arouse his curiosity,
Competition
hold his attention, and engage his
Challenge
creative faculties.
Stimulus
Without specific formal limitations, without the challenging possibilities of introducing the element of play, both teacher and student cannot help but be bored. Without the basic rules or disciplines,
bored. The product may take the form of
however, there is no motivation, test of
a superficial (but sometimes “professional
Goal
skill, or ultimate reward—in short, no
looking”) literal translation of the
Promise
game. The rules are the means to the
problem, or of a meaningless abstract
large extent, on two factors: the kind of
Anticipation
end, the conditions the player must
pattern or shape, which, incidentally, may
problem chosen for study, and the way in
Interest
which it is posed. I believe that if, in the
Curiosity
statement of a problem, undue emphasis
Skill
in much the same way. “Limited means,”
Similarly, there are badly stated problems
Observation
says Braque, “beget new forms, invite
in basic design, stressing pure aesthetics,
Analysis
creation, make the style. Progress in art
free expression, without any restraints or
Conversely, a problem with defined
Perception
does not lie in extending its limits, but in
practical goals. Such a problem may be
limits, implied or stated disciplines which
Judgment
knowing them better.”2)
posed in this fashion: arrange a group
are, in turn, conducive to the instinct of
Improvisation
play, will most likely yield an interested
Unfortunately, in some of our schools
see fit, using any number of colors, to
Coordination
little attempt is made to guide the
make a pleasing pattern. The results of
Timing
student’s thinking in a logical progression such vagaries are sometimes pretty, but
Concentration
from basic design to applied design. We
mostly meaningless or monotonous. The
are all familiar with the so-called practical
student has the illusion of creating great
problems which attempt to duplicate the
art in an atmosphere of freedom, when
conditions of industry-the atmosphere of
in fact he is handicapped by the absence
Through trial and error, I have found that the solution to this enigma rests, to a
is placed on freedom and selfexpression, the result is apt to be an indifferent student and a meaningless solution.
student and, very often, a meaningful and novel solution.
understand thoroughly, and work with, in be justified with enthusiasm but often order to participate. For the student, the
with specious reasoning.
limits of a well-stated problem operate
of geometric shapes in any manner you
Of the two powerful instincts which exist
Abstraction
in all human beings and which can be
Discretion
used in teaching, says Gilbert Highet, one
Discrimination
is the love of play. ”The best Renaissance
Economy
problems are frequently stated in the
ideas, make playing with those ideas
Patience
broadest terms with emphasis, if any, on
possible, work absorbing, and results
to the play-principle. They made games
Restraint
style and technique in advertising, rather
interesting.
out of the chore of learning difficult
Exploitation
subjects—Montaigne’s father, for
Excitement
instance, started him in Greek by writing
Enjoyment
Without specific formal limitations,
the possibilities of relationships:
Discovery
without the challenging possibilities of
harmony, order, proportion, number,
Reward
introducing the element of play, both
measure, rhythm, symmetry, contrast,
Fulfillment
teacher and student cannot help but be
color, texture, space.
teachers, instead of beating their pupils, spurred them on by a number of appeals
the letters and the easiest words on playing cards and inventing a game to play with them.”1)
the advertising agency, for example. Such of certain disciplines which would evoke
than on interpreting advertising in terms of visual design principles.
The basic design problem, properly stated, is an effective vehicle for teaching
It is an equally effective means for
If possible, teaching should alternate
exploring the use of unorthodox
between theoretical and practical
materials and for learning to work within
problems-and between those with
specific limitations.
tightly stated “rules” imposed by the
To insure that theoretical study does not
teacher and those with rules implied by
end in a vacuum, practical applications
the problem itself. But this can happen
of the basic principles gleaned from
only after the student has been taught
this exercise should be undertaken
basic disciplines and their application.
at the proper time (they may involve
He then is able to invent his own system
typography, photography, page layout,
for “playing the game”. “A mind so
displays, symbols, etc.). The student
disciplined should be both more abstract
learns to conceptualize, to associate,
and more concrete. It has been trained in
to make analogies; to see a sphere, for
the comprehension of abstract thought
example, transformed into an orange,
and in the analysis of facts.”4)
or a button into a letter, or a group of letters into a broad picture. “The pupils,”
There are many ways in which the play-
says Alfred North Whitehead, “have got
principle serves as a base for serious
to be made to feel they are studying
problem-solving, some of which are
something, and are not merely executing
discussed here. These examples indicate,
intellectual minuets.”3)
I believe, the nature of certain disciplines
Without the basic rules or disciplines, however, there is no motivation, test of skill, or ultimate reward—in short, no game.
and may suggest the kind of problems which will be useful to the student as well as to the teacher of design.
The crossword puzzle is a variation
one square, and one rhombus. The rules
on the acrostic, a word game that has
are quite simple: rearrange to make any
been around since Roman times. There
kind of figure or pattern.
have been many reasons given for the popularity of the game. One is that
Here above is one possibility. Many
it fulfills the human urge to solve the
design problems can be posed with
unknown, another that it is orderly, a third
this game in mind, the main principle
that it represents, according to the puzzle
to be learned being that of economy
editor of the New York Times, “a mental
of means-making the most of the least.
stimulation… and exercise in spelling and
Further, the game helps to sharpen
vocabulary-building”.5) But the play in
the powers of observation through the
such a game is limited to finding the exact
discovery of resemblances between
geometric and natural forms. It helps the
word to fit a specific number of squares in
student to abstract: to see a triangle, for
a vertical and horizontal pattern. It allows
example, as a face, a tree, an eye, a nose,
for little imagination and no invention or
depending on the context in which the
aesthetic judgment, qualities to be found in abundance, for example, in the simple children’s game, the Tangram. The Tangram is an ingenious little Chinese toy in which a square is divided
AlI this work on proportioning and measures is the outcome of a passion, disinterested and detached, an exercise, a game.
pieces are arranged. Such observation is essential in the study of visual symbols. This drawing is reproduced from the first volume of Hokusai’s Rapid Lessons in Abbreviated Drawing (Riakougwa Hayashinan, 1812). In the book Hokusai
into this configuration. It consists of
shows how he uses geometric shapes
seven pieces, called “tans”: five triangles,
as a guide in drawing certain birds.
This exercise may be compared to the
potentialities is evident from
Tangram in that both use geometric
the numerous references
means. The Tangram, however, uses
to the game and play
geometry as an end in itself to indicate
in his book, such as:
the grid calls for the ability to classify and organize miscellaneous material, with sufficient foresight to allow for flexibility in handling content which may, for
or symbolize natural forms-whereas
“AlI this work on
one reason or another, be altered. The
Hokusai uses it as a clue or guide to
proportioning
grid must define the areas of operation
illustrate them. In the artist’s own words,
and measures
and provide for different techniques,
his system “concerns the manner of
is the outcome
pictures, text, space between text and
making designs with the aid of a ruler
of a passion,
pictures, columns of text, page numbers,
or compass, and those who work in this
disinterested and
picture captions, headings and other
manner will understand the proportion
detached, an exercise,
miscellaneous items.
of things”. This character for the word “tan” (sunrise) is designed within an imaginary grid. Geometry functions here in a manner
most useful,
similar to the previous illustration, namely
because it prevents rigid symmetry and
as a guide to filling the space correctly, but
helps to achieve balanced asymmetry.6)
not to produce a geometric pattern.
At the same time it makes the writer aware of negative and positive spaces. Each part
The Chinese character is always written in
of the character touches one of the nine
an imaginary square. The ninefold square,
squares, thus achieving harmony between
invented by an anonymous writer of the
the two elements and the whole.
T’ang dynasty, has been employed as the
The playfulness and humor in the production of some of these compositions in no way detracts from the end result—a serious work of art. a game.”9) Further, he goes on to say,
Here is a simple grid system for a
“for if you want to play modular…”10)
booklet. Devising such a grid involves
Within this rather simple discipline the
two creative acts: developing the pattern
calligrapher is able to play with space,
In comparison to most so-calIed systems
that is suitable for the given material
filling it as he feels would be most
of proportion, the Modulor is perhaps
and arranging this material within the
appropriate. The composition of Chinese
the least confining. The variations,
pattern. In a sense, the creative ability
characters, says Chiang Yee, “is not
as wilI be seen from this ilIustration,
required for the former is no less than
governed by inviolable laws… however,
are practicalIy inexhaustible (and this
that for the latter, because the making
there are general principles which cannot
example utilizes only a very limited
of the grid necessitates analyzing
be ignored with impunity”.7)
number of possibilities). If, however, the
simultaneously all the elements involved.
system presents any difficulties which
But once it is evolved, the designer is
The Modulor is a system based on a
happen to go counter to one’s intuitive
free to play to his heart’s content: with
mathematical key. Taking account of the
judgment, Le Corbusier himself provides
pictures, type, paper, ink, color, and with
human scale, it is a method of achieving
the answer: “I still reserve the right at any
texture, scale, size and contrast.
harmony and order in a given work.
time to doubt the solutions furnished by the Modulor, keeping intact my freedom
The grid, then, is the discipline which
In his book, The Modulor, Le Corbusier
which must depend solely on my
frees him from the time-consuming
describes his invention as “a measuring
feelings rather than on my reason.”11)
burden of making certain decisions
tool (the proportions) based on the
(dimensions, proportions) without which
human body (6-foot man) and on
Like the architect’s plan, the grid system
fruitful and creative work is extremely
mathematics (the golden section).
employed by the graphic designer
difficult. He can move directly to
provides for an orderly and harmonious
those aspects of the problem in which
A man-with-arm-upraised provides,
distribution of miscellaneous graphic
individual expression, novel ideas, and
at the determining points of his
material. It is a system of proportions
freedom of choice are essential.
occupation of space-foot, solar plexus,
based on a module, the standard of
head, tips of fingers of the upraised
which is derived from the material itself.
The grid system has as many detractors
arm-three intervals which give rise to
It is a discipline imposed by the designer.
as it has adherents. It has been
a series of golden sections, called the
condemned as stifling, rigid and cold.
Fibonacci series.”8) (1, 1, 2,3,5,8, 13, etc.)
Unlike the Modulor, it is not a fixed
But this is to confuse the product
The Modulor is a discipline which offers
system based on a specific concept of
with the process. The grid does not
endless variations and opportunities for
proportion, but one which must be
automatically insure an exciting product.
play. Le Corbusier’s awareness of these
custom-made for each problem. Creating
The designer must still exercise all the experience at his command, discretion, timing, and a sense of drama and
Devising such a grid involves two creative acts: developing the pattern that is suitable for the given material and arranging this material within the pattern.
sequence. In brief, the intelligent designer
or standard from which the plan of the
will recognize that the grid can help him
house grows. Edward S. Morse, in his
achieve harmony and order, but also
book, Japanese Homes, describes the mat
that it may, when and if necessary, be
system as follows: “The architect invariably
abandoned.
plans his rooms to accommodate a certain number of mats; and since these mats
In addition to those already discussed,
have a definite size, any indication on
variations of the geometric plan are to be
the plan of the number of mats a room
found, among other places, in Japanese
is to contain gives at once its dimensions
architecture, modern painting, and in
also. The mats are laid in the following
Byzantine masons’ marks, such as the seal
numbers: two, three, four-andone-half,
at left. This seal “employs a mathematical
six, eight, ten, twelve, fourteen, sixteen,
key as its design basis. The thick lines
and so on.”13) This illustration shows the
represent the mark, the thin lines
“plan” of a four and-one-half mat room.
represent the ground lattice which allows
Once the outer dimensions of the house
an infinite number of combinations.”12)
are determined, the mats, together with
The geometric scheme is the discipline
the Japanese system
in which the designer works. Designs
of sliding doors, give
stemming from such a scheme are limited
complete flexibility
only by his imagination.
in the arrangement and number of
Much of the painting of Josef Albers is
rooms. A perfect
based on this geometric pattern. The
example of form
pattern is not used, however, in the same
and function, of
manner as the masons’ lattice. Here it is
discipline and play.
the painting itself. It represents a strict, immutable arrangement (theme) in
There are disciplines
which the artist, by juxtaposing colors
other than
(variations) plays the fascinating game
those based on
of deceiving the eye. The squares as we
geometry, among
see them here appear to recede into
them availability
the picture plane. However, by skillful
of materials,
manipulation of colors, the painting
reproduction
flattens out and is thus seen as a two-
processes,
dimensional picture.
mechanical limitations,
The many variations based on this and
economic considerations, legal
similar designs attest to the fascination
requirements, time factors, physical
the artist finds from the interplay of a
handicaps. Some of these are self-
great variety of color schemes and an
imposed, others are involuntary, but in the
extremely limited geometric format.
hands of the artist each may contribute to,
The kind of grid employed by Japanese
rather than detract from, the end product.
architects in their traditional houses combines the virtues of determining the
It is inconceivable to consider Matisse’s
size of various rooms in the house, floors,
compositions with cut paper without,
walls, furniture, etc., and creating the
in some way, linking them to the play
style and appearance of the house. The
element—the joy of working with simple
Tatami, a straw mat approximately 3 by
colors and the fun of “cutting paper dolls”.
6 feet and 2 inches thick, is the module
But the greatest satisfaction, perhaps, is
derived from creating a work of art with
and humor in the production of some of
ordinary scissors and some colored
these compositions in no way detracts
paper—with so simple means, such
from the end result—a serious work of
satisfying ends.
art.
Similarly, the early Cubist collages, in
One cannot underestimate the
which cut paper played an important
importance of restraint and playfulness
part, are products of strict rules, limited
in almost any phase of Picasso’s work.
materials: newspaper mounted on
Here, for example, one sees a restrained
a surface, with the addition of a few
use of the brush and one flat color.
charcoal or pencil lines, usually in black and white and sometimes with tan
The drawing of the child’s face, the
or brown or similarly muted colors.
ornament and the lettering are all one.
These elements were juggled until they
Lettering is not used as a complement
satisfied the artist’s eye. The playfulness
to the drawing, but as an integral part of the drawing. It serves as both a garland and a verbal image—a visual pun. What emerges is a kind of game itself, revealing the ingenuity and playfulness of the artist, his ability to deal with problems in the simplest, most direct, and meaningful manner. Similarly, this ability to do much with little—to find a bull’s head in a bicycle seat
and handle bars—is another aspect of
for this advertisement for the Dutch
Picasso’s wizardry, his humor, his childlike
firm Nederlansche Kabelfabriek, was
spontaneity, his skill as a punster and
associated with this group.
I demand of art the role of the challenger… of play and interplay, play being the very manifestation of the spirit.
ability to improvise and invent with limited, often surprising means.
The disciplines which de Stijl encouraged—functional use of material
This monochrome, Persimmons, by Mu
and meaningful form, and the restrained
Ch’i, a thirteenth century Zen priest
use of color (black and/or primary
and painter, is a splendid example of a
colors)—are evident in this design. With
painting in which the artist plays with
a few simple typographic elements
contrasts (the male and female principle
and an ingenious play on the letter
in Chinese and Japanese painting): rough
“O”, a humorous, yet significant design
and smooth, empty and full, one and
was evolved. A picture is created by
many, line and mass, black and white, tint
typographic means: a few type characters
and shade, up and down. It is a study in
and type rules are so manipulated as to
the metamorphosis of a fruit, as well as of
make a useful product, an advertisement.
a painting. (The artist, incidentally, never
Many examples of this artist’s work reveal
used any color but black.)
this same playful approach and are
The reader may find a parallel, at least
worthy of serious study.
in spirit, between this painting and the
The earth colors of Africa, the ice of the
preceding one by Picasso. Both employ
polar regions, the bamboo of Japan, are
a single color, and exploit this limitation
among the many challenging materials
to achieve as much variety as possible,
with which artists and artisans create their
and both undoubtedly were painted very
idols, their utensils, and their houses—all
rapidly, a condition often conducive to
natural limitations which provide their
utmost simplification and improvisation.
own built-in disciplines which, in turn,
In modern times artists like Man Ray
contribute to the creative solution.
- Le Corbusier
and MoholyNagy, working with the most limited photographic means, the
Some years ago in Kyoto I was fortunate
photogram, created highly significant
enough to witness a young Japanese
pictures. This technique offers the artist
craftsman make the “chasen” you see here.
ample opportunity to play with light
It is a whisk used in the tea ceremony and
and a great variety of materials, opaque,
is cut from a single piece of bamboo with
translucent, and transparent, to produce,
a simple tool resembling a penknife. Both
very rapidly, rich and unexpected effects.
the material and manufacturing process (about one-half hour) are the quintessence
The photogram, at the left, made by the
of discipline, simplicity and restraint. The
1. Gilbert Highet, The Art of Teaching, Alfred A. Knopf, New York (1950), p. 194
writer some years ago, shows how simply
invention of such an article could not
2. Cahier de Georges Braque, Maeght Editeur, Paris (1947)
one is able to capture movement and
possibly have been achieved by anyone
achieve interesting tonal effects. Because
lacking the ability to improvise and the
the technique itself dictates a certain
patience to play with a specific material: to
degree of speed the time factor becomes
see the myriad possibilities and discover the
7. Ibid., p. 166.
an additional discipline, which acts as a
ideal form.
8. Le Corbusier, The Modulor, Harvard University Press (1954), p. 55
3. Alfred North Whitehead, The Aims of Education, Mentor, New York (1949), p. 21 4. Ibid., p. 24 5. The New York Times Magazine, December 15, 1963 6. Chiang Yee, Chinese Calligraphy, Methuen & Co., Ltd., London (1938), p. 167
9. Ibid., p. 80
creative stimulus. It has not been the purpose of this The de Stijl movement, founded in
discussion to provide a glossary of
1917, had a profound influence on
disciplines or recipes, but merely to indicate
painting, architecture, and typography.
the virtue of the challenge implicit in
Piet Zwart, the designer responsible
discipline. 14)
10. Ibid., p. 101 11. Ibid., p. 63 12. Matila Ghyka, The Geometry of Art and Life, Sheed & Ward, New York (1946), p. 120 13. Edward S. Morse, Japanese Homes, Ticknor & Co., Boston (1885), p. 122 14. Le Corbusier, op. cit., p. 220