Creativity and play 3 - Paula Scher

Ted Lecture - LINK

Paula Scher looks back at a life in design (she's done album covers, books, the Citibank logo ...) and pinpoints the moment when she started really having fun. Look for gorgeous designs and images from her legendary career.

the definition of play, number one, was engaging in a childlike activity or endeavor, and number two was gambling. And I realize I do both when I'm designing. I'm both a kid and I'm gambling all the time. And I think that if you're not, there's probably something inherently wrong with the structure or the situation you're in,

Be serious, it says. What it means, of course, is, be solemn. Being solemn is easy. Being serious is hard. Children almost always begin by being serious, which is what makes them so entertaining when compared with adults as a class. Adults, on the whole, are solemn. In politics, the rare candidate who is serious, like Adlai Stevenson, is easily overwhelmed by one who is solemn, like Eisenhower. That's because it is hard for most people to recognize seriousness, which is rare, but more comfortable to endorse solemnity, which is commonplace. Jogging, which is commonplace, and widely accepted as good for you, is solemn. Poker is serious. Washington, D.C. is solemn. New York is serious. Going to educational conferences to tell you anything about the future is solemn. Taking a long walk by yourself, during which you devise a foolproof scheme for robbing Tiffany's, is serious. (Russell Baker)

Serious design, serious play, is something else. For one thing, it often happens spontaneously, intuitively, accidentally or incidentally. It can be achieved out of innocence, or arrogance, or out of selfishness, sometimes out of carelessness. But mostly, it's achieved through all those kind of crazy parts of human behavior that don't really make any sense.

Serious design is imperfect. It's filled with the kind of craft laws that come from something being the first of its kind. Serious design is also -- often -- quite unsuccessful from the solemn point of view. That's because the art of serious play is about invention, change, rebellion -- not perfection. Perfection happens during solemn play.

And what -- the way I looked at design and the way I looked at the world was, what was going on around me and the things that came at the time I walked into design were the enemy. I really, really, really hated the typeface Helvetica. I thought the typeface Helvetica was the cleanest, most boring, most fascistic, really repressive typeface, and I hated everything that was designed in Helvetica.

so, my goal in life was to do stuff that wasn't made out of Helvetica. And to do stuff that wasn't made out of Helvetica was actually kind of hard because you had to find it. And there weren't a lot of books about the history of design in the early 70s. There weren't -- there wasn't a plethora of design publishing. You actually had to go to antique stores. You had to go to Europe. You had to go places and find the stuff.

I mixed up Victorian designs with pop, and I mixed up Art Nouveau with something else. And I made these very lush, very elaborate record covers, not because I was being a post-modernist or a historicist -- because I didn't know what those things were. I just hated Helvetica.

And that kind of passion drove me into very serious play, a kind of play I could never do now because I'm too well-educated. And there's something wonderful about that form of youth, where you can let yourself grow and play, and be really a brat, and then accomplish things.

The best way to accomplish serious design -- which I think we all have the opportunity to do -- is to be totally and completely unqualified for the job. That doesn't happen very often,

People wanted it in big, expensive places. And that began to make it solemn. […] But it became the end of the seriousness of the play, and it started to, once again, become solemn.

I liked about it was, I was controlling my own idiotic information, and I was creating my own palette of information, and I was totally and completely at play.

I found that I was no longer at play. I was actually in this solemn landscape of fulfilling an expectation for a show, which is not where I started with these things. So, while they became successful, I know how to make them, so I'm not a neophyte, and they're no longer serious -- they have become solemn. And that's a terrifying factor -- when you start something and it turns that way -- because it means that all that's left for you is to go back and to find out what the next thing is that you can push, that you can invent, that you can be ignorant about, that you can be arrogant about, that you can fail with, and that you can be a fool with. Because in the end, that's how you grow, and that's all that matters.