A constraint theory approach to creativity can conveniently be conceptualized in five different dimensions each of which captures some important way in which creativity is constrained. The five dimensions have been generated by the empirical patterns from comparing disciplines in the making. The first dimension is a list of the most important empirical types of constraints that emerge from theoretical sensitization of comparative data. All creative processes are constrained by physical constraints which was first noted by Hegel in his lectures on aesthetics and rediscovered be Elster. The important role of prototypes has been noticed by the art historian Ragnar Josephson and the literary theorist Johan Svedjedal. The role of knowledge constraints was noted by Randall Collins and elaborated by me. Rules of the game were discovered by Aristotle (theoretical, productive, practical knowledge) and rediscovered by Wittgenstein. Motivations have been at the core of sociopsychological and economic theories of creativity.