“The design and the play” article by Paul Rand discussed the multiple ways to teach, learn and practice the fundamental principles of quality design. It mentions that having all artistic freedom and no constraints is not always a good thing. In teaching design you must set guidelines, introduce a problem and invite play to find solutions. The guidelines provide direction to a lesson in design a way to learn a fundamental. Play is involved to keep ideas fresh, keep the student or problem solver interested and finally to find solutions using imagination and individuality. For example in Josef Albers paintings he used a strict geometric rubric to challenge his use of colors to eventually create a 2 demnsional image. He accomplished this by playing with the interaction of colors. This strict limited format challenges the artist to make a 3 dimensional pattern transform into a 2 dimensional image teaching the power of color theory amongst other principles. This reading also touches on the point that if there is no challenge there is no fun. There needs to be obstacles in artistic advancement, you’ll never become a gifted designer without challenging yourself to design more complex projects. Overall the article discusses the power of restrictions in design. Complex design problems can be overcome with playful solutions.

In the article by Paul Rand, he discusses how artist’s cannot just rely on their natural talent and instead he believes there needs to be rules and guidelines in order for the artist to reach there full potential. ” Without the basic rules or disciplines, however, there is no motivation, test of skill, or ultimate reward- in short, no game” (156). I agree with Rand’s thoughts because its true, if your gifted with an artistic talent and never improve your skills, how can you become a better artist? This article connects to me because as an artist with not that much skill, I enjoy getting assignments that have rules to them because it makes me really have to work to figure out what my final piece will look like. I do enjoy branching out and thinking outside the box, but as Rand said before how you cannot reach your goals without knowing the basic rules, its basically like cheating the system and as an artist I am dedicated to learn from the beginning.

The best way for me to approach constraints in a project is to initially think about them in regards to music. Oftentimes, in jazz songs, there are large solos for one or multiple instruments. These solos may or may not change keys, but while one is playing certain bars, they must stay in the designated key or else the solo sounds horrible, in most cases. But with eight notes, multiple octaves, and any number of rhythmic variations, an instrumentalist can easily work within the parameters, the only confines being what he or she knows or is willing to improvise upon. Occasionally, playing an odd note is good, because although it may initially sound off, it might fit better in the large scale.
For this reason, I think parameters and constraints are often good, because it gives me obstacles to overcome and a way to challenge myself creatively in order to solve a problem. It also allows me to come at a problem from multiple angles and create multiple solutions that work. There is no one answer to anything (except maybe a math problem), and as a result I think each person has to choose what works best as a design or solution, as well as what works best for them or their client.

An idea that I like from the reading is the one regarding the grid. Typically seen as squares, the ideas from The Modulor and the Japanese floor plans offer other options in place of a square grid. Instead, they propose an infinite option of grids and layouts for creative or utilitarian purposes. With all of the other factors placed into the equation, the grid can easily evolve to take a new layout that still allows someone to work within the space. The Fibonacci Sequence and the Golden Ratio are also two pleasing mathematical sequences that allow a designer to view different possibilities based upon the numbers and proportions.

The saying “All work and no play”, although not actually mentioned in the text, is challenged here, particularly in the addition of paper cutout work such as Henri Matisse’s or Picasso’s painting. Paul Rand implies that there is an element of fun working with parameters that challenge a designer and a viewer without suffocating them or giving them too much freedom. This would allow them both “work and play.”

In the article by Paul Rand, he states that students need natural talent to design well.  I do think that some people can be taught to design with a meaning behind it, I’m not sure if I believe it is something that cannot be taught. “The results of such vagaries are sometimes pretty, but mostly meaningless…atmosphere of freedom, absent of certain disciplines  which would evoke ideas.” (157). The designs should not just be pretty to look at they also need to be efficient and have a meaning and make the viewer think. I agree with Rand on this because there is a time and place for everything, and when wanting to get a point across, the art has such a deeper meaning than if it just looks nice, anyone with or without natural talent can make a pretty piece of art, but not everyone can create appealing art that has a meaning. Having limits on work is definitely beneficial in the long run because it really pushes the designer to work harder and think outside of the box, for example when we have limited fonts to use in class.

The article by Paul Rand talks about how all students should be taught rules for designing, and not relying only on their natural talents. However, he mentions that no matter how hard you study, “a students ultimate success will depend largely on his natural talents…” I understand why he says this, but at the same time I believe that if you work hard, you will be rewarded later in life. One of the things that Rand mentions, is that when students aren’t taught these rules they become “handicapped by the absence of certain disciplines…” which I agree with. Graphic Design isn’t the hardest major out there, but that doesn’t mean that it doesn’t require dedication, talent, and a basic understanding of what looks good and what does not. He also talks about how “without rules or disciplines, the students will have no motivation, test of skill, or ultimate reward – in short, no game.” Unfortunately,  I think that this is where most of our generation is headed.

Response

Paul Rand, the author of “Design and the Play Instincts”, establishes the strains of being a teacher and how to keep a student captivated by his or her work. He later states his opinion on how a teacher can keep the students engaged. Paul Rand came up with the idea that  giving a lot of limitations to students will force them to think out of the box, more so than if he or she had the independence to do anything they desired. Rand states;

“I believe that if, in the statement of a problem, undue emphasis is placed on freedom and self expression, the result is apt to be an indifferent student and a meaningless solution. Conversely, a problem with defined limits, implied or stated disciplines which are, in turn, conducive to the instinct of play, will most likely yield and interested student and, a very often, a meaningful and novel solution”

The Chinese toy, The Tangram, is a little square that is divided into 7 different shapes: five triangles, one square, and one rhombus. The purpose of this games is to make any kind of figure or pattern. This game intrigued me the most due to its simplicity but mostly its hidden value. In order to be a graphic designer one needs to be able arrange different shapes and construct and image. Paul Rand makes it clear that having an eye for abstract is a very essential to design.

When critiquing a project it is clear whether or not time and thought was put into it. Rand believes that having meaning behind your work makes it more worthwhile. Meaningless work will never stand out or make a difference in the world. Everyone wants their art work to be remembered.

I agree with everything that Paul Rand stated. Without rules students would never put in that extra notion to make their work that much better.