Advertising Portfolio by Andrew Hall

RAPIDMEDIA

& 1 6 0 G A L L E RY

PEOPLE LOOKING AT PEOPLE OCT. 26 & NOV. 3 6:00 PM

proudly present...

100 MORE YEARS MICHAEL MARTIN, JESSE CHERNIAK, JACOB MUSITANO

Meet Cozette Cain, a 50-year-old woman who believes there is nothing but an entire lifetime ahead of her to experience. Surviving a childhood of loss and wondering, being an adult proved heavy on her soul. Witness, in this film, her remarkable transition into a chaotic sense of enlightenment.

BLUE BONNET BIGFOOT SEAN J. KENNY, TIM FITE

Three Grand Rapidians go searching for Bigfoot in the wilds of San Antonio, Texas. And while they don’t actually find the legendary beast, they do encounter a strange, interesting, and hairy creature.

THE BOTTOMLESS MUG ALYSON CAILLAUD-JONES, ANDREA BLANKSTROM, BRENTON LEASURE

106 GALLERY LOWER LEVEL

106 S. DIVISION GRAND RAPIDS, MI

Steve, a recent college graduate, has aspirations of becoming a novelist spending his days in a local coffee shop typing out other people’s conversations in the hopes of finding a story. But when he records an exchange that he wasn’t supposed to, his story seeking could get him into a bit of trouble.

SURREALISTIC JOURNEY TO THE FASCIST HOTEL DON MANGIONE

PLEASE VISIT WWW.RAPIDMEDIAGR.COM FOR MORE INFO

Somewhere in East Lansing in the 90’s a door opened from the street and we fell into the seeming chaos of an usual altered state. Visions and voices swirl, a path hidden starts to reveal itself. We ascend to a reality all too familiar with new eyes and new revelations.

PEOPLE LOOKING AT PEOPLE

A COLLECTION OF SHORT FILMS THAT INTRODUCE YOU TO A FEW PEOPLE YOU SHOULD CERTAINLY MEET BEFORE YOU DIE.

OCT. 26 6PM

1 06 GAL LE RY

10 6 S . D IVI SI O N G R A N D R A P I DS , MI

RAPIDMEDIA

& 1 6 0 G A L L E RY proudly present...

PEOPLE

looking at 100 MORE YEARS

MICHAEL MARTIN, JESSE CHERNIAK, JACOB MUSITANO

BLUE BONNET BIGFOOT SEAN J. KENNY, TIM FITE

THE BOTTOMLESS MUG ALYSON CAILLAUD-JONES, ANDREA BLANKSTROM, BRENTON LEASURE

SURREALISTIC JOURNEY TO THE FASCIST HOTEL DON MANGIONE

106 GALLERY LOWER LEVEL 106 S DIVISION GRAND RAPIDS, MI

OC T.26& N OV.02

6PM

PLEASE VISIT WWW.RAPIDMEDIAGR.COM FOR MORE INFO

People looking at people film series promotional POSTERS FONTS: Futura, DIn, Hoefler text

Thai Tiger Mother Say...

JAPANESE FOOD IS WHAT SUMO WRESTLER EAT.

YOU WANT LOOK LIKE SUMO? THAIFRESH

Not Just Another Asian Restaurant

Thai Tiger Mother Say...

ALL ASIAN FOOD LOOK SAME

EXcEPT THAI. THAIFRESH

Not Just Another Asian Restaurant

Thai Tiger Mother Say...

YOU THINK WE cOME TO THIS cOUNTRY TO MAKE MEDIOcRE FOOD?

THAIFRESH Not Just Another Asian Restaurant THAI FRESH TIGER MOTHER ADS PRINT ADVERTISMENTS & POSTERS FONTS: VERLAG, ornitons

THAI FRESH PROVERB #48

IF YOU’RE LOOKING FOR FORTUNE COOKIES AND CHINESE ZODIACS

Pad Pak

YOU’RE AT THE WRONG PLACE.

THAIFRESH Not Just Another Asian Restaurant

THAI FRESH PROVERB #32

TRUTH BE TOLD

Pad Thai

WE PREFER TO LEAVE SEAWEED IN THE OCEAN. THAIFRESH

Not Just Another Asian Restaurant

THAI FRESH PROVERB #56

IT’S POSSIBLE TO MAKE CURRY THAT DOESN’T HAUNT YOUR NOSTRILS.

Masaman Curry

THAIFRESH Not Just Another Asian Restaurant THAI FRESH PROVERB ADS PRINT ADVERTISMENTS & POSTERS FONTS: VERLAG, ornitons

INTERACTIVE SCAVENGER HUNT p o w e r e d by

Play HistoryQuest Getting Ready

From the menu, select ‘Treks.’

Open the SCVNGR app from your list of apps. (If you don’t have the app you can dowload it for free from the App Store on your iPhone or the Android Market on your Android phone). Connect using Facebook or your e-mail addresss to create an account if you haven’t yet. (If you connect with your e-mail address then you have to check for a confirmation e-mail with your new password to log in). Select the ‘Places’ button from the menu and choose ‘Henry Ford Museum’ from nearby places. (If it does not come up in nearby places, search ‘Henry Ford Museum’ in the search bar at the top). Check-in to Henry Ford Museum and share with your friends on Facebook.

Scan to download SCVNGR on iPhone

Select ‘HistoryQuest’ from the list of nearby Treks. (If you can’t find it, search ‘HistoryQuest’ in the search bar). Go to ‘Henry Ford Museum’ and select one of the chllenges available in the treks. Begin with one of the listed challenges and then complete the challenges that follow to earn points. Once you’ve earned enough points, take your smarthphone to Guest Services and redeem awesome prizes.

*Make sure that your GPS settings are turned on to allow SCVNGR to access your location for play.

www.thehenryford.org To scan, download a FREE QR code reader from your phone’s app store.

Scan to download SCVNGR on Android

the HENRY FORD HISTORY QUEST INTERACTIVE SCAVENGER HUNT BROCHURE Font: FRANKLIN GOTHIC

Henry Ford

the

Q y r u o e t s s i V A E C N HINTERACTIVE S GER HUNTt

CHECK-IN POINT #1

EDISON’S WORKSHOP CHECK-IN: Greenfield Village-Edison’s Workshop TWEET TO: #EdisonWorkshop

CHECK-IN: Greenfield Village-Edison’s Workshop JOIN THE FUN: Scan QR Code or Visit Guest Services

CHECK-IN POINT #1

Will I still be able to ________________?

You’ve just been diagnosed with Parkinson’s. You have a million questions. And we know you’re not alone. Michigan Parkinson Foundation is here to help. We’ve been providing quality care and support to people with Parkinson’s since 1983. To find a support group in your area, visit us at www.parkinsonsmi.org or call 800-852-9781

WE’RE IN THIS

TOGETHER Michigan Parkinson’s Foundation was founded in 1983 by people with Parkinson’s disease, their family members, and health professionals for the purposes of education, support and research. Throughout the years, the MPF has attempted to keep pace with the needs of Parkinson’s paients and their loved ones. Guided by a volunteer Board of Directors and Professional Advisory Board, we provide a number of services and resources throughout the state. MPF will be the premier education and support organization in Michigan for people with Parkinson’s. From the moment you are diagnosed with Parkinson’s disease, the Michigan Parkinson Foundation will be a source of information and support for you and your loved ones. Support groups provide a place to exchange information, share common concerns and learn more effective methods of coping with every day problems. To find a support group in your area visit us online or call 800. 852. 9781

www.parkinsonsmi.com 800. 852. 9781

Dr. Mary Sue; M.D. Neuroscience MPF Board Member

MICHIGAN PARKINSON FOUNDATION PROMOTIONAL PRINT POSTERS & ADVERTISMENTS Fonts: BEBAS NEUE, HELVETICA NEUE

Paul Smith Jeans Winter 2011 Catalog

Paul Smith Winter 2011 Catalog Cover Page Font: Mrs. Eaves

Winter 2011 Catalog Paul Smith Jeans

Contents Coats and Winter Gear

Button Down Shirts

Sweaters and Jumpers

PS Collection Jeans

Red Eye Collection Jeans Watches

9 10

Paul Smith Winter 2011 Catalog Table of Contents Font: Mrs. Eaves, Memphis

Fly Front Mac $ 880.00

Quilted Jacket $ 440

Hooded Coat $ 680

Brown Short Pea Coat $ 820 Button Front Cardigan with Shawl Collar $ 330

Shirt Jacket $ 270

Coats and Winter Gear

Duffel Coat $ 1,035

Casual Jacket $ 440.00

Tailored Four Button Coat $ 940

Green Check Pea Coat $ 590

Belted Overcoat $ 435

Short Pea Coat $ 820

Classic Jeans

PS Jeans Black Skinny Fit Jean $ 430

PS Jeans Black Classic Fit Jean $ 430

PS Jeans Brown Tapered Fit Jean $ 430

PS Jeans Faded Tapered Fit Jean $ 430

Red Ear Slim Fit Jean $ 430

Red Ear Tapered Fit Jean $ 430

Red Ear Collection

Long Leg Loose Fit Jean $ 215

Long Leg Classic Fit Jean $ 210

Red Ear Black Loose Fit Jean $ 430

Red Ear Brown Classic Fit Jean $ 430

Red Ear Classic Tapered Jean $ 230

Red Ear Classic Fit Faded Jean $ 230

Fine Check Shirt $ 235

Crew Neck Jumper $ 270

Western Style Shirt $ 220 Brushed Cotton Checked Shirt $ 185

Large Fair isle Jumper $ 275

Button Downs, Sweaters & Jumpers

Colourful Checked Shirt $ 200

Pocket Detail Gingham Shirt $ 215

Knitted Crew Neck Jumper $ 270

Patch Work Henley Jumper $ 335

Gingham Check Shirt $ 235

Contrast Stripe Jumper $ 215

Shoulder Button Jumper $ 340

Men’s Watch Masterpiece Horizontal Chronograph $ 1,060

Women’s Watches

Women’s Watch City Classic 1 $ 650

Women’s Watch City Classic 2 $ 650

Women’s Watch The Colour Eyelet Annual Calendar Mini $ 345

Men’s Watch The City Classic $ 422

Men’s Watches

Men’s Watch Men’s Watch Horizontal Chronograph Final Eyes Chronograph $ 1,200 $ 715

Men’a Watch Closed Eyes $ 510

Men’s Watch The Steering Watch $ 1,565

Paul Smith Winter 2011 Catalog Layouts Font: Memphis

Masterpiece

PAUL SMITH Fashion Week 2011 Paul Smith Fashion Week Poster Font: Bodoni

2 MAN

PA U L SMITH

M S

PAUL SMITH PARFUMS EAU DE TOILETTE 100 mL 3.3 FL OZ. 78% VOL

Paul Smith Man 2 Cologne Packaging Font: Interstate

PAUL SMITH

s u n s h i n e

Eau de Toilette for Women 100 mL 3.3 fl. oz. Paul Smith Sunshine Perfume Packaging Font: Bodoni

PAUL SMITH

PAUL SMITH Paul Smith Clothing Label Tags Fonts: Bodoni

A I

U T

N H

ABANDONED BY THE AUTO INDUSTRY, THE CITIZENS OF FLINT ATTEMPT TO TAKE THEIR CITY BACK.

the

KINGS OF FLINT

COMING MARCH 2011 MICHIGAN STATE UNIVERSTIY COLLEGE OF COMMUNICATION ARTS AND SCIENCES PRESENTS THE KINGS OF FLINT STARRING MASTER KING, MAMA E, MAYOR DAYNE WALLING EXECUTIVE PRODUCERS GERI ALUMIT ZELDES & TROY HALE DIRECTED BY TROY HALE DIRECTOR OF PHOTOGRAPHY PETE JOHNSTON PRODUCED BY ALYSSA FIRTH, EMILY FOX, JARED HARBURN, TAMRA JOHNSON, NATASH LAGRONE, MATT LAW, KRISTINA MARKS, MIKE TETRICK, JEFFREY WISENBAUGH, YANG ZHANG

ABANDONED BY THE AUTO INDUSTRY, THE CITIZENS OF FLINT ATTEMPT TO TAKE THEIR CITY BACK.

the

KINGS OF FLINT

PRODUCED BY TROY HALE & GERI ALUMIT ZELDES

KINGS OF FLINT MOVIE POSTERS Fonts: CASLON, BODONI

THE THESAURUS THAT READS YOU. VISUALTHESAURUS www.visualthesaurus.com

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motivation

THOUGHTS ON DESIGN

competition challenge stimulus

Design

goal

and the

promise anticipation

Play

interest

curiosity skill

INST INCT by Paul Rand

The absence in art of a well-formulated and systematized body of literature makes the problem of teaching a perplexing one. The subject is further complicated by the elusive and personal nature of art. Granted that a student’s ultimate success will depend largely on his natural talents, the problem still remains: how best to arouse his curiosity, hold his attention, and engage his creative faculties. Through trial and error, I have found that the solution to this enigma rests, to a large extent, on two factors: the kind of problem chosen for study, and the way in which it is posed. I believe that if, in the statement of a problem, undue emphasis is placed on freedom and selfexpression, the result is apt to be an indifferent student and a meaningless solution. Conversely, a problem with defined limits, implied or stated

Unfortunately, in some of our schools little attempt is made to guide the student’s thinking in a logical progression from basic design to applied

observation

design. We are all familiar with the so-called practical problems which

analysis

advertising agency, for example. Such problems are frequently stated

perception

advertising, rather than on interpreting advertising in terms of visual design

judgment improvisation

attempt to duplicate the conditions of industry-the atmosphere of the in the broadest terms with emphasis, if any, on style and technique in principles. Without specific formal limitations, without the challenging possibilities of introducing the element of play, both teacher and student cannot help but be bored. The product may take the form of a superficial (but sometimes “professional looking”) literal translation of the problem, or

coordination timing concentration abstraction

of a meaningless abstract pattern or shape, which, incidentally, may be justified with enthusiasm but often with specious reasoning. Similarly, there are badly stated problems in basic design, stressing pure aesthetics, free expression, without any restraints or practical goals. Such a problem may be posed in this fashion: arrange a group of geometric shapes in any manner you see fit, using any number of colors, to make a pleasing pattern. The results of such vagaries are sometimes pretty, but mostly meaningless or monotonous. The student has the illusion of creating

discretion

great art in an atmosphere of freedom, when in fact he is handicapped by

discrimination

with those ideas possible, work absorbing, and results interesting.

economy

The basic design problem, properly stated, is an effective vehicle for

patience

number, measure, rhythm, symmetry, contrast, color, texture, space.

easiest words on playing cards and inventing a game to play with them.”1)

restraint

materials and for learning to work within specific limitations.

Without the basic rules or disciplines, however, there is no motivation, test of skill, or

exploitation

To insure that theoretical study does not end in a vacuum, practical

excitement

be undertaken at the proper time (they may involve typography,

enjoyment

learns to conceptualize, to associate, to make analogies; to see a

discovery

a letter, or a group of letters into a broad picture. “The pupils,”

reward

are studying something, and are not merely executing intellectual

disciplines which are, in turn, conducive to the instinct of play, will most likely yield an interested student and, very often, a meaningful and novel solution. Of the two powerful instincts which exist in all human beings and which can be used in teaching, says Gilbert Highet, one is the love of play. ”The best Renaissance teachers, instead of beating their pupils, spurred them on by a number of appeals to the play-principle. They made games out of the chore of learning difficult subjects— Montaigne’s father, for instance, started him in Greek by writing the letters and the

ultimate reward—in short, no game. The rules are the means to the end, the conditions the player must understand thoroughly, and work with, in order to participate. For the student, the limits of a well-stated problem operate in much the same way. “Limited means,” says Braque, “beget new forms, invite creation, make the style. Progress in art does not lie in extending its limits, but in knowing them better.”2)

“psychological and intellectual factors implicit in game-playing are equally implicit in successful problem-solving:”

the absence of certain disciplines which would evoke ideas, make playing

teaching the possibilities of relationships: harmony, order, proportion, It is an equally effective means for exploring the use of unorthodox

applications of the basic principles gleaned from this exercise should photography, page layout, displays, symbols, etc.). The student sphere, for example, transformed into an orange, or a button into says Alfred North Whitehead, “have got to be made to feel they minuets.”3)

fulfillment

This drawing is reproduced from the first volume of Hokusai’s Rapid Lessons in Abbreviated Drawing (Riakougwa Hayashinan, 1812). In the book Hokusai shows how he uses geometric shapes as a guide in drawing certain birds. This exercise may be compared to the Tangram in that both use geometric means. The Tangram, however, uses geometry as an end in itself to indicate or symbolize natural forms-whereas Hokusai uses it as a clue or guide to illustrate them. In the artist’s own words, his system “concerns the manner of making designs with the aid of a ruler or compass, and those who work in this manner will understand the proportion of things”.

“The basic design problem is an effective vehicle for

image This character for the word “tan” (sunrise) is designed within an imaginary

teaching the possibilities of relationships: harmony,

namely as a guide to filling the space correctly, but not to produce a geometric

order, proportion, number, measure, rhythm, symmetry, contrast, color, texture, space.” If possible, teaching should alternate between theoretical and practical problems-and between those with tightly stated “rules” imposed by the teacher and those with rules

grid. Geometry functions here in a manner similar to the previous illustration, pattern. The Chinese character is always written in an imaginary square. The ninefold square, invented by an anonymous writer of the T’ang dynasty, has been employed as the most useful, because it prevents rigid symmetry and helps to achieve balanced asymmetry.6) At the same time it makes the writer aware of negative and positive spaces. Each part of the character touches one of the nine squares, thus achieving harmony between the two elements and the whole.

implied by the problem itself. But this can happen only after the student has been taught basic disciplines and their application. He then is able to invent his own system for “playing the game”. “A mind so disciplined should be both more abstract and more concrete. It ha There are many ways in which the play-principle serves as a base for serious

Within this rather simple discipline the calligrapher is able to play with space, filling it as he feels would be most appropriate. The composition of Chinese characters, says Chiang Yee, “is not governed by inviolable laws… however, there are general principles which cannot be ignored with impunity”.7)

problem-solving, some of which are discussed here. These examples indicate, I

believe,

the

nature

certain

disciplines

and

may

suggest

the

kind

problems which will be useful to the student as well as to the teacher of design.

The crossword puzzle is a variation on the acrostic, a word game that has been around

“Without the basic rules or disciplines, however, there is no motivation, test of skill, or ultimate reward.”

since Roman times. There have been many reasons given for the popularity of the game. One is that it fulfills the human urge to solve the unknown, another that it is orderly, a third that it represents, according to the puzzle editor of the New York Times, “a mental stimulation… and exercise in spelling and vocabulary-building”.5) But the play in such a

The Modulor is a system based on a mathematical key. Taking account of the human scale, it is a method of achieving harmony and order in a given work.

game is limited to finding the exact word to fit a specific number of squares in a vertical and horizontal pattern. It allows for little imagination and no invention or aesthetic judgment, qualities to be found in abundance, for example, in the simple children’s game, the Tangram.

In his book, The Modulor, Le Corbusier describes his invention as “a measuring tool (the proportions) based on the human body (6-foot man) and on mathematics (the golden section). A man-with-arm-upraised provides, at the determining points of his occupation of space-foot, solar plexus, head, tips of

The Tangram is an ingenious little Chinese toy in which a square is divided into this configuration. It consists of seven pieces, called “tans”: five triangles, one square, and

fingers of the upraised arm-three intervals which give rise to a series of golden sections, called the Fibonacci series.”8) (1, 1, 2,3,5,8, 13, etc.) (Italics are mine.)

one rhombus. The rules are quite simple: rearrange to make any kind of figure or pattern. image The Modulor is a discipline which offers endless variations and opportunities Here above is one possibility. Many design problems can be posed with this game in mind, the main principle to be learned being that of economy of means-making the most of the least. Further, the game helps to sharpen the powers of observation through the discovery

for play. Le Corbusier’s awareness of these potentialities is evident from the numerous references to the game and play in his book, such as: “AlI this work on proportioning and measures is the outcome of a passion, disinterested and detached, an exercise, a game.”9) Further, he goes on to say, “for if you want to play modular…”10)

of resemblances between geometric and natural forms. It helps the student to abstract: to see a triangle, for example, as a face, a tree, an eye, a nose, depending on the context in which the pieces are arranged. Such observation is essential in the study of visual symbols.

In comparison to most so-calIed systems of proportion, the Modulor is perhaps the least confining. The variations, as wilI be seen from this ilIustration, are practicalIy inexhaustible (and this example utilizes only a very limited number of possibilities). If, however, the system presents any difficulties which happen to go counter to one’s intuitive judgment, Le Corbusier himself provides the answer: “I still reserve the right at any time to doubt the solutions furnished by the Modulor, keeping intact my freedom which must depend solely on my feelings rather than on my reason.”11)

Like the architect’s plan, the grid system employed by the graphic designer provides for an orderly and harmonious distribution of miscellaneous graphic material. It is a system of proportions based on a module, the standard of which is derived from the material itself. It is a discipline

Much of the painting of Josef Albers is based on this geometric pattern. The pattern is not used, however, in the same manner as the masons’ lattice. Here it is the painting itself. It represents a strict, immutable arrangement (theme) in which the artist, by juxtaposing colors (variations) plays the fascinating game of deceiving the eye. The squares as we see them here appear to recede into the picture plane.

imposed by the designer.

However, by skillful manipulation of colors, the painting flattens out and is thus seen Unlike the Modulor, it is not a fixed system based on a specific concept of proportion, but one which must be custom-made for each problem. Creating the grid calls for the ability to classify and organize miscellaneous material, with sufficient foresight to allow for flexibility in handling content which may,

as a two-dimensional picture.

The many variations based on this and similar designs attest to the fascination the artist finds from the interplay of a great variety of color schemes and an extremely limited geometric format.

for one reason or another, be altered. The grid must define the areas of operation and provide for different techniques, pictures, text, space between text and pictures, columns of text, page numbers, picture captions, headings and other miscellaneous items.

The kind of grid employed by Japanese architects in their traditional houses combines the virtues of determining the size of various rooms in the house, floors, walls, furniture, etc., and creating the style and appearance of the house. The Tatami, a straw mat approximately 3 by 6 feet and 2 inches thick, is the module or standard from which the

Here is a simple grid system for a booklet. 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. In a sense, the creative ability required for the former is no less than that for the latter, because the making of the grid necessitates analyzing simultaneously all the elements involved.

plan of the house grows. Edward S. Morse, in his book, Japanese Homes, describes the mat system as follows: “The architect invariably plans his rooms to accommodate a certain number of mats; and since these mats have a definite size, any indication on the plan of the number of mats a room is to contain gives at once its dimensions also. The mats are laid in the following numbers: two, three, four-andone-half, six, eight,

But once it is evolved, the designer is free to play to his heart’s content: with

ten, twelve, fourteen, sixteen, and so on.”13) This illustration shows the “plan” of a

pictures, type, paper, ink, color, and with texture, scale, size and contrast.

four and-one-half mat room. Once the outer dimensions of the house are determined, the mats, together with the Japanese system of sliding doors, give complete flexibility

“however, there are general principles which cannot be ignored with impunity” The grid, then, is the discipline which frees him from the time-consuming burden of making certain decisions (dimensions, proportions) without which fruitful and creative work is extremely difficult. He can move directly to those aspects of the

in the arrangement and number of rooms. A perfect example of form and function, of discipline and play.

“But the greatest satisfaction, perhaps, is derived from creating a work of art with ordinary scissors and some colored paper—with so simple means, such satisfying ends.”

problem in which individual expression, novel ideas, and freedom of choice are essential.

There are disciplines other than those based on geometry, among them availability

The grid system has as many detractors as it has adherents. It has been condemned as stifling, rigid and cold. But this is to confuse the product with

materials,

reproduction

processes,

mechanical

limitations,

economic considerations, legal requirements, time factors, physical handicaps. Some of these are self-imposed, others are involuntary, but in the hands of the artist each may contribute to, rather than detract from, the end product.

the process. The grid does not automatically insure an exciting product. The designer must still exercise all the experience at his command, discretion, timing, and a sense of drama and sequence. In brief, the intelligent designer will recognize that the grid can help him achieve harmony and order, but also that it may, when and if necessary, be abandoned.

inconceivable

consider

Matisse’s

compositions

with

cut

paper

without, in some way, linking them to the play element—the joy of working with simple colors and the fun of “cutting paper dolls”. But the greatest satisfaction, perhaps, is derived from creating a work of art with ordinary scissors and some colored paper—with so simple means, such satisfying ends.

In addition to those already discussed, variations of the geometric plan are to be found, among other places, in Japanese architecture, modern painting, and in Byzantine masons’ marks, such as the seal at left. This seal “employs a mathematical key as its design basis. The thick lines represent the mark, the thin lines represent the ground lattice which allows an infinite number of combinations.”12) The geometric scheme is the discipline in which the designer works. Designs stemming from such a scheme are limited only by his imagination.

Similarly, the early Cubist collages, in which cut paper played an important part, are products of strict rules, limited materials: newspaper mounted on a surface, with the addition of a few charcoal or pencil lines, usually in black and white and sometimes with tan or brown or similarly muted colors. These elements were juggled until they satisfied the artist’s eye. 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.

Similarly, the early Cubist collages, in which cut paper played an important part, are

The de Stijl movement, founded in 1917, had a profound influence on

products of strict rules, limited materials: newspaper mounted on a surface, with the

painting, architecture, and typography. Piet Zwart, the designer responsible

addition of a few charcoal or pencil lines, usually in black and white and sometimes

for this advertisement for the Dutch firm Nederlansche Kabelfabriek, was

with tan or brown or similarly muted colors. These elements were juggled until they

associated with this group.

satisfied the artist’s eye. 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.

The disciplines which de Stijl encouraged—functional use of material and meaningful form, and the restrained use of color (black and/or primary

One cannot underestimate the importance of restraint and playfulness in almost any

colors)—are evident in this design. With a few simple typographic elements

phase of Picasso’s work. Here, for example, one sees a restrained use of the brush and

and an ingenious play on the letter “O”, a humorous, yet significant design was

one flat color. The drawing of the child’s face, the ornament and the lettering are all one.

evolved. A picture is created by typographic means: a few type characters and

Lettering is not used as a complement to the drawing, but as an integral part of the

type rules are so manipulated as to make a useful product, an advertisement.

drawing. It serves as both a garland and a verbal image—a visual pun. What emerges

Many examples of this artist’s work reveal this same playful approach and are

is a kind of game itself, revealing the ingenuity and playfulness of the artist, his ability

worthy of serious study.

to deal with problems in the simplest, most direct, and meaningful manner. The earth colors of Africa, the ice of the polar regions, the bamboo of Japan, Similarly, this ability to do much with little—to find a bull’s head in a bicycle seat

are among the many challenging materials with which artists and artisans

and handle bars—is another aspect of Picasso’s wizardry, his humor, his childlike

create their idols, their utensils, and their houses—all natural limitations

spontaneity, his skill as a punster and ability to improvise and invent with limited, often

which provide their own built-in disciplines which, in turn, contribute to the

surprising means.

creative solution.

“...to find a bull’s head in a bicycle seat and handle bars is another aspect of Picasso’s wizardry, his humor, his childlike spontaneity...”

“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.”

This monochrome, Persimmons, by Mu Ch’i, a thirteenth century Zen priest and painter, is a splendid example of a painting in which the artist plays with contrasts (the male and female principle in Chinese and Japanese painting): rough and smooth, empty and full, one and many, line and mass, black and white, tint and shade, up and down. It is a study in the metamorphosis of a fruit, as well as of a painting. (The artist, incidentally, never used any color but black.)

The photogram, at the left, made by the writer some years ago, shows how simply one is able to capture movement and achieve interesting tonal effects. Because the technique itself dictates a certain degree of speed the time factor becomes an additional discipline, which acts as a creative stimulus.

The reader may find a parallel, at least in spirit, between this painting and the preceding one by Picasso. Both employ a single color, and exploit this limitation to achieve as much variety as possible, and both undoubtedly were painted very rapidly, a condition often conducive to utmost simplification and improvisation.

Some years ago in Kyoto I was fortunate enough to witness a young Japanese craftsman make the “chasen” you see here. It is a whisk used in the tea ceremony and is cut from a single piece of bamboo with a simple tool resembling a penknife. Both the material and manufacturing process (about one-half hour) are the quintessence of discipline, simplicity and restraint. The invention of such an article could not possibly have been achieved by anyone lacking the ability to improvise and the patience to play with a specific material: to see the myriad possibilities and discover the ideal form.

It has not been the purpose of this discussion to provide a glossary of disciplines or recipes, but merely to indicate the virtue of the challenge implicit in discipline. “I demand of art”, says Le Corbusier, “the role of the challenger… of play and interplay, play being the very manifestation of the spirit.”14)

References 1. Gilbert Highet, The Art of Teaching, Alfred A. Knopf, New York (1950), p. 194 2. Cahier de Georges Braque, Maeght Editeur, Paris (1947)

In modern times artists like Man Ray and MoholyNagy, working with the most limited photographic means, the photogram, created highly significant pictures. This technique offers the artist ample opportunity to play with light and a great variety of materials, opaque, translucent, and transparent, to produce, very rapidly, rich and unexpected effects.

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 7. Ibid., p. 166. 8. Le Corbusier, The Modulor, Harvard University Press (1954), p. 55 9. Ibid., p. 80 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

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MSU Student Housing Cooperative

541 East Gr and River Ave . • 517.355.8313 w w w . m s u . c o o p

MSU STUDENT HOUSING COOPERATIVE PRESENTS

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N OW P LAY I N G AT A H O U S E N E A R YO U ! 541 East Grand River Ave. • 517.355.8313 • msu.coop

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HILLSDALE CO-OP MSU STUDENT HOUSING COOPERATIVE

WHAT IS A CO-OP REALLY? A cooperative is a business that is owned and controlled by the people who use it. Itâ&#x20AC;&#x2122;s a democratic organization whose earnings and assets belong to its members. By patronizing and becoming an active member of a co-op, you invest yourself with the power to shape that business. You control the politics and economics of what is truly your organization. A common facet of co-ops is a rebate system, where profits or budget excess is re-distributed to the membership for their benefit.

CO-OP BEGINNINGS

COMMUNI A D L I TY BU UNDER NEW MANAGEMENT 427 West Hillsdale Lansing, MI Close to LCC/Cooley & CATA Terminal

NOW ACCEPTING APPLICANTS 541 E. GRAND RIVER AVE EAST LANSING, MI MSU.COOP 517. 355. 8313

HILLSDALE CO-OP MSU STUDENT HOUSING COOPERATIVE

UNDER NEW MANAGEMENT 427 West Hillsdale Lansing, MI

Many cooperatives, large and small, have joined together to form associations in order to promote the development of new cooperatives. Some of the larger, more prominent associations have been instrumental in the birth of new co-ops. The North American Students of Cooperation (NASCO) is an international organization that supports student co-ops. As a member of the SHC, you are also a member of NASCO and are welcomed and encouraged to use the resources they provide for the nationwide co-op movement.

THE CO-OP MOVEMENT The common bond of ideals and principles in modern cooperation is traced back to 1844, when a group of 29 weavers pooled their savings and opened the first successful consumer co-op on Toad Lane in Rochdale, England. These early co-opers were on a social mission, to provide for themselves affordable goods and services which the Industrial Revolution was keeping out of their reach in favor of personal profit. Their cooperative started out small, only selling a few staple items, but within a few years they were generating annual sales of $100,000.

FOR MORE INFORMATION 517. 355. 8313 V I SI T MSU.COOP STOP 541 E. GRAND RIVER AVE EAST LANSING, MI

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WHAT IS A CO-OP REALLY?

A cooperative is a business that is owned and controlled by the people who use it. Itâ&#x20AC;&#x2122;s a democratic organization whose earnings and assets belong to its members. By patronizing and becoming an active member of a co-op, you invest yourself with the power to shape that business. You control the politics and economics of what is truly your organization. A common facet of co-ops is a rebate system, where profits or budget excess is re-distributed to the membership for their benefit.

CO-OP B EG IN N IN GS

THE CO-OP MOVEMENT

The common bond of ideals and principles in modern cooperation is traced back to 1844, when a group of 29 weavers pooled their savings and opened the first successful consumer co-op on Toad Lane in Rochdale, England. These early co-opers were on a social mission, to provide for themselves affordable goods and services which the Industrial Revolution was keeping out of their reach in favor of personal profit. Their cooperative started out small, only selling a few staple items, but within a few years they were generating annual sales of $100,000.

ROCHDALE PRINCIPLES OF COOPERATION

$285 to $350 per person

FOR MORE INFORMATION

Close to LCC/Cooley & CATA Terminal

NOW ACCEPTING APPLICANTS

541 E. GRAND RIVER AVE EAST LANSING, MI MSU.COOP 517. 355. 8313

517. 355. 8313 V I SI T MSU.COOP STOP 541 E. GRAND RIVER AVE EAST LANSING, MI

CALL

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