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Section One

How To Good Will Is Good Design By Paul Rand?

Paul is basically one of the best, popular and famous legends of art and graphic designs. He is known for his tremendous communication and business ideas that were related to art and designing. Back then, Paul argued that good design can be termed as good will. Apparently, he viewed art and designs of either pictures or anything else as personal opinion with emotional connection. Paul viewed the artistic and design activities as simple visual communications that are rare but effective for communication purposes. In his book of Good design, Good will, he insists on the fact that an artist should be aware of the principles that are put in place to guide him/her in their artistic activities. They artists should be able to illustrate their opinions whether in commercial forms or just for leisure. This also means that the artist should be in a position to show the level of their wisdom and be guided as well as controlled by the basic techniques used in artistic and designing practices (Preston et al, 2014). In addition to that, Paul though that art and design are symbolized by beauty and simplicity of a picture or symbol that is given by a creative or talented individual. Therefore, the design though should certainly b clear and simple to be able to fulfill Paul’s argument. Also in that case, it is very important for individuals participating in the artistic and designing works or jobs are willing to take risks to be able to imagine and vision their idea as being real and tangible (Aakhus et al, 2015). Therefore, with the fact that designs and arts are the clear imagination, view and opinion of an individual, then Paul’s good design is good will is clearly relevant and relates to the exact idea. Apparently, they both represent the same arguments and facts that are used to support their arguments.

The main ideas from the manifesto is that the artistic and designing work represents the personal ideas and views of an individual. This means that they are never corrupted or edited form and therefore are able to give the best results. This included things like emotion expression, individuals own view of a situation, personal objective or aim of the work art or design to name a few things. In addition to that, the artistic and design work is guided by some set of principles which should be followed by the designers for them to be successful. These principles should be able to protect the individual’ work and keep it private and protected. Also, some other main ides from the good design good will design is the fact that the art or design work originated entirely from an individual’s mind and thought (McAuley et al, 2015). This is in relation to the person’s wisdom and creativity that gives birth to very simple, clear and beautiful results. Therefore, at most times, the art and design works are meant to attract people especially when it comes to commercial purposes.

Section Two

The main ideas on this manifesto did not necessarily suggest new ways or methods or work practices but rather backed up every art and design work. This is by insisting that such work is a person’s personal view, idea and wisdom. They are used by designers and artists to express emotions or own views on certain live aspects. However, they are also used for commercial purposes where by in this case they should be guided by protection principles should be implemented. Therefore, no the main ides in this manifesto are clearly in relation to the previous ones as well as the current art and design ideas and views.

The publication at that time was pretty important for every artists and designer. The book good design, good will by Paul became a changing aspect of most artists and designers simply because it offered great deal of ideas, knowledge and information to be learnt. Apparently, in those days, the 19th Centuries, the technology had not really developed to the extent of learning and viewing art and design work as meaningful work. Paul took much effort to insist and prove that art work is worth everything in almost everybody’s life. This is simply because it indicates real life imaginations, views and opinions of the individual doing it. Therefore, it should also become a simple way for everybody to express their own views on different matters of life. In that case, Paul’s book became an inspirational aspect for most people. These included even the people who did not know whether they were talented or not. However, the fact that art can be learnt, then the artists at that time really increased in numbers. The visual communication was improved by a very long shot and creativity for art and design work grew as well (Thomas et al, 2013). In addition to that, many people’s creativity levels also improved especially in other different life sectors like the commercial and economic aspects.

My chosen designer is Paul Rand who is a very popular and well-known artist and designer of various things at his time. Basically, he is known by most designers and artists as a legend simply because he left a lot of knowledge, wisdom, art and design evidence to prove that good design is good will. Just as earlier mentioned, Paul believed that art and design work are entirely a person’s own imagination. However, it is an imagination, it has the ability to give the best results in the end, i.e. beautiful, clear and simple. Additionally, he says that good art come from an individual’s heart, which means that it mostly represents a person’s deeper though and imaginations like emotions. Therefore, it becomes really necessary for the person to express these things in terms of art or designs.

Section Three

Some of the changes that Paul came up with in the course of his practice included the fact that: he insisted on becoming more modernized even when other artist assumed the act, made sure that previous artists or designers he knew gave him positive influences only, his art and design work was supposed to have a viable and relevant origin to name a few things. Furthermore, Paul insisted on the fact that he should always be guided by principles which helped him come up with a good design and art work at the end of it all. All of the above aspects and changes were able to help an artists or designer to be one of the best, effective and efficient of his time (Norouzi et al, 2015). He was able to express his thoughts and ideas in terms of art which he basically thought was the best way to display an idea.

The thing that made Paul’s practice significant is the fact that at that time, many people did not really know what art or design work was. Also, they were both not being taken as meaningful jobs and therefore were thought of as just side jobs. Additionally, not so many artists and designers that existed in those years and therefore, was probably considered as the job of idlers. However, by trying to express his ideas and thoughts, Paul was able to distribute knowledge to many other people who certainly later became interested in art and design work. To add to that, Paul’s practice became relevant during those years because of his popularity from different other practices which were also related to art and design work. The practice became useful to most people because at that time, a large number wanted to increase their knowledge, earn income as well as improve their living standards.

Paul’s book and practice are entirely and deeply related to the manifesto which is good design good will not only because he is the author and writer of the book but he was also living the manifesto. This means that in his art and design practices, Paul implemented the ideals and principles of good design good will manifesto. Therefore, in that case, the following are some of the ways in which Paul demonstrated the manifesto’s ideas:

His first and foremost priorities are the fact that art and design work’s ideals, beauty and utility are mutually generative. With this in mind, he made sure that his art and design work represented all the three aspects. This was the same idea brought out by the manifesto which gives both similar ideas.

Also, all his art work originated from his own ideas and thoughts. After a lot of practice and experience in the field, Paul’s creativity increased and improved every single time because of the exposure he got in the field. However, later he came to realize that art should not only be original, but an artist can alo imitate a fellow artist and come up with something similar but completely different. This is completely different from what was brought out in the manifesto.

Paul came up with very unique, simple and beautiful art and design work in the course of his practice which were a clear evidence of his wisdom and integrity. His art work shows that it is entirely a personal thought, creative and own view. They also indicated the originality of his work from the structure in which they presented in.

Paul Rand changes a little during his art and design work practice. Just like I mentioned earlier, he tried his best to improve his work for the better and therefore had to go beyond the manifesto’s ideas. This means that he was able to break up from the principles and other things that were related to the manifesto and find his own way to improve his practice. Therefore, an artist would come up with ways like (Burgers, 2016): ensuring better art designs, modernize his art and design features and appearances, he tried his best to come up with his original art and design work or rather conduct effective imitation from other artists works to name a few things, made sure that his work was educational and not just commercial among other things and this is exactly what Paul did.

The manifesto is somehow vague on how the art and design work should really appear but at the same time it is very influential and educative. For instance, it indicates how the work’s beauty, utility and ideality are all mutually generative. This means that beauty itself cannot be achieved without achieving the other two aspects. This is one factor that helped Paul in his art work (Melles et al, 2013). He was able to work towards that fact which later made him effective and most importantly one of the best in the field. Additionally, the manifesto says that art work should be a person’s own creativity and idea. However, Paul argues that besides that kind of originality, one can also imitate the works of fellow artists work but not copy it directly. They should regenerate it and make it their own personal idea in their ow way which is the idea that he himself followed in most cases.

Conclusion

From the essay, it Is clear that art and design seem to be two different things but really are same. Art and design work is basically a person’s own creativity that they should protect and guard strictly. However, different artists have different ways of practicing their art and design works which is pretty good. From the manifesto, art and design work are generally guided by certain principles that help them be attractive, beautiful, ideal and have utility. Additionally, art is not only an expression of though and opinions, but is also for education and commercial purposes for various artists and designers. For instance, as for the case of Paul Rand, a very famous and popular art and design legend, art work is basically different things for different people. However, the things that are common in all of art work is the fact that it is a person’s own idea, creativity and opinion expression. Nevertheless, as for Paul art is a form of visual communication and commercial aspects. He argues that art and design are a personal expression of a person’s will from the heart; basically, good will. However, for him it is also an education instruments. Even with such arguments, Paul Rand believes that art and design work are both mainly for commercial purposes and therefore are meant to improve a person’s living standards in different ways. However, generally, different things can be used for different reasons. Therefore, also when it comes to art and design, different artists and designers are simply guided by their own objectives whenever they do art or design work.

References

Cameron, A. F., & Webster, J. (2011). Relational outcomes of multicommunicating: Integrating incivility and social exchange perspectives. Organization Science, 22(3), 754-771.

Stephens, K. K. (2012). Multiple conversations during organizational meetings: Development of the multicommunicating scale. Management Communication Quarterly, 26(2), 195-223.

Turner, J. W., & Reinsch Jr, N. L. (2007). The business communicator as presence allocator: Multicommunicating, equivocality, and status at work. The Journal of Business Communication (1973), 44(1), 36-58.

Naiman, L. (2015). The Intersection of Art and Business.

Zsolnai, L., & Wilson, D. (2016). Art-based business. Journal of Cleaner Production, 135, 1534-1538.

Darsø, L. (2008). Artful creation: Learning-tales of arts-in-business.

Thomas, J., & McDonagh, D. (2013). Shared language: Towards more effective communication. Australasian Medical Journal, 6(1).

Norouzi, N., Shabak, M., Embi, M. R. B., & Khan, T. H. (2015). The architect, the client and effective communication in architectural design practice. Procedia-Social and Behavioral Sciences, 172, 635-642.

Norouzi, N., Shabak, M., Embi, M. B., & Khan, T. H. (2014). Participation problems and communication difficulties in architectural design practice. Life Science Journal, 11(9), 984-990.

Wu, W., & Kaushik, I. (2015). Design for sustainable aging: improving design communication through building information modeling and game engine integration. Procedia Engineering, 118, 926-933.

Aakhus, M., & Bzdak, M. (2015). Stakeholder engagement as communication design practice. Journal of Public Affairs, 15(2), 188-200.

Burgers, C. (2016). Conceptualizing Change in Communication Through Metaphor. Journal of Communication, 66(2), 250-265.

Melles, G., & Lockheart, J. (2012). Writing purposefully in art and design: Responding to converging and diverging new academic literacies. Arts and Humanities in Higher Education, 11(4), 346-362.

Preston, J., & Thomassen, A. (2010). Writing through design, an active practice. Journal of Writing in Creative Practice, 3(1), 45-62.

McAuley, M., & Roxburgh, M. (2014). Learning Theory through Collaboration and Visualization.

Caldwell, G. A., Osborne, L., Mewburn, I., & Nottingham, A. (2016). Connecting the Space between Design and Research: Explorations in participatory research supervision. Educational Philosophy and Theory, 48(13), 1352-1367.

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