I Tried a Different Creative Constraint Every Day for 30 Days
I Tried a Different Creative Constraint Every Day for 30 Days
I was stuck in creative autopilot.
Same compositions. Same color palettes. Same safe choices. My portfolio looked like it was made by an algorithm—technically competent, creatively dead.
I knew the problem: I was defaulting to what felt comfortable. What I didn't know was how to break out of it without completely abandoning my work and "going on a creative retreat" or some other luxury I couldn't afford.
So I tried an experiment: one new creative constraint every single day for 30 days. Random limitations forced on every project, no matter what I was working on.
Here's what happened.
The Setup: Why Constraints?
The idea came from a frustration. I'd read all the advice about "thinking outside the box" and "embracing creativity," but none of it told me how. It's like telling someone to "just be confident"—technically true, completely unhelpful.
Then I stumbled on research about how constraints actually boost creativity, not limit it. Painters who restricted their palettes made bolder work. Writers with word limits wrote tighter prose. Musicians working in specific genres innovated within those boundaries.
The theory made sense: unlimited freedom is paralyzing. Specific limitations force you to solve problems you wouldn't otherwise encounter.
The experiment rules:
- One new constraint per day
- Apply it to whatever I'm working on that day (design, writing, personal projects)
- No skipping—even if the constraint seems stupid
- Document what I made and how it felt
- At the end, compare my work from days 1-15 vs. days 16-30
I expected some interesting results. I did not expect it to completely change how I approach creative work.
Week 1: Fighting the Constraints (Days 1-7)
Day 1: Use Only Three Colors
Project: Logo design for a local coffee shop The constraint: Pick three colors at random, use only those
I pulled: burnt orange, deep teal, cream.
My first reaction: "This is going to look terrible." My instinct was to use browns and warm neutrals for a coffee brand. These colors felt all wrong.
Two hours of fighting it later, I had something. The teal became the primary (unexpected for coffee), the orange became an accent (warm enough to suggest coffee without being obvious), and the cream balanced it. The client loved it. Said it stood out from every other coffee brand in the area.
What I learned: My instincts aren't always right. They're just familiar.
Day 2: Work in a Medium You Never Use
Project: Brainstorming session for a content calendar The constraint: Can't use digital tools—only physical materials
I grabbed old magazines, scissors, and a poster board. Made a physical collage of ideas instead of my usual spreadsheet.
It felt childish at first. But the tactile process did something different to my brain. I made connections I wouldn't have made in a spreadsheet. Images next to each other sparked ideas. The randomness of flipping through magazines introduced topics I'd never have searched for deliberately.
What I learned: Different mediums activate different thinking.
Day 3: Set a 15-Minute Time Limit
Project: Blog post outline The constraint: First draft must be done in 15 minutes
Normally, I'd spend an hour outlining, rearranging, perfecting. With 15 minutes, I had no time for perfection. Just ideas, fast.
The outline was messier than usual. It was also more interesting. Weird tangents I'd normally edit out immediately stayed in. Some of them became the best parts of the final post.
What I learned: My editor brain kills ideas before they have a chance to breathe.
Day 4: Include Something Randomly Generated
Project: Character sketch for a short story The constraint: Roll dice to determine one character trait
I rolled "obsessed with clocks." Not something I'd have chosen. Felt gimmicky.
But forcing that trait into the character made me ask questions: Why is she obsessed with clocks? Is it about control? About mortality? About missing someone who was always late?
That random trait became the core of the character. The story formed around it.
What I learned: Random elements force you to justify choices, which creates depth.
Day 5: Copy a Master's Style
Project: Illustration for an article The constraint: Pick an artist you admire, try to mimic their technique
I chose Charley Harper's geometric wildlife style. My work is usually more organic and detailed.
The geometric approach forced simplification. Every element had to be essential. No decorative complexity to hide behind.
It looked nothing like my usual work. It was also some of the strongest illustration I'd done in months.
What I learned: Imitation is a teacher. You learn by trying to replicate what you don't yet understand.
Day 6: Remove Your Favorite Tool
Project: Video editing for a tutorial The constraint: Can't use my go-to transition style (smooth fades)
I always used smooth fades. They're professional, unobtrusive, easy.
Without them, I had to use hard cuts and creative transitions. The video had more energy. Felt more dynamic. Several people commented that it felt "more engaging than your usual style."
What I learned: We lean on our favorite tools until they become crutches.
Day 7: Work From Someone Else's Starting Point
Project: Website redesign concepts The constraint: Start with a template I'd normally never choose
I grabbed a maximalist, brutalist template. My style is minimalist and clean.
I hated it for the first hour. Then I started stripping elements away, keeping only what worked. The final design had a boldness my minimalism usually lacks—strong typography, confident asymmetry.
What I learned: Starting somewhere "wrong" can lead you somewhere you'd never have arrived at on your own.
Week 1 Reflection: This Is Harder Than I Thought
By day 7, I was exhausted.
Every day felt like starting from zero. My brain wanted to default to familiar patterns, and I had to consciously fight it. Some constraints felt arbitrary and frustrating.
But I was also making things I'd never have made otherwise. Weird things. Interesting things. Things that surprised me.
The question at the end of week 1: Is this just novelty, or is it actually making me better?
Week 2: The Breakthrough (Days 8-14)
Day 8: Use Only Typography (No Images)
Project: Instagram post for a workshop announcement The constraint: Design with text only
I'm a visual person. I rely on images to carry designs. Text-only felt like designing with one hand tied.
But it forced me to treat text as a visual element. Different weights, sizes, spacing. The final design was clean and striking.
What I learned: Constraints reveal skills you didn't know you needed.
Day 9: Combine Two Unrelated Ideas
Project: Article topic brainstorm The constraint: Randomly pair two concepts and force a connection
I pulled "meditation" and "spreadsheets." Ridiculous combination.
But sitting with it: what if there was an article about bringing mindful awareness to productivity tools? About slowing down with systems instead of speeding up?
The article performed better than my usual topics. Weird combinations create novelty.
What I learned: Your brain is incredibly good at finding connections when forced to.
Day 10: Create for a Completely Different Audience
Project: Email newsletter draft The constraint: Write like my audience is 10 years old
My usual newsletter is industry-focused, jargon-heavy, "professional."
Writing for kids meant no jargon, no assumptions, clear explanations. When I translated it back for my actual audience, it was the clearest writing I'd done all year.
Six people replied saying "this was so easy to understand, thank you."
What I learned: Clarity is a constraint that improves everything.
Day 11: Work in Black and White Only
Project: Social media graphics The constraint: No color
Color is my crutch. I use it to create interest when the composition is weak.
Black and white forced strong composition. Values, contrast, balance—all the fundamentals I'd been glossing over.
What I learned: Removing elements reveals what's actually holding the work together (or not).
Day 12: Use Only Circular Shapes
Project: Infographic design The constraint: Every element must be circular or curved
I usually use a lot of right angles and rectangles. Circles felt limiting.
But circles forced flow. The eye moved around the design instead of getting stuck in corners. The infographic felt more dynamic, more approachable.
What I learned: Arbitrary formal constraints can have unexpected emotional impacts.
Day 13: Start With the End
Project: Presentation outline The constraint: Write the conclusion first, work backward
I always write linearly. Beginning to end.
Starting with the conclusion forced me to know exactly where I was going. Every section had to build toward that ending. No meandering, no filler.
The presentation was tighter and more focused than anything I'd built before.
What I learned: Knowing the destination changes the journey.
Day 14: Make It Bad on Purpose
Project: Sketch session The constraint: Intentionally make something terrible
This was the first constraint that felt liberating instead of limiting.
No pressure to make it good. Just make it weird. Ugly. Wrong.
I made the stupidest illustrations. Somehow, a few of them were actually interesting. One made it into a final project because the "bad" choice turned out to be bold.
What I learned: Permission to fail unlocks experimentation.
Week 2 Reflection: Something Shifted
Around day 10, something changed.
The constraints stopped feeling like arbitrary restrictions and started feeling like provocations. Like creative sparring partners pushing me to try things I'd never choose on my own.
I started looking forward to the constraints instead of dreading them.
My work was getting weirder, but also... better? More distinct. More like mine instead of "professionally competent but generic."
Week 3: Building a System (Days 15-21)
By week 3, I'd developed a process:
- Pull a random constraint (I'd made a list of 100+)
- Resist it for 5 minutes (acknowledge why it feels wrong)
- Commit fully (no cheating, no "close enough")
- Document the result (photo/screenshot + one-sentence insight)
- Notice patterns (what constraints consistently produced good work?)
Day 15: Use Only Organic/Hand-Drawn Elements
Vector precision is my comfort zone. Hand-drawn felt messy.
But the organic texture added warmth my usual work lacks. Several people said it felt "more human."
Day 16: Limit Your Palette to Analogous Colors
I usually go for high contrast. Analogous colors (neighbors on the color wheel) felt too harmonious, too safe.
But the harmony created mood. The design felt cohesive instead of energetic. Different, but equally valid.
Day 17: Design for the Opposite Platform
I was designing an Instagram post. The constraint: design it like it's for LinkedIn.
Instagram is visual-first. LinkedIn is text-first. Designing for LinkedIn meant leading with message, supporting with visuals.
When I posted it to Instagram, the clarity of message made it perform better than my usual image-heavy posts.
Day 18: Use Negative Space as the Primary Element
I usually fill space. Horror vacui.
Making emptiness the main element forced intentionality about what stayed. Every element had to earn its place.
The design breathed. People looked at it longer.
Day 19: Create in 10 Variations
One idea, ten different executions. Constraint was quantity.
The first three were obvious. The next four were decent. Variations 8-10 were weird—and the best.
You have to get the obvious ideas out before you reach the interesting ones.
Day 20: Use Only Free/Found Materials
No premium stock photos, no fancy tools. Only what's free or already available.
The limitation forced resourcefulness. I took my own photos, used creative commons resources, combined elements in new ways.
It looked more original than my work with "professional" resources.
Day 21: Apply a Constraint from a Different Field
I pulled from music: "Use repetition with variation."
In design, that became a repeating element (a line, a shape) that evolved subtly throughout the composition. Created rhythm and unity.
What I learned this week: Constraints aren't random chaos—they're tools. Some work better for certain projects. You can build a toolkit of provocations.
Week 4: Results (Days 22-30)
The final week, I started combining constraints. Two or three per project.
- Day 22: Three colors + 15-minute limit + only typography
- Day 23: Black and white + circular shapes + hand-drawn elements
- Day 24: Opposite audience + work from the end + make it bad on purpose
The combinations were harder but produced the most interesting work.
By day 28, I was making things I couldn't have imagined on day 1.
Day 30: No constraint. Complete freedom.
I sat there, paralyzed.
All options available, and I couldn't choose. After 29 days of constraints guiding me, unlimited freedom felt like chaos.
So I chose my own constraints: three colors, start with the end, 30-minute limit.
And the work flowed.
Before & After: What Actually Changed
I compared my portfolio from days 1-15 with days 16-30.
Days 1-15:
- Competent but safe
- Recognizable style (meaning: predictable)
- "Professional" (meaning: generic)
- Technically solid, conceptually weak
Days 16-30:
- Weirder, bolder choices
- Distinct visual voice
- "Interesting" (meaning: memorable)
- Technically solid, conceptually stronger
The difference wasn't skill—it was courage. Constraints gave me permission to try things I'd have self-edited before executing.
The 10 Most Valuable Constraints (Ranked by Impact)
After 30 days, these constraints consistently produced the best work:
1. Set a Tight Time Limit (15-30 minutes)
Kills perfectionism, surfaces instinct over overthinking.
2. Remove Your Favorite Tool
Forces growth, prevents creative crutches.
3. Combine Two Random Concepts
Sparks novelty, creates unexpected connections.
4. Limit to 3 Colors (Chosen Randomly)
Teaches color relationships, prevents default palettes.
5. Create 10 Variations of One Idea
Pushes past the obvious, finds hidden potential.
6. Use Only [Specific Shape]
Formal constraints force compositional thinking.
7. Work for a Different Audience
Breaks assumptions, clarifies communication.
8. Start With the End
Creates focus, eliminates meandering.
9. Make It Bad on Purpose
Removes pressure, unlocks playfulness.
10. Copy a Master's Style
Teaches technique, reveals new approaches.
How to Start Your Own Constraint Experiment
You don't need 30 days. Even one week will shift how you work.
The simple version:
- Make a list of 7-10 constraints (use mine or create your own)
- Each day, apply one to whatever you're working on
- Notice what happens—does it help, hinder, surprise?
- At the end, compare your early work to your later work
Making your own constraints:
- Limit materials (colors, tools, time, elements)
- Change process (start at the end, work in a different medium, use only one technique)
- Add randomness (dice rolls, random word generators, shuffled cards)
- Force combinations (unrelated ideas, opposite audiences, conflicting styles)
- Remove options (no favorite tool, no images, no text, no color)
Tips that helped me:
- Don't skip. Even stupid-seeming constraints teach you something.
- Commit fully. "Close enough" doesn't trigger the creative problem-solving.
- Document everything. The insights come from comparing, not just doing.
- Notice patterns. Which constraints energize you? Which frustrate you? Both are useful.
What I Still Do (3 Months Later)
The experiment ended, but I didn't stop using constraints.
Now, whenever I start a project, I choose 1-2 constraints deliberately:
- Client wants "professional"? I add "make it bad on purpose" to push past boring.
- Feeling stuck? "Combine two random ideas" breaks the block.
- Timeline is tight? "15-minute first draft" prevents overworking.
- Portfolio piece? "Copy a master's style" to learn something new.
Constraints aren't a crutch—they're a creative catalyst. They push you into territory you wouldn't explore on your own.
The Real Lesson
Here's what 30 days of constraints taught me:
Freedom isn't the absence of limits. It's the skill to work powerfully within them.
Every project has constraints—client needs, deadlines, budgets, technical limitations. I used to fight them.
Now I see them as the structure that makes creativity possible. The box isn't a cage—it's a frame. And inside that frame, you can do anything.
Your Turn
Try one constraint tomorrow. Just one.
Pick something you're working on and add a limitation: three colors, 20-minute limit, no text, start with the ending, combine it with a random word.
See what happens when you can't default to your usual choices.
The worst case? You make something weird and learn what doesn't work.
The best case? You make something you'd never have made otherwise.
And maybe, like me, you'll discover that the best creative work doesn't come from unlimited freedom—it comes from dancing inside smart limitations.