Issue 31

DESIGNTIMES south africa’s monthly creative resource

www.designtimes.co.za

/03 INTERVIEW

greg quinton

Greg Quinton, creative partner of The Partners, London is Chairman of the Communication Design judging panel for this years Loerie Awards.

/08 PHOTO

JULY 2010 Issue No.31 ZAR 15 EUR €2, UK £2, US $3

seagram pearce

our partners 9 77199 9 24800 1

07010

/16

Seagram Pearce is a Cape Town based photographer with an impressive portfolio of work.

We take a look at his personal project Faces of Cape Town.

FASHION

photography partner

JADE LEGGAT

Jade Leggat’s world, reflecting on makeup as a extension for her love for art really drives home the idea that there is more to make up than fixing a few blemishes.

Loerie Award Winner

NEWS

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iAd, we knew it Apple has recently announced the iAd mobile advertising network on the iPhone, iPod touch and iPad. What is it you ask? iAds combine the emotion of TV advertising with the interactivity of internet advertising, giving advertisers a dynamic and powerful new way to bring motion and emotion to mobile users. iAd will kick off with mobile ad campaigns from leading global brands. What is more impressive is Apple has iAd commitments for 2010 totaling over $60 million, which represents almost 50 percent of the total forecasted US mobile ad spending for the second half of 2010. “iAd offers advertisers the emotion of TV with the interactivity of the Welcome to the thirty first issue of Designtimes. First off, Surprise!

We’re back in print after a year of experimenting exclusively in the digital arena. While digital does offer an exciting reader experience it just doesn’t compare to the crisp feel of paper and the smell of ink fresh off the printer, at least not for now anyway. We are just happy to be back doing what we love under the umbrella of Beyond Publishing. Onto the cover, despite our mild aversion to getting caught up in hysteria we have caved under the pressure of the World Cup spirit and decided to use Kinde Wily’s latest artwork for Puma. Looking beyond the World Cup we chatted to Greg Quinton who’ll be visiting South Africa as a judge for this year’s Loerie Awards.

We also take a look at the Faces of Cape Town, a photographic project by prolific photographer Seagram Pearce.

We hope you enjoy reading this issue of Designtimes as much as we enjoyed putting it together for you.

Mark Rosenberg mark@designtimes.co.za

Editorial

Mark Rosenberg mark@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Zachariah King zac@designtimes.co.za Raymond Prince raymond@designtimes.co.za Ryan Ali ryan@designtimes.co.za

Contributors

Amy Saville mizzsaville@gmail.com Eva Csernyanszky eva@friendsofdesign.net

Advertising Wendy Scullard Malika Samuels Shervone Smith Shalantha Engel

Subscriptions

Kelly Cupido roxy@designtimes.co.za

Publisher

Beyond Publishing CK 2008/187319/23 25 Voortrekker Road, Unit 29, Goodwood, 7460 Tel: 021 592 5721, Fax: 021 592 5714 beyondpublishing@telkomsa.net www.beyondpublishing.co.za

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web, and offers users a new way to explore ads without being hijacked out of their favorite apps,” said Steve Jobs, “iAds will reach millions of iPhone and iPod touch users, a highly desirable demographic for advertisers, and provide developers a new way to earn money so they can continue developing free and low cost applications.” iAd, which is built into iOS 4, allows users to stay within their app while engaging with the ad, even while watching a video or playing a game. Developers who join the iAd Network can incorporate a variety of advertising formats into their apps. Apple will sell and serve the ads and developers will receive 60 percent of the revenue.

Mimobot

There are loads of flash drives on the market, but these have to be among the coolest. Mimoco unveiled its newest line of Star Wars Mimobot designer flash drives.

Devoted to the film that started it all, Star Wars: Episode IV A New Hope, the latest series of classic characters immortalized as USB flash drives includes astromech droid extraordinaire R2-D2 and the shootingimpaired Stormtrooper. Two newcomers also join the 2010 series, including that scavenger of the desert, the Jawa, and the fan selection from the first ever Star Wars Mimobot audience choice poll, Jedi Master Obi-Wan Kenobi. The completely redesigned Stormtrooper Unmasked Mimobot features a removable helmet revealing either Luke Skywalker or Han Solo beneath. Just as their “borrowed” uniforms provided perfect cover for the young heroes during the daring Death Star rescue, these Stormtrooper USB flash drives provide up to 16GB of armoured protection for your digital life. Stormtrooper Unmasked Mimobot will be offered as a blind assortment character, with a 50% chance of uncovering either Skywalker or Han Solo when the Mimobot helmet cap is removed. Here’s a hint, Luke is the one who’s “a little short for a Stormtrooper”.

The latest version of Microsoft Expressions Studio 4, a professional design suite, streamlines web application, design and development. Expression 4 distinguishes itself by enabling designers and developers to collaborate and create dynamic applications using their existing skills and current toolset. “Great design and development both require passion, skill and exceptional tools. With Expression Studio 4, we’re delivering a single toolset that brings these two worlds together,” said Soma Somasegar, senior vice president of the Developer Division at Microsoft.

“The new features in Expression Studio 4 enable better customer engagement, greater flexibility and faster time-to-market.” New features and functionality found within Expression Studio 4 enable seamless flow between design and development.

Expression Studio 4 Ultimate, which includes Blend and SketchFlow, allows the quick translation from ideas to rich, digital prototypes and simplifies the creation of applications for Silverlight and for mobile devices, such as Windows® Phone 7.

Streamlined website creation is also made simple. The sophisticated toolset makes it easier than ever to build and deploy websites. Advanced visual diagnostics also speed browser compatibility testing.

Simplified video publishing makes it a breeze to encode a wide variety of video file formats to make simple edits and enhance your media for distribution through players built with technologies such as Silverlight.

Expression Studio 4 is available for trial download at www.microsoft.com/ expression.

Waterproof

This changes Price war everything, again

Barnes & Noble just released the Nook a digital ereader with 2GB of memory, which stores up to 1,500 books, newspapers and magazines. The Nook ereaders are priced at $149 for the WiFi version and $199 for the 3G version which makes it the cheapest ereader around, but not for long. Amazon has ripped a massive hole in Barnes & Noble’s billowing sails. Amazon reduced the price of the $259 Kindle 2, complete with global 3G, to $189, $10 cheaper than the Nook. Plus, there’s also free 2 day shipping. Looks like the undercutter just got undercut. Let the price wars begin.

Microsoft Expressions

A new Design with FaceTime video calling, retina display, five megapixel camera and HD video recording, and you thought you couldn’t ask for more.

It’s the thinnest smartphone ever, it’s the new iPhone 4 featuring FaceTime, which makes the dream of video calling a reality.

Apple’s stunning new Retina display, the highest resolution display ever built into a phone, results in super-crisp text, images and video. In addition, iPhone 4 features a 5 megapixel camera with LED flash, HD video recording, Apple’s A4 processor, a 3-axis gyro and up to 40 percent longer

talk time in a beautiful all-new design of glass and stainless steel that is the thinnest smartphone in the world. iPhone 4 comes with iOS 4, the newest version of the world’s most advanced mobile operating system, which includes over 100 new features and 1500 new APIs for developers. iOS 4 features Multitasking, Folders, enhanced Mail, deeper Enterprise support and Apple’s new iAd mobile advertising platform. “iPhone 4 is the biggest leap since the original iPhone,” said Steve Jobs. No estimated time of arrival yet, but you can pre-order it from Digicape and the iStore.

SANYO has released the world’s first waterproof, Full HD Dual Camera that can be used underwater. The Xacti was launched at the end of June 2010. The Dual Camera offers the capture of both photos and videos. By utilizing a convenient video format that can be easily handled on PC and internet environments, even on home TVs, these cameras are more than just hardware for capturing, viewing, and saving images.

They are convenient products for sharing videos online, on blogs or on other multimedia sites and they are able to easily import images to portable media devices.

Often one would be a little hesitant to take your camera with to the beach or to the neighbours pool but its waterproof design, the Xacti offers a Dual Camera model that is both handy and reliable for active outdoor living, daily activities, and leisure pursuits.

The Xacti can be used to a depth of three meters underwater for up to sixty minutes and meets the IPX8 standard based on international waterproofing guidelines. It captures 14 megapixel photos, the highest class of resolution in a compact camera.

DESIGN

Greg Quinton the man that will judge our work

Greg Quinton, creative partner of The Partners, London and Chair of Education at the D&AD, has been confirmed as Jury Chairman of the Communication Design judging panel for The 2010 Loerie Awards.

Quinton has contributed profoundly to the company’s success as the most consistently awarded agency in the United Kingdom.

The agency was named Britain’s most creative company in Design Week’s 2009 survey and has topped the All Awards chart for 11 years in its 20 year history. The Partners have also opened a branch in New York, whose creative reputation is fast becoming just as renowned.

Quinton, who hopes to bring objectivity and impartiality to the judging panel at the 2010 Loeries, cannot wait to see the inspirational work that has been entered this year, “The work should be about thinking differently and challenging the convention of the category.

Something that makes you think, “I wish I’d done that.” Greg Quinton, the principal creative director at The Partners, has won over 100 awards during his creative career and shows no signs of slowing down.

What does the agency do?

The Partners delivers brand strategy and design for clients who require outstanding creative solutions. We work across the full spectrum of communications challenges, including brand strategy (such as brand positioning, core proposition, personality, vision and values and subbrand strategy), digital brand strategy, naming, visual strategy and brand identity, envisioning, communications design and corporate literature, guidelines and brand management.

What is your creative approach?

By thinking about problems differently (often using creativity to help crack leftbrain strategic challenges), by creating a bespoke process and team built around our client’s needs (rather than trying to squeeze them into a rigid standard methodology), and by working in partnership with our clients and their other agencies, we’re able to resolve longstanding brand challenges, when even our clients thought it impossible. We work extensively across a range of consumer and B2B sectors, however we have particular expertise in the areas of Financial Services, Pharmaceuticals, Retail, Luxury, Automotive and Professional Services.

Greg is passionate about creative branding as one can tell from his work, but it was only after his fourth child, Phoebe, was born that he achieved his ambition of branding his own kids by their initials, STOP. Take a look at some of their work on the right, Mr Singh’s Bangras and Eagleclean’s identity re-design.

Mr Singh’s Bangras The challenge for Mr Singh’s Bangras was to find an unforgettable way of packaging gourmet Indian sausages. The solution created the world’s first branded sausages.

Each Bangra carries a henna design in edible ink, distinguishing it as something out of the ordinary. A simple protective sleeve holds the sausages together and shows off the product on the shelves.

Eagleclean Our cleaners, Luiss and William had just started up their own business. They asked us if we could re-design their letterhead, with one condition... “The eagle stays”.

The work this year should be about thinking differently.

Something that makes you think, “I wish I’d done that”

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VKX DUW

DESIGN

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Kehinde Wiley Kehinde Wiley, the internationally acclaimed American-born painter who is famous for his decorative portraits of urban black men, has teamed up with PUMA for a creative project that will showcase contemporary African football legends.

Born in Los Angeles to an African American mother and a Nigerian father, who moved back to Nigeria before he was born, Kehinde, felt an essential part of him was missing. As a visual artist, he longed to know what his father looked like. At the age of 20, Wiley took the leap across the Atlantic in order to find the man he had never seen before. Upon meeting his father, Wiley completed a series of portraits of him.

“It made me think about Africa as something that can be pictured, rather than dreamt about or longed for”, Wiley explains. “I have an uncontested intimate relationship with Africa because of my personal story”.

In 2007, Wiley returned to Africa to compile a body of work entitled “The World Stage: Africa Lagos-Dakar” which was exhibited at the Studio Museum in Harlem. Drawing from the local culture, Wiley created 10 oil paintings of individuals selected off the streets in Nigeria and Senegal, which examined the theme of power and privilege in an African context, complimented by intricate, vibrant backgrounds.

The project consists of portrait paintings of Eto’o, Eboué and Mensah and creative work into the new PUMA SS’10 collection.

The players are pictured wearing the same PUMA jerseys, a further symbol of African unity through sport. In addition to the Unity painting, Wiley created three individual portraits of the players, taking into consideration their own dynamic personalities and the histories of the nations they represent.

The significance of the Kehinde Wiley PUMA project is the fact that an Americanborn member of the African Diaspora was able to connect with three African football heroes, in their home countries, through the dialogue of art, sport, and culture, transcending all previous notions of

national borders and racial categories.

“The fact is, Africa has been so drawn apart for a number of years, that is very poignant to have moments in which African countries and sports players can come together. It’s a natural fit. There is a desire to come together by virtue of all the chaotic moments that have befallen Africa historically.” The African Lifestyle collection features elements from eight existing works by Wiley. The four commissioned portraits featuring Eto’o, Mensah and Eboué will be used to build a PUMA limited edition collection of apparel, footwear and accessories, just in time for the 2010 World Cup when all eyes will be on Africa.

How did this exciting partnership with PUMA come about?

My partnership with PUMA began right around the same time I began an engagement with Africa. I was actually quite aware that PUMA was interested more with Africa, so it was a perfect arrangement. My interest in Africa was using the textiles, using the decorative traditions of West Africa and incorporating them into the painting so a field was created, a place in which the figures could interact with the moving, dynamic and decorative patterns of Africa’s traditions.

What was your involvement in the design process of the SS’10 collection?

My involvement with the design process with PUMA was to really concentrate on the textile element of the paintings. To look at West African textiles and to really deconstruct them in such a way that the decorative and colour really came to fore.

I wanted something that popped but also something that had a certain musicality.

How do you think your style and design aesthetic aligns with the PUMA Brand?

My style and design aesthetic align perfectly with the PUMA brand in the sense that I think what we are both trying to achieve is a sense of joy. I think historically if we look at black American and black African culture there is so much that we don’t concentrate on with regards to the joy and the unity that can be seen. www.kehindewiley.com

I have an uncontested intimate relationship with Africa because of my personal story

Street art in Italy Street artist known as BR1 is working on a interesting street art project which is popping up all over the streets of Italy.

We asked him to tell us about the project and the subject of his art.

“I am working and studying on the figure of the Muslim woman since two years, history, tradition, legal sources and development in contemporary society. A complete research on the theme. In Turin when people ask me why I draw this type of subject I tell them that it isn’t a case, but I study the theme.

As a lot of artists, I started my career interpreting typical subjects of our world, USA power, corporations as McDonalds,

the clash with the eastern world and pollution. I was looking for images on magazines to take inspiration or making some collages, and my attention fell always on images with a woman wearing the veil.

For me it is charm. A woman wearing it has another allure or behaviour. And you know, for many people the veil is a sort of taboo or a cryptic theme, but it captured my attention, because I am a curious person.

Some years ago I understood that I don’t like to express my creativity on topics like USA, oil, wars, poverty in Africa, even if they are themes that I follow and I read books about them. Since I started drawing,

when I was young, I made drawings of human beings. I love figurative drawings.

But I feel that I was not interested on the western woman, because I want to try to use art to describe a typical phenomenon or a sociological theme, as David Gouny makes with the figure of fat women in his posters or FKDL with woman silhouettes.

So, drawing Muslim women has been a process. I am from Italy but I have a big respect for other people in general. This is a project based on the woman and many girls, also Muslim, tell me that it is also a sort of feminism, because I give to Muslim woman a representation on city walls.”

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PHOTOGRAPHY

Faces of Cape Town

Tell us about the Faces of Cape Town project shown on the left?

This was one of my first personal series I ever undertook. Several years ago (when I also somehow had more time on my hands for these kinds of things), I started walking around the streets of Cape Town, just idly snapping away. It dawned on me how many people I saw that fell outside the realms of ‘norm society’. The beggars, homeless, street sweepers, etc. They were fascinating.

I clearly remember the first day, sitting on a bench, watching this homeless guy across the way from me meticulously & carefully unroll a dirty cloth. Inside, was a white napkin that also got carefully unwrapped.

He took out a small object (which I couldn’t see or identify) and looked at it for some time. He then carefully rewrapped the object back up & stuck it in his jacket pocket. I was mesmerized by his little ritual. I was dying to know what it was, or why he kept it so sacred, or even the story behind it! And that was the moment I fell in love with the lives of people whose stories or experiences will go unheard because of their social standing.

Of course, I had completely missed the opportunity to photograph that moment of him staring at the object because I forgot I was even holding a camera. I did get one of him sleeping later though. So that was the birth of my “Faces of Cape Town” series.

I haven’t had the chance to add more to it for some time due to lack of time. I also need to be in the right frame of mind when shooting this series. I need to be reflective, humble, patient. Their lives need to be more important than my own for a time; or the life and essence of the series and photographs won’t work. www.seagrampearce.com

Adobe 5

Seagram Pearce photography Who is Seagram Pearce and how did you get started in photography?

I grew up in Cape Town. I did a lot of moving around during my teen years, then seemed to continue the trend of not staying in one place for very long after I moved out of home. I have always been in and around Cape Town though. I did try a short session living in Johannesburg, but the crime and way of life just couldn’t compare with Cape Town. I got started in photography when I was very young. My first encounter with a camera was when I was six years old and a months trip overseas. Armed with a

film Pentax SLR and 56 rolls of film later, I think I had found a passion then already.

Although I didn’t realize that photography would end up being a career. It was only in my later teen years that I began taking photography seriously, shooting for the school magazines, etc. Then again, in a twisted path of events, I ended up going into Graphic Design as my first career after my school years. After several years behind a desk, day dreaming about the big world that lay outside the walls of an office, I was up for a different path. I actually have my ex-boss to partly thank for the career move.

A man whom I viewed as a total visionary and killer businessman pushed me out of my comfort zone. “Why work for me to make me rich, when you can go be your own boss and create your own wealth!” was his very convincing argument. After much self-deliberation, I quit my job and started full time freelancing as a photographer.

Who or what inspires your work?

Advertising. I love advertising imagery. I am always drawn to it and always amazed at the thinking, ideas, creative genius and then also technical execution of a single image. I’ve always been in favour

of creating 1 single epic image, than just 10 mediocre ones. Advertising is that. I also draw huge amounts of inspiration from other photographers of all ages and all areas. I love seeing how they all bring something new & interesting forward.

Favorite two photos taken recently?

Hmmm, I think I would have to say a shot of a Koenigsegg CCXR Trevita (1 of 3 worldwide). And then on the total opposite end of the scale, one of the shots from a new fashion series I’m working on ‘Don’t Think, Just Shoot’. www.seagrampearce.com

Adobe Creative Suite 5 is here, it feels like just the other day that CS4 waas released.

Focusing on interactivity, performance and maximizing the impact of digital content and marketing campaigns across media and devices, the CS5 product line brings exciting full version upgrades of creative tools while delivering significant workflow enhancements to designers and developers.

Featuring integration with online content and digital marketing measurement and optimization capabilities for the first time, Creative Suite 5 products include access to signature Omniture technologies, to capture, store and analyze information generated by websites and other sources. Additionally, a brand new component, Adobe Flash Catalyst, joins the Creative Suite, ushering in the ability to design interactive content without writing code and improve the collaborative process between designer and developer. More than 250 new features have been integrated into the Adobe Creative Suite 5 Master Collection. Image creation and editing get a boost in Photoshop CS5 with Refine Edge, which offers better edge detecting technology and masking results in less time. Photoshop CS5 also includes the ability to remove an image element and immediately replace the missing pixels with Content-Aware Fill. New stroke options allow Adobe Illustrator CS5 users to create strokes of variable widths and precisely adjust the width at any point along the stroke. The big question is, is it worth the upgrade or is this just another attempt from Adobe to raid our wallets? In the next issue of Designtimes we will summarize some of the new features available, try them out, and see if an upgrade to CS5 is really worth the hefty price tag.

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PHOTOGRAPHY

V-LUX 20 Compact size, and a high-performance 12x zoom lens make the Leica V-Lux 20 the perfect companion to have around wherever you happen to be, for every day photgraphy, touring the city or holidaying by the beach. The Leica V-Lux 20 is a great tool with which to capture those wonderful moments in life as high quality pictures.

Direct, spontaneous, and intuitive. This is made possible by numerous automatic functions and a versatile 12× zoom lens with an enormous focal range from 25 to 300 mm. The optional manual setting of apertures and shutter speeds offers even the most demanding photographers complete creative control. With the latest advanced features such as HD movie and optional GPS image tagging1, the V-Lux 20 offers the greatest possible flexibility and ease of use, for still photography or movies when you are out and about, and even for archiv-

ing pictures already taken. A camera for people who appreciate quality and love to own and use something special.

The Leica 25-300mm zoom lens enables the use of an enormous range of focal lengths for both photos and video recording. For macro photography, extremely wide-angle views, or zooming in on distant subjects, the V-Lux 20 captures amazingly sharp images across the entire wide-angle to telephoto range. When shooting with longer focal lengths or in poor light, optical image stabilisation effectively prevents blurred or shaky pictures. The V-Lux 20 features a 12.1 effective megapixel sensor.

Flexible use of the sensor format guarantees full exploitation of the entire zoom range (35-mm equivalent: 25-300 mm) in all possible image aspect ratios, whether set for 4:3, 3:2, or 16:9. www.leica.com

Andrew Brauteseth

I grew up in a small town on the Natal South Coast called Port Shepstone. For those in advertising, it’s about 15km north of Margate. Backline. Remember? Where you spent 3 hours after the Loeries 2008 hitting on that new copywriter with tequila breath.

And the other 3 hours trying to find your way out of there. I guess that’s the story of the South Coast. Trying to find a way out.

I remember taking a photo of my Dad’s house when I was 15. I used his Nikon film Camera. I call it my first camera, but it wasn’t really my first Camera. My older sister got the first camera in the family.

Mom said photography was ‘her thing’.

I wasn’t supposed to be taking pictures.

Anyway, I took that picture of Dads house

with one thought, I’m leaving.

Inspiration is like watching the 7pm ETV Headlines. You see Malema and his fat watch. You see Zille. You see the World Cup goal against Mexico. You get excited, you love it, you hate it, you throw up your arms, you phone mom.

Then you switch off the TV and forget about it. I used to love Annie Leibovitz. Then I hated her. Now I love her. I used to love Terry Richardson’s work, and Juergen Tellier who put Victoria Beckham in a shopping bag for Marc Jacob’s Spring 2008. Now I just find them creepy old men with untended facial hair.

I was crazy about that mysterious Steven Meisel who hates to be photographed. There are many ‘inspirations’. At the moment I am more worried about influences.

Influences are more dangerous because they’re unconscious. At the moment I fear some French impressionists are having their way in the work I’m doing for my first exhibition. Influences shape your way of seeing the world. Sometimes they are those nameless demons passed down through your ancestors like a cultural Patek Philippe.

Sometimes its the composting effect of

everyday visual stimulation showered on you. In this case, I would have to credit my Major influences as everything from my Lutheran Sunday School upbringing, a Nouveau Gilliam film I saw last Friday, through to the Jet lag I had in Buenos Aires when I started framing shots through the Cab Window.

It’s difficult to pin down my approach.

In some ways I still see myself essentially as a reporter. A storyteller. And that’s maybe why I studied journalism. But sometimes I’m making up the stories, not just documenting them. I’m a commercial photographer and a personal photographer and the line blurs between both as I constantly experiment and evolve.

I love my work. Did I mention that?

I shoot with a Canon 5D MKII. My favourite lenses are the ones I own.

That soft-bokay of a 70-200mm f2.8 for portraits. A very friendly 24-70mm f2.8 for shooting practically anything. And a nosy little 50mm f1.4 that makes me feel like I’m in the Bang Bang Club sans shotgun marks. If you’re addicted to twitter, follow me @brauteseth. www.guywithcamera.co.za

I see myself essentially as a reporter, a storyteller

Canon’s in the House Women want him and men want to be him.

No, not for his sterling personality nor his great physique, rather because of his biting wit and razor share tongue. We are talking of Gregory House MD. Interestingly the final episode in this season’s run of House has been shot exclusively using Canon’s 5D Mark II. The show’s director Greg Yaitanes said that the major takeaway from the exercise is that the crew “liked the experience” and remarkably “didn’t have to do an overwhelming amount of work to adapt to the different shooting method”.

Greg Yaitanes answers some questions: What is the difference in how the 5D Mark II looks on a TV screen compared to a regular camera?

It is richer. The shallow focus tends to pull the actors faces to the foreground.

How many frames per second were you shooting at and why use a 5D? 24p and we wanted to use the 5D Mark II

for ease of use in tight spaces in particular.

Can you tell us something about the lenses you used?

We used all the Canon primes as well as the 24-70 and 70-200 zoom lense.

Did you have to change any of your working practices to fit in with the 5D? Some. Focus was a bit trickier than normal to achieve with these lenses but more cinestyle lenses are being made as we speak.

Were you using CF cards for storage?

We used some 16GB cards which gave us 22 minutes of footage.

How was the quality as compared to the traditional camera used in shooting?

I loved it and feel it’s the future.

This is quite an endorsement for Canon, with a network giant entrusting the finale of one of its most popular shows to the 5D Mark II which happens to also be the first digital camera to take the Presidential portrait as well.

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ARCHITECTURE

Lufthansa

London industrial designers who go by the odd name of Priestmangoode have designed the new flagship A380 for Lufthansa that has just been unveiled at a global media launch in Frankfurt. Priestmangoode designed the cabin interiors across all three classes with the First Class seat and cabin concept bringing the comfort and quality of the first class airport lounge on board. The new designs will be retro-fitted across the whole long-haul Lufthansa fleet, starting with the A330/340’s at the beginning of 2011. Lufthansa’s A380 is a leap forward in aviation design setting new standards in travel comfort, quality, technology and environmental efficiency, introducing the most luxurious and highest quality first class cabin yet. Employing the palette of leather, suede, wood and marble-like laminate in caramel, champagne, chablis, and greybrown used in Lufthansa’s First Class airport lounge, allows a seamless transition between airport lounge and aircraft.

MAXXI NATIONAL MUSEUM The MAXXI National Museum of XXI Century Arts in Rome is a recently completed project by Zaha Hadid Architects. The MAXXI relates with the urban context within which it is set by renewing the horizontal development of the former military barracks. The geometrical plan of the project aligns itself with the two urban grids that regulate the town planning structure of the area and the new interpretation of these two geometrical plans within the proposal generates the surprising geometrical complexity of the campus. The two urban grids are mediated by sinuous lines that harmonise the plan and facilitate the flow within the site. The pedestrian walkway that crosses the campus is open to the public and has been reinstated after approximately 100 years of being blocked by the barracks. This walkway follows the soft outline of the museum, sliding below the upper level galleries towards Via Masaccio. The interior of the MAXXI can be seen by visitors and pedestrians through the numerous openings in the MAXXI’s curvilinear walls that on the one hand, protect its contents, yet beckon the visitor through the broad glazed surface on the ground floor. The main concept of the

project is directly linked to the purpose of the building as a centre for the exhibition of visual arts. The walls that cross the space, and their intersections, defines interior and exterior spaces of the MAXXI. This system acts on all three levels of the building, the second of which is the more complex - with a wealth of connections with various bridges that link buildings and galleries. The visitor is invited to enter into a series of continuous spaces, rather than the compact volume of an isolated building. The interior spaces, defined by the exhibition walls, are covered by a glass roof that flood the galleries with natural light filtered by the louvered lines of the roofing beams. These beams underline the linearity of the spatial system, aid in articulating the various orientations of the galleries and facilitate circulation through the museum and campus.

We asked Zaha Hadid to comment on the recently completed project. “I see the MAXXI as an immersive urban environment for the exchange of ideas, feeding the cultural vitality of the city. The MAXXI should not be considered just one building - but several. The idea was to move away from the idea of “the museum as an object” and towards the idea of a “field of

buildings”. After many studies, our research evolved into the concept of the confluence of lines, where the primary force of the site is the walls that constantly intersect and separate to create both indoor and outdoor spaces. It’s no longer just a museum, but an urban cultural centre where a dense texture of interior and exterior spaces have been intertwined and superimposed over one another. It’s an intriguing mixture of galleries, irrigating a large urban field with linear display surfaces. The walls of the MAXXI create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The site has a unique L-shaped footprint that meanders between two existing buildings. Rather than seeing this as a limitation, we used it to our advantage, taking it as an opportunity to explore the possibilities of linear structure by bundling, twisting, and building mass in some areas and reducing it in others threading linearity throughout both interior and exterior or the MAXXI.” Zaha Hadid was awarded the Pritzker Architecture Prize (considered to be the Nobel Prize of architecture) in 2004 and is internationally known for both her

theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary experimentation and research in the interrelated fields of urbanism, architecture and design. Hadid’s work constantly tests the boundaries of architecture and design.

Working with senior office partner Patrik Schumacher, Hadid’s interest is in the rigorous interface between architecture, landscape, and geology as the practice integrates natural topography and humanmade systems that lead to experimentation with new technologies. Such a process often results in unexpected and dynamic architectural forms.

The MAXXI National Museum of XXI Century Arts in Rome, the BMW Central Building in Leipzig and the Phaeno Science Center in Wolfsburg, Germany are excellent demonstrations of the Practice’s quest for complex, dynamic and fluid spaces. Previous seminal buildings, such as the Vitra Fire Station and the Rosenthal Center for Contemporary Art in Cincinnati have also been hailed as architecture that transforms our vision of the future with new spatial concepts and bold, visionary forms.

45 km of cellotape

Designers Use/Numen of Vienna and Zagreb wove a web of adhesive tape around scaffolding at the Berlin venue in the Tempelhof former airport last week. Although the Tape Installation is conceived as a kind of parasite, site specific objects located at places like old attic, columns of a historical building, group of tries or an industrial concrete structure, due to location change of DMY a custom scaffolding construction had to be made. Therefore the installation appeared more like a captured UFO on the old Tempelhof Airport and less like a cocoon. The installation was executed within four days utilizing almost 700 conventional transparent tapes, 45 km of tape. The tendons of multiple layers of transparent adhesive tape are firstly stretched in between a construction. The following continuous wrapping of tendons results in a complex, amorphous surface through the process reminiscent of growing of organic forms.

8ink media

Alexandra Hojer Intimate client interaction and a subtle guiding force, Alexandra Hojer stands back, observes then excites the customer with a subtle addition to the look. This is the basis along with quality goods along with calculated risks have helped Alexandra on her three and a half year journey she has been on in South Africa.

A Swedish designer locally producing a range which encapsulates the character of the designer who is constantly dreaming of a new addition to her wardrobe. The clothing which has been dreamt up by Alexandra reflects a at ease elegant European style which is easily worn ,reflects a balanced and well constructed look.

Telling stories and conveying a mood is central to the experience which Alexandra has created, from the floors to the hand

Photographer Lar Leslie Model Anne Marie from 3D

FASHION

Designtimes Page 16

made furniture all done by Alexandra to the clothing which easily balances beauty and comfort into a seamless package. The plan, continue in the vain which has proven to be a successful pathway, maintain exclusive selling stores where control of the name Alexandra Hojer is constantly maintained and finer details of the story guarded.

The future of this line can only bring success with a cool head on this Swedish designer who one day hopes to open stores in Gauteng and get back to her roots with a store in Stockholm. Patient and calculating while enjoying the journey taking in the individual victories as a fashion designer we hope to see what she has to offer us in the future and build on the wardrobe she envisions.

by Ryan Jared Ali

The unsung heroes Amazing photographer, beautiful models and well put together styling, all sentences which are regularly uttered in adulation for fashion spreads of the highest quality.

Often left out are the unsung heroes namely the makeup artist. Often forgotten about but absolutely crucial to success. Step into Jade Leggat’s world, reflecting on makeup as a extension for her love for art really drives home the idea that there is more to make up than fixing a few blemishes. It is a art in its own right which is certainly clear from the portfolio of Jade. Including images which beg questions like. How is that possible?

What outfit can match the makeup, instead of the other way around? Let us delve into the mind of such a person worthy of the title makeup artist.

Jade how long have you been working in the industry now?

Since 2004, I’m in my sixth year.

You have completed some prestigious work. How have you differentiated yourself in the industry where there are so many hopeful’s?

Hard work, long hours and being available to shoot at the drop of hat sometimes giving up my Sundays to work. When I started out I worked for free as I was just happy to be doing what I love. Technique or style wise, perhaps the way I blend and create an airbrushed look all over. Skin is important to me and I take the time to perfect it.

The images of your work shown are amazing! What were they done for?

Thank you, these images were for deLUXE Magazine. I worked hand in hand with beauty editor and friend Anja Joubert who gave me creative freedom to paint my heart out. A rare day in the commercial market.

Where do you look to for inspiration?

I read a lot of online fashion blogs in my spare time, gathering inspiration from beautiful shoots. I have a keen interest in photography and light which has the ability to take good makeup to the next level. On a shoot I can be inspired by a new colour I’ve bought for my kit, a gorgeous outfit or a model with interesting features or personality.

Do you feel that fashion and beauty is becoming more and more similar, with quicker turnaround time from the international trends?

Yes in a way, it’s as if instead of having a few trends coming in at one given time like the red lip or the strong eye brow. There are now many trends circulating at one time depending on which hemisphere season you are in, summer or winter.

Have you noticed a change in the way people look at makeup artistry?

I think most women desire to look their best. Usually it’s the fear of the unknown that holds people back. My philosophy is simple, conceal what you don’t want to see and highlight features you want to bring out.

I would encourage women to experiment with different colours and textures and get out of the makeup rut, ultimately it’s just makeup it washes off.

Do you think it gets enough credit?

A shoot is often a collaboration of artists all working together to reach an end goal. I love my role as make-up artist, behind the scenes and keeping a low profile.

Have you experimented with textures and materials which are not normally considered part of the makeup kit?

I have experimented with materials like

feathers, lace, paints and sweets, for example a shoot I did where instead of using lipstick or gloss on the models lips I covered them in hundreds and thousands.

Do you find a hesitance to experiment in our market?

The South African market can be conservative and the general public responds better to happy smiley pictures rather than edgy high fashion adds. Although I think things are changing as certain brands begin to push the boundaries.

Who did you look to for guidance and as a role model in the industry?

I have huge respect for many of my fellow South African makeup artists and hair stylists. In South Africa our job is made harder as we battle some tough natural elements like strong winds and intense heat.

I once confessed to hairstylist Merle Titus that I was very nervous for a shoot I was about to do. She told me that I only needed to worry when I no longer got nervous for then I would have reached a stage where I thought I had nothing more to learn. I never want to be there.

With humility and desire to challenge herself in a industry constantly evolving, it is artist’s such as Jade who raise the bar.

We also must credit publications such as the deLUXE Fashion Annual which gave this artist a platform where she was able to explore the potential of her art. As is seen in the imagery above where a collaboration of the team which included photographer Helena Rautenbach, Beauty Editor Anja Joubert and Jade, opportunities such as these allow these artists to express their creativity to the full.

by Ryan Jared Ali

PRISM EYEWEAR I have been wearing the same prescription spectacles for the last three years. Why? Because I cannot find anything to replace my current pair. We spend thousands of rands on items we wear now and then.

But every person wearing prescription eyewear knows the feeling to find that pair that just works. The eyewear that has the balance between adding to your look and not dominating your face. The ultimate accessory has been overlooked for too long. The answer, Anna Laub’s world of balance and dare I say perfection in the form of sculpted eyewear. When we say sculpted it is not the usual media kit standard descriptors. These are truths, every piece of eyewear is not moulded on a mass production line but the Acetate is sourced from archives which date back to 1849 from one of the highest quality Italian producers and these are not one of the limited edition pairs, this is every single pair that Prism creates.

The craft is taken further by being created from the hand made of the blocks of acetate and hand finishing process from a family run factory in North Eastern Italy, where glasses-making originated from.

Anna Laub the creative director of this brand worked in the trends and fashion journalism industry, has travelled the world looking at what people are wearing. Inspired by vintage frames from the 1950s and 1960s to Mexico City’s Bauhaus architecture.

The future of this brand, colours and styles will be updated but not according to the seasonal schedule. “I hope fashion will adapt to be more about evolution rather than a constant fast-changing, throw-away machine.” - Anna Laub I know that even those who do not wear glasses will now be staring at pictures so hard in order to generate an eye problem.

We all want a pair of these glasses, time to find a way to get these to our shores, I am.

by Ryan Jared Ali

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INTERIORS / OPINION

Designtimes Page 18

Johno du Plessis

Liam Mooney

Based in the city of Cape Town with a degree in Industrial design from Cape Peninsula University of Technology, Liam Mooney has been designing furniture and products under his own label ‘Liam Mooney’ since 2006. He is also a one of the founders of the Whatiftheworld Design Studio, which is an initiative focused on creating projects, outlets, events and platforms for emerging

local designers.

To date, Liam has showcased his work is New York, London, Scandinavia, extensively around South Africa, and his clients include The Grand Daddy Hotel for the award winning Airstream park which he creative directed, Vitamin Water, the award winning Neighbour Goods market and many more.

In 2008 Liam was awarded the South African Lighting designer of the year award for the Elle Decoration International design Awards. Featured above are two of Liam’s projects the Wessels Table and a unique tressle table design.

The Wessels Table The table is called the Wessels Table, and was a bespoke piece for a client. Liam names all his bespoke pieces after his clients. It is manufactured in FSC approved Poplar from the Knysna Forest.

Charming Tressle Table The trestles were the first piece Liam launched for his own collection, and were originally designed for a design event for Whatiftheworld called the Number Events.

The trestles are now manufactured in FSC appoved Beech and available for order. www.liammooney.co.za

Johnon du Plesis spent nine years in the UK, followed by more than twenty in the US, now he is back in South Africa. Having spent much of his overseas years occupied with publishing and editing a trade journal for the commercial photographic industries in Europe and the United States, Johno Du Plessis switch to the world of manufacturing products for the home and commercial interiors. During his time in Europe, and when he first lived in the states, Du Plessis had several mini careers: waiter, model, photographic stylist, fashion show producer, art director, set-dresser, casting agent, wardrobe-master and events organizer.

Prompted by his own decorating needs, he began searching across South Africa in an attempt to find the solutions to his décor dilemmas. After visiting the studios and workshops of various potters, weavers, woodworkers, beaders and numerous décor shops, he decided to start making gameskin rugs. “Amongst all the beautiful woven pots and wood-turned bowls, carved stools and beaded lampshades, it was a rudimentarily slung-together game skin rug that caught my eye. The concept was spot on, the execution shoddy. I determined to make something like it, but far superior in its construction.”

The Johno Du Plessis rugs are constructed by stamping out leather and rubber components that are punched around their perimeters with needle-holes. These pieces are then carefully arranged into a design and stitched together into a single tapestry. The hand-stitching is executed precisely so that any of the items produced can be constructed into modern pieces, while still retaining an earthiness, a uniqueness and a sense that is, was made in a workshop rather than being mass produced in a factory.

He has also moved from the two-dimensional into three dimensional furnishings and is now designing and making benches, headboards, screens and cushions – which have allowed him to move away from the rigid material constraints of rugs towards upholstery leathers and suedes and, on occasions, even cork, vellum and neoprene. “ I have also just recently discovered a source of veg-tanned, hair off leather ( the only leather beside on cowhide that’s truly robust enough to withstand being walked upon) that’s available in an almost unlimited ranged of colours. This means I am able to create carpets in hues –and in combinations of colour – far beyond those proffered by cowhides alone.

The soul within the bearded men So a few days ago, I was sitting at the dinner table at my res, eating the terrible tasting food and half-heartedly engaging in the girl-talk at the table.

Then I heard something that deeply disturbed me. The girl next to me, who has mentioned more than several times that she studies Fine Art, was complaining about her lecturers making her learn Illustrator, Photoshop and InDesign. She went on to explain that she went into her degree to learn how to refine her artistic talents and not ‘stupid computer things’. She described how it was due to computers that the true essence and soul of art is disintegrating.

Her argument to substantiate these claims was that ‘painting a picture takes a lot more talent than just clicking buttons on a computer’. In my personal opinion, I think she’s just angry because she doesn’t want to admit that she, in fact, does not know how to use the programs to which she has been assigned. Nevertheless, her statement got me riled up pretty quickly.

Is this really what some people believe?

That designing graphics on computers is just the easy way out? I don’t know the exact procedure when it comes to designing vectors and all that jazz, but I do know that it’s a hell of a lot of work. And it takes even more talent. I mean sure, back in the day we had some pretty amazing painters (Degas being one of my personal favourites) and we still do! But no matter what, there comes a time in everyone’s life where one is forced to realise that times are indeed a’changin’.

Paintings are no longer just paintings.

They incorporate so much more. And just because stencils and spraypaint are heavily featured mediums, it does in no way make the creation of the art piece any easier. I, for one, know that I could not simply just create a stencil, spray some paint on it and have my work put up in a gallery. Because, once again, this stuff takes talent.

And when it comes to graphic designing... wow. I think at this point in the dinner table ‘conversation’, I was pretty much raging at this girl . Having done a year of attempting to learn how to successfully create an amazing vector using Illustrator, I know how amazingly difficult this art is to produce. Every element has to be carefully thought out and many a sleepless night are spent perfecting that very specific fading shade of moss-green or that one line that has to be ‘just a little more curved’. If you look at the work of young designers

such as Jonathan Lavender, a twenty year old student at the Vega Durban campus specialising in Visual Communications, you can immediately tell that the work that goes into illustrated pieces takes just as much talent as paintings of wheat fields. If not, then way, way more.

Jonathan may only be 20 years old but man, does this guy have talent. Only two terms into his second year of study and already he has had a piece of work entered into the Loeries. This would be his Ginger Biscuits creation for a Vega project called Cookbooks. Lavender, known for his love of mustaches and flannel, has quoted that his favourite graphics to illustrate usually involve a variant of some sort of bearded man. And though this may sound a little like a frivolous activity to some, hours and hours are spent working on these illustrations as everything he makes is hand drawn first, transferred to computer and then worked and re-worked on Illustrator until he can genuinely say that he’s proud of his work.

When asked what he finds most difficult about creating his designs, Lavender stated ‘Its all about the details. Details can make average design into good design. Also, being original. This is because a lot of designers and illustrators tend to copy each others’ styles. I think above everything your passion for your own work will shine through in the quality and detail of your piece. Personally, I like to try to stay fresh and quirky as well as true and consistent to myself as a designer.’ Lavender may only be in his second year of study but with his unconventional, light-hearted and humourdriven style, this student is overflowing with potential to be a multi award-winning designer. He hopes to push his designs even further this year by beginning his own line of ‘Beard Dude T-shirt designs’. He may not be a Fine Arts student who spends his days sitting in meadows with a palette of oil paints, but ladies and gentlemen, Jonathan Lavender most definitely has a lot of a little thing that I like to call talent and most assuredly possesses the passion, essence and soul of a true artist.

At the end of our dinner table conversation, I think I had won the argument by far and left my opponent speechless. Because as much as I love the breathtaking paintings I spot in galleries that make me drag the helpless soul who happens to be with me inside to have a look see, I will defend graphic design/designers to the death.

Unless you just have a copy of Illustrator and Live Trace everything. In which case, you’re on your own. Graphic design ftw.

by Amy Saville

Sibahle is a South African company established with a mission to promote completely unique jewellery designs that embody a strong African feel and heritage, using a creative combination of precious metal, stones, natural elements and indigenous cultural beads. Africa has an opulent and colourful culture and heritage which is evident in its traditions and customs. Sibahle aims to celebrate this diversity of life, the opulence, richness and rawness of Africa. And thereby re-instill a sense of pride in our natural heritage through the beneficiation of the country’s natural resources. Our products tell stories of African tribes and their traditions from all over the continent: Our crocodile range, for example, is inspired by the ancient Egypt mythology, where crocodiles are seen as sacred and when they died they were mummified and decorated into jewellery. They are aimed at both men and women with an appreciation for design originality, pride and joy in African beauty and the look of individuality.

for men and women with an appreciation for design originality, pride and joy in african beauty and the look of individuality Unit F70 Allandale Park, cnr Le Roux Avenue & Morkels Close, Halfway House, Midrand 1863 Tel: (011) 312 4482 / Fax: 088 (011) 312 4482 / Cell: 079 213 5061 / Email: info@sibahlejewellery.co.za www.sibahlejewellery.co.za

TUTORIAL

Designtimes Page 20

EXPERT SERIES: Print Techniques

Master your PDF exports for professional output Making use of the many expert, default settings offered by InDesign that will ensure your PDFs are saved correctly and output professionally, writes Eva Csernyanszky As PDF format is a reliable way of ensuring that \RXU ÂżOH LV UHDGDEOH ZKHUH HYHU LW HQGV XS ZH VKRXOG all be comfortable with its basic settings.

This tutorial will step you through which settings to use, checking fonts and imDJHV DQG ÂżQDOO\ H[SRUWLQJ WKH FRPSOHWHG ÂżOH IRU SULQW RU ZHE output.

ADOBE INDESIGN CS5 Duration 45 minutes /HYHO RI GLIILFXOW\ Intermediate What you will learn - Removing unused colour - Appropriate export standards - Transparency Blend space - Save PDF settings as a preset

01

First, remove any unused colours from your document using the Swatches Panel menu has a Select All Unused option, to rid the document of such colours.

02

Switch to InDesign’s Printing and Proofing workspace before saving for PDF. It makes the Preflight panel handy, as well as Separations and Flattener previews to check your work if you know how to use them.

04

It’s good practice to put any vector art, text or objects with transparency in a layer above any that contain bitmap images, especially if you think you may need to use an older PDF standard later in the output process.

03

Check all your fonts. Any missing fonts should be tracked down and relinked. Preflighting will pick up missing fonts and those that can’t be embedded, so you should know immediately if there’s a problem. Never send a job to print with missing fonts.

05

Choosing the correct transparency blending will let InDesign know what the resulting PDF is intended for. Use Edit>Transparency Blend Space and choose Document CMYK for print or Document RGB for web output.

07

Now send your document to PDF, but note that you don’t have to choose File>Export, but can use the File>Adobe PDF Presets menu item as a short cut. InDesign has a range of preset PDF settings for common types of output: High Quality Print for output to your desktop printer, Smallest File Size for the web or email and Press Quality, which is meant to be for prepress printing. Use these settings as a starting point.

08

The PDF/X1a:2001 subset is designed for CMYKonly workflows, is widely accepted and will print reliably anywhere in the world. As with all of the PDF/X standards, font embedding is required hence the earlier check.

Eva Csernyanszky Eva has been in the digital design software training business for 13 years, with 4 of those years spent running Friends of Design, one of SA’s leading digital design academys. www.friendsofdesign.net

10

If you make a modification to any of the presets (such as adding bleed) then you can save that preset by clicking the button at the bottom corner of the dialog box.

06

In CS5, you can export PDFs in the background whilst you continue working on your original Indesign file. Do this using by activating Windows>Utilities> Background Tasks.

09

If you’re using a colourmanaged workflow, the subset PDF/X-3:2002 might be the best solution (as long as it’s usable by your print service provider.) You’ll be able to work with RGB images in Photoshop and use the same images in InDesign; conversion will take place at the end of the workflow.

9Zh`ide 6jY^d

Portable audio is now a way of life for almost everyone. But when you get back home, it’s nice to dock that player so you can still enjoy your music, but with better sound quality. Of course, there are lots of products available, so why choose Yamaha? One reason is, the sound quality is extremely good — a lot of our high-level technology goes into these products.

Wireless Transmitter and Charging Cradle

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hand-stitched rugs + furniture in cowhide & leather

elle decoration award winner: 2006 and 2009

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• Available in Black and White

DIRECTORY ANIMATION

COMPUTER EQUIPMENT

Atomic Visual Effect Last year we built 3 cars, 2 trucks, 2 helicopters, 2 factories, 4 skyscrapers and landed a space shuttle in the heart of Cape Town, and we never left our office.

Contact: Amira Quinlan Tel: +27 (0)21 461 4995 Fax: +27 (0)21 461 5411 Email: amira@atomic-vfx.com www.atomic-vfx.com

Access International Authorized Apple reseller, Authorized Adobe reseller, specialist sales and support for the design, advertising & photographic industries.

Contact: Maggie Smith Tel: +27 (0)21 424 0772 Email: mail@accessint.co.za www.accessint.co.za

CD AND DVD DUPLICATION AND REPLICATION Avomedia Specialises in the supply and production of cd-rom and cd-r media.

We offer cd-roms, 8cm round minicd’s, cd-business cards and more.

Contact: Avomedia Tel: +27 (0)21 422 2227 Fax: +27 (0)21 422 2223 Email: capetown@avomedia.co.za www.avomedia.co.za Digital Direct Digital Direct has been providing high quality duplication and replication services to countless South African businesses and professionals.

Contact: Burger Tel: +27 (0)21 554 2577 Fax: 086 502 9840 Email: burger@digitaldirect.co.za www.digitaldirect.co.za VNG Bulk cd and dvd duplications. Bulk video and audio duplications.

Contact: Noel Tel: +27 (0)21 424 7501 Fax: +27 (0)21 426 2285 Email: noel@vng.co.za www.vng.co.za

Frontosa Suppliers of PC Hardware, wholesale prices direct to the public.

Contact: Eddie Pio Tel: +27 (0)21 551 4411 Fax: +27 (0)21 552 6172 Email: ftlp@telkomsa.net www.frontosa.co.za

DESIGN STUDIOS Blank Design Studio* Web and graphic design.

Contact: Steven Rosenberg Tel: +27 (0)83 662 8345 Fax: +27 (0)21 423 7165 Email: steve@blankds.com www.blankds.com FusionDesign FusionDesign. Building brands destined for greatness. A committed team delivering creative solutions to corporates and SMME’s since 1999.

Contact: Carmen Lerm Tel: +27 (0)21 462 1765 Fax: +27 (0)21 462 3763 Email: carmen@fusiondesign.co.za www.fusiondesign.co.za

MC Designs Website Designing, Photography & Graphic Designing.

Contact: Marle Coetzer Tel: +27 (0)82 583 4451 Email: marlecoetzer@lantic.net www.mcdesigns.co.za

PRINTING Creative Brands From canvas to wallpaper, vinyl, vehicle branding to display systems.

We can take your print requirements and make it happen.

Contact: Nicholas Markovitz Tel: +27 (0)21 461 0366 Fax: +27 (0)86 616 1536 info@creativebrands.co.za www.creativebrands.co.za Hot Ink Hot Ink is an owner driven business which offers everything under one roof: high end graphic design carried through to top quality laser printing by a committed team of designers who go the extra mile. We collect and deliver.

Contact: Nic Johnson Tel: +27 (0)21 422 1208 Fax: +27 (0)21 422 1290 info@hotink.co.za www.hotink.co.za Print Xpress Print X Press offers digital printing solutions such as digital printing, litho printing and wide format printing. We are a unique printing company with our philosophy of using both tried and tested methods as well as state of the art digital technology.

Contact: Jason Tel: +27 (0)11 880 8373 Fax: +27 (0)11 880 4913 jayson@printxpress.co.za www.printxpress.co.za

Designtimes Page 23

FILM AND VIDEO PRODUCTION Media Movers, Inc Full service localization company offering services in dubbing, subtitling, voiceovers & production in Asian, Indian & European languages.

Contact: Lawrence Vishnu Tel: +27 (0)11 866 2008 Fax: +27 (0)11 866 2008 Email: info@media-movers.com www.media-movers.com

ILLUSTRATION Joom Joom is a multi-talented Cape Town design studio. We do what we do because we love design and we love branding.

Contact: Justin Plunkett Tel: +27 (0)21 788 6858 Mob: 0866 937 681 Email: justin@joom.co.za www.joom.co.za Please Control Me illustration portfolio Contact: Lodewyk Barkhuizen Email: lodewyk@pleasecontrolme. co.za www.pleasecontrolme.co.za Sparx Media Illustration 75+ illustrators, advertising, animation, caricatures, cartoons, storyboards Contact: Mike Tel: +27 (0)21 422 0283 info@sparx.co.za www.sparx.co.za

PHOTOGRAPHERS Guy Stubbs Photography Stock library with over 50 000 social and environmental images.

Contact: Bev Griffiths Tel: +27 (0)21 667 3939 Fax: 086 672 2273 Email: marketing@guystubbs.co.za www.guystubbs.co.za

TRAINING Friends of Design Academy of Digital Art, Adobe Certified Training Centre (AATC) Digital Design Training: Adobe Photoshop, InDesign, Illustrator, Acrobat, Flash, Dreamweaver, Premiere, After Effects, Final Cut Pro Studio, HTML, CSS, PHP, ActionScript.

Contact: Moritz Fritsche Tel: +27 (0)21 461 0971 Fax: +27 (0)21 461 0974 Email: moritz@friendsofdesign.net www.friendsofdesign.net CityVarsity Certificate and Diploma courses in Film and Television, Acting, Animation, Multimedia Design, Sound Engineering, Motion Picture Makeup, Production Design, Professional Photography, and Journalism.

Tel: +27 (0)21 488 2000 Fax: +27 (0)21 423 6300 Email: info@cityvarsity.co.za www.cityvarsity.co.za Concept Interactive Cape Town’s leading digital design college, providing internationally accredited and recognised training.

Tel: +27 (0)21 685 0750 Fax: +27 (0)21 685 0754 Email: info@conceptinteractive.net www.conceptinteractive.net