DESIGNTIMES south africa’s creative resource
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/03 INTERVIEW
CHRIS GOTZ
Chris Gotz, Executive Creative Director of Ogilvy Cape Town talks about guts, funny bones, and things you should never put up your nose.
/12 DESIGN
SEPTEMBER 2010 Issue No.32 ZAR 15 EUR €2, UK £2, US $3
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Between 10and5 launched Serenade your Walls at the amicollective garage gallery in Cape Town. Featuring the work of sixteen local creatives.
FASHION
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Loerie Award Winner
NEWS
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This month our cover gives a big nod to the ultimate misunderstood bad guy, the dark sith-lord himself, Darth Vader. We just love the Vader Project and if we had the US$1500 odd to spare you can bet we would’ve bought one of these awesome helmets. We also chat to Chris Gotz, you know, the Executive Creative Director of Ogilvy Cape Town! Well if you don’t know check out our pre-Loerie interview with him on page 3. For those of you who noticed Mr Potato-Head peeking around the corner (shame on you if you didn’t) we look at one of the biggest animated films of the year, Toy Story 3. Keeping it big we review Elliot, the 18m cratefanman, discover a Giant Google Earth pin and look at the next big thing in media, the digital reader which is certainly here to stay. Our long time friend Brad tells us a little more about his new Mingo Lamberti sci-fi range. And I’m out of space – whew! Enjoy reading! Mark Rosenberg mark@designtimes.co.za
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Subscribe to Designtimes and stand a chance to win one of three fingerprint pendants in sterling silver from Philip Wulfsohn Jewellery. See page 23
New Kindle Qubicle Constructor Amazon have released the new version of their popular Kindle reading device. The new models are 21 percent smaller and 15 percent lighter than it’s previous incarnation, has a 20 percent faster refresh rate on its E Ink screen, and will now come in two colours - graphite and white.The screen will remain the same 6-inch size as the last two Kindles, though the company claims page turns are faster and contrast is improved. The internal storage on the device has been cranked to 4GB, and the battery life is now rated at a month with no wireless, and 10 days with wireless switched on. Software wise, there are some interesting new features, the most notable being the inclusion of an “experimental” Webkit-based browser. Amazon even has a jacket accessory which includes a small, pull-out light for late-night reading sessions. We’re sure it will please a lot of folks eager to keep their partners undisturbed while they tear through The Girl with the Dragon Tattoo. The new Amazon Kindle “WiFi-only” version comes in at R1000 and the 3G model costs R1370. Amazon now ships the Kindle directly to SA for a shipping and import cost of about R400.
Call it 3D pixel art or voxel art, on minddesk.com you will find many examples of this type of design and their Qubicle Constructor is the tool to create it yourself. It’s an easy to use software which runs on Microsoft Windows and with it you can create 3D models based on cubes. It combines standard 2D image editing tools with a powerful function-set for editing 3D cube matrices. The tools used in the Qubicle Constructor will be familiar to users of common image editing tools like Adobe Photoshop. The pencil, the eraser, the paintbucket and other well known tools are used to “draw” the model on a 2D canvas or to sculpt it in 3D. It
really is easier to learn to use than other more conventional 3D modelers based on polygonal meshes. Also the models you can create using Constructor tend to have an original look and that retro touch that people love these days. In addition to all the familiar tools, Qubicle Constructor has many helpful functions like interpolated scaling, mirroring and texturing. Qubicle Constructor can export models as .OBJ files. These can then be imported into other 3D applications. The program also reads and writes the exchange Format QEF for transfer of cube models between Qubicle Constructor and the Qubicle Maya Plugin. www.minddesk.com
Bvlgari Diagono GMT X-Pro Bvlgari are known for their stylish design, reliability and hefty price tag. Bvlgari’s latest offering, the Diagono Chronograph GMT X-Pro is labled as a “sports watch”. Some would describe it as the best sports watch on the market at present. The Diagono comes in a silver and black color scheme and is encased in a 30mm steel case that is powered by a reliable Valjoux 7750 automatic mechanical chronograph movement, with an add-on GMT module. It is mounted on a rubber strap fastened by a pin buckle with steel inserts which gives it a distinctly ‘sporty’ feel.
Editorial
Mark Rosenberg mark@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Zachariah King zac@designtimes.co.za Ryan Ali ryan@designtimes.co.za
Contributors
Jonathan Bain bainwaves@mweb.co.za Amy Saville mizzsaville@gmail.com Kerrythe Mahaffey kerrythe@gmail.com Eva Csernyanszky eva@friendsofdesign.net
Advertising
Wendy Scullard, Malika Samuels Shervone Smith, Adelaide May
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New iPod touch Battle of the bands LumiRead at the Loeries 2010 Acer’s alternative to the Kindle will be shipping out to retail channels (in Germany, at least) this October, and early speculation on its price places it at around R2500. That’s an unconfirmed number, so don’t freak out just yet maybe prices will be more competitive locally. Some of the major attractions will be WiFi and 3G wireless capabilities, a 6-inch, 800 x 600 E Ink display, and a Barnes & Noble content partnership. The Lumiread follows the Kindle design closely, down to the grayscale e-ink display and QWERTY keyboard with 2GB of memory (good for 1,500 titles) and an SD-slot for expansion. Cleverest of all, though, is the integrated ISBN scanner. We’re not exactly sure how it works but it’s designed to “scan ISBN codes so you can create your own wish-list and search on supported online libraries and book stores,” according to the press release. This turns the e-reader into a clever portal to the e-publishing world, letting you simply scan the code of a book you like, in a store, library, or someone else’s bookshelf, and find the equivalent e-version.
The 2010 Loerie Awards is around the corner and what better way to get the Festival Weekend rocking than a dose of industry rivalry. The Battle of the Bands is the perfect opportunity to show off your true inner rockstar. All agency and industry related bands can enter and the five shortlisted bands will perform on stage at the Battle of the Bands on Friday 1 October 2010. The night will kick off at 20h00 and there will be great prizes for the winners from Heineken, Backsberg, Red Bull and Glaceau. Enter your band by emailing bands@theloerieawards.co.za. Include a sample of your music, the band’s name, a list of the band members, what type of music you play, plus myspace, facebook or twitter links and some photos. Entries close on Friday 17 September and the five shortlisted bands will be announced on Monday 20 September 2010.
The new iPod touch is packed with some new features including Apple’s stunning Retina display, FaceTime video calling, HD video recording, Apple’s A4 chip, 3axis gyro, iOS 4.1 and Game Center—all combined in the thinnest and lightest iPod touch ever. The new iPod touch features up to 40 hours of music playback and seven hours of video playback on a single battery charge. “We’ve put our most advanced technology inside the new iPod touch,” said Steve Jobs, Apple’s CEO. “Whether you’re listening to music, playing games,
making FaceTime video calls, browsing the web, capturing HD video or watching TV shows and movies, the new iPod touch with its Retina display, A4 chip and 3-axis gyro is more fun than ever.” Apple’s stunning Retina display is the most impressive thing about the new iPod it makes everything on iPod touch look even more incredible, whether playing games, watching video, browsing the web or flicking through photos. The 326 pixels per inch is so dense that the human eye is unable to distinguish individual pixels.
Lightroom 3 Van Gogh art releases for stolen, twice? PC and Mac The essential digital photography workflow solution that allows photographers to quickly organize, enhance and showcase their images from one application is available now. First released as a public beta in October 2009, the final version of Lightroom 3 introduces a completely redesigned performance architecture that better handles growing image libraries and provides an unrivaled raw processing engine with noise reduction and sharpening tools to achieve the highest image quality. www.adobe.com/lightroom3
A Van Gogh painting valued at 55 million dollars was stolen in broad daylight this month from a Cairo museum where the surveillance cameras and alarms had long been out of order. The work identified as “Poppy Flowers” was stolen from the Mahmoud Khalil Museum after it was cut out of its frame. The painting of the yellow and red flowers in a vase had been stolen before, in 1977, but was found the following year. Van Gogh paintings have been the target of thieves in other museums. In 2008, a painting by Van Gogh and three by other artists were stolen from a Swiss museum in a 130 million dollar heist. Lets hope they find it again.
DESIGN
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1 MILLION
Users have joined Ping in less than 48 hours since its launch. Ping is a new social network for music which lets users follow their favorite artists and friends to discover what music they’re talking about, listening to and downloading
123456 Most popular password, based on millions of hacked log-ins
R450 MILLION The amount spent on online advertising in South Africa last year. We can add another R200 million on top of that for revenue generated by Google locally
2924 Entires into this years Loerie Awards, a slight decline compared with 3077 in 2009
50TH
Issue of Visi is now on sale nationwide. The September issue is the 50th issue of the magazine
From the front row of Loeries 2010 Chris Gotz, the unflappable Executive Creative Director of Ogilvy Cape Town, was a judge at the annual Loerie Awards. His agency also produced the campaign for this, ‘the biggest event of the year’. He talks about guts, funny bones, and things you should never put up your nose. Which judging panels were you part of this year? Digital, Online and Film Craft. I think that’s about as much as (Loeries CEO) Andrew Human could get me to do without having to fly me to Jo’burg. What were you looking for in the work? The freshness of the idea is essential; we rule out anything that’s been done before. There’s a matrix of other filters, but I always go with the visceral reaction first. How does it make me feel? What were your thoughts on Digital? I think we could get a lot better at this discipline. South Africa hasn’t scored a single Digital finalist at Cannes for the past two years. For me, a Digital execution has to have an expression in the real world – that’s when it’s most compelling. It’s a perennial debate: how fair was the judging? It’s as fair as we can possibly make it. We’re very hard on ourselves, and I often wonder if handing out fewer awards motivates us all to do better next year. It’s an interesting question.
The jury chairman is Argentinean Pablo del Campo. He’s a good choice. Lots of South American cities are doing remarkable work. The extraordinary thing is that, in Brazil for example, the government subsidises advertising awards entries. They think it’s that important for the profile of the country. The South Americans seem to have a sense of humour a lot of our work lacks. Yes. In comparison we’re still incredibly serious. As a judge, you’re wading through all these reels, and you’re just waiting for some funny stuff. I’m still judging Craft, but there’s not much of sense of humour there either. You worked on the ad campaign for the 2010 Loeries. Yes – we weren’t sure if FIFA would jump on us, but we seem to have got away with it. Although we talked about the ‘Biggest Event of the Year’, the aim was to never mention football. It was fun and mischievous, but as Andrew Human said: ‘No cocaine jokes!’ We do ourselves a disservice when we portray the industry as a bunch of beer-swilling, cokesnorting egomaniacs. Chris Gotz has worked on brands like Volkswagen, Carling Black Label, and Cadbury’s during his ten-year tenure at Ogilvy. He has been ECD since 2007. by Jonathan Bain
South Africa hasn’t scored a single Digital finalist at Cannes two years. Digital execution has to have an expression in the real world.
Mingo Lamberti Nostalgia and everyday comfort, the hallmarks of everyday fashion which is real fashion. Mingo Lamberti’s new Sci-Fi range lives up to those ideals with imagery which most readers will be able to resonate with. Limited numbers available and very little branding has allowed the designs to be the showcase. Low volumes and quality designs ensure that you will have plenty of enquiries as to where you bought your t-shirt, happily you will be able to tell them where you bought it, because by the time they get to the store they will be sold out and you will still have your own unique t-shirt. Inspired by space but designed on earth, the force is strong in this range. The
range features six unique designs, Ape illustrated by Dustin Slabber, Class of 3010 as seen above illustrated by Jan Solms, City illustrated by Rohan Estebeth, Steampunk illustrated by Jordan Metcalfe, Killer Robot as seen above illustrated by Wesley van Heerden and finally Warrior illustrated by the founder of Mingo Lamberti Brad Hodgskiss. Remember only 200 shirts throughout the universe there are. Look good in one you will. Check out the new website www. mingolamberti.co.za and find your nearest store for when the new Sci-Fi range hits the shelves. www.mingolamberti.com
And bob’s your uncle The logo and package design for a wine bottle by Fanakalo is something quite unique, wine in a beer bottle! The product is a Boer & Brit wine, perfect for picnics and people who don’t want to drink an entire bottle of wine and at just over twenty rand, not too bad. www.boerandbrit.com
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DESIGN
Dum Dum Dum, Dum De Dum, Dum De Dum
Curated and produced by Dov Kelemer and Sarah Jo Marks, The Vader Project features 100 Darth Vader Helmets re-imagined by some of today’s most notable and best underground artists. “From a simple idea in 2005 to a record-setting exhibition in 2009, it’s time for our child to venture forth into the world,” Dov and Sarah said. “We are pleased to have partnered with Freeman’s to make these fine pieces of art available to the public for the first time.” Dov and Sarah, who run distributor DKE Toys (www.dketoys.com), wanted to put together an art show with a difference. Trying to find that “something” special, Dov thought that the dark Sith Lord, Darth Vader, could provide them with the unique platform they were looking for. Friends of theirs at Master Replicas, who license the iconic villain’s helmet, were able to score them 100 prop replicas. They contacted a wide range of artists including the likes of: Shag, Peter Kuper, Jermaine Rogers, Gary Baseman, BXH, Tim Biskup, The Pizz, Dalek, Paul Frank, Ron English, Jeff Soto, Michelle Valigura, Frank Kozik, Plasticgod, Simone Legno - Tokidoki, Bill McMullen, Secret Base, Joe Ledbetter, Alex Pardee, Suckadelic, Cameron Tiede, Mister Cartoon, Marc Ecko, and Amanda Visell. There were very few restrictions for “The Vader Project”. Dov and Sarah simply requested that artists keep the work free from overly offensive imagery or profanity and that any additions to the helmet be detachable for easy shipping. Each artist received a 1:1 scale authentic prop replica of the actual Darth Vader helmet, featured in the STAR WARS films, to customize. Though “The Vader Project” is stylistically varied, each piece is unmistakably Darth Vader. Response was enthusiastic and they received six finished pieces, including a graphically bold mixed media piece from Dalek, early on in the development of the show. Some of the artists kept with the Star Wars theme. Suckadelic used the helmet as the basis for a Tatooine scene in “Son of the Suns.” Gris Grimly and Jophen Stein painted characters from the film series on their helmets and Huck Gee offered a nod to Star Wars samurai film roots with “Kurai No Kurai.” Others took the helmets
in different directions. Robbie Conal, went political. Dan Goodsell took a cute, comedic route with “Darth Bacon,” a nod to his Shaky Bacon character from the Mr. Toast universe. Meanwhile, Wade Lageose transformed Darth Vader into the Statue of Liberty. Since its conception in 2005, The Vader Project has toured the world. The collection launched in May 2007 at the Star Wars Celebration IV event in Los Angeles, and traveled internationally to Europe in July 2007 and Japan in July 2008. Most recently The Vader Project was on display from February 13 - May 3, 2009 at the Andy Warhol Museum in Pittsburgh, Pennsylvania. There’s a sense of generational unity to the project. The auction catalog notes the birth year of each of the artists. Most, were born in the 1960s and 1970s. They’re old enough to have seen the original trilogy in movie theaters. Dov recalls seeing Episode IV during the 1978 re-release while Sarah confesses that she’s more of an Indiana Jones person, but adds that Star Wars references are inescapable. Despite the generational connection to the movies, each helmet has been so drastically altered that it’s not necessarily nostalgic. The reference ties to the artists’ childhood and adolescent years, but the finished works are contemporary. In July, The Vader Project traveled to Freeman’s Auctioneers and Appraisers in Philadelphia, Pennsylvania for a final viewing before they were auctioned. “The result is astounding” said Simeon Lipman, Pop Culture Specialist at Freeman’s. “The sale will give members of the public the chance to purchase unique artworks made from these iconic symbols of the movie industry by a number of well known artists including Shag, Marc Ecko, Tim Biskup, Frank Kozik and many more.” The Freeman’s Auction took place July 10, 2010 at Freeman’s Auction House in Philadelphia, Pennsylvania Collectors and art connoisseurs worldwide had the opportunity to bid online at Freeman’s website. Most bidding began at a cool $1,500.
Sarah confesses that she’s more of an Indiana Jones person, but Star Wars references are inescapable.
IMAC TURBO CHARGED
Apple has updated its all-in-one iMac line, widely praised as the world’s best desktop computers, with the latest Intel Core i3, Core i5 and Core i7 processors and powerful new graphics. The new iMac line is the fastest ever with dual-core processor speeds up to 3.6 GHz, quad-core speeds up to 2.93 GHz and discrete graphics including the powerful ATI Radeon HD 5750. The new Magic Trackpad, with a smooth glass and aluminum design, gives iMac users the same intuitive Multi-Touch gestures that Mac notebook customers have come to love. “We took the world’s best allin-one and made it even better,” said Philip Schiller, Apple’s senior vice president of Worldwide Product Marketing. “With the latest processors, high-performance graphics and signature aluminum and glass design, customers are going to love the latest iMac.”
DELL AND IBM CONFERENCE The Brands & Branding for Good 2 conference in South Africa, will be held at the Hilton in Sandton, on 13 and 14 October. The conference provides a platform for brand owners and their agencies to comprehend the current consumer shift, and align their brands with sustainable values. Both Dell and IBM, who were ranked 2nd and 5th respectively, on Newsweek’s 2009 Green Rankings list of the top 500 sustainable companies, will be present at the conference. Other international and local speakers, who will address relevant and critically key matters with regards to sustainable practices, and branding with a purpose, include: Leslie Pascaud - Director Responsible Marketing Practice, Added Value Group, Paris; Mindy Goldstein - Partner & Programme Director Ogilvy & Mather, and member of the founding team of OgilvyEarth, New York; Melissa Attree - Social Media Marketing and Communications Professional and Founder, GetOn eMarketing; and Paul Bannister - Managing Director, Ignite, who also served as the acting CEO of the International Marketing Council of SA during the build-up to the hosting of the FIFA 2010 Soccer World Cup; among others. “Brands & Branding for Good 2, addresses relevant and critically important matters with regards to sustainable practices and branding and offers an unrivalled opportunity for local business to plug into a world of global insights, local case-studies, panel discussions and presentations over either one or two days. If you are involved in branding, communications, public relations, marketing, advertising, CSR, sustainability, external affairs, business development, consumer insights and image management, you can’t afford to miss Brands & Branding for Good 2,” says conference convenor, Affinity Publishing’s Ken Preston. lynn@brandsandbranding.co.za.
DESIGN
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Steve Job’s mentor?
The emergence of the next media shock “The death of print media is here, the electronic reader is here to stay,” a mild exaggeration to say the least but in many ways it is true the same might have been said about the American muscle car, mechanically wound watches, radio after the television, cinema after VHS and blockbuster. It is all true and it is all false at the same time. While the electronic reader is not a new concept it has long been thought that it will be the future. The approach which Apple and publishers with a eagerness to exploit the capabilities has created a situation whereby the medium is (amazing) and the media are starting to utilize it to the full potential. Look at Wired magazine which have taken the ‘new media’ idea and turned it into a reality. Stories are going to be told in a way never thought of before imagined development of media for the iPad is going to involve a convergence of video, 3d animations, photography and traditional narrative text. The speed at which media will be able to be generated will be crucial to the future of this new media outlet. Stories will have to be designed instead of written with just a few images thrown in for good measure. The balance between what is possible to be done and still narrating stories and without overwhelming the story will be of great importance. In the modern world design has become more about restraint and evaluating the how the enriched media add to the story telling experience. Web designers and graphic artists have such a great amount of inspiration to draw from and tools unimaginable with the whole world at our finger tips with the internet. So what is going to separate the success utilizing this new media platform is the direction of designers tell stories combining all forms of media seamlessly into a package that is intuitive and adding to the experience of stories being told.
The canvas which has received rave reviews and is definitely up to the challenged any media house can throw its way. That is half the story though a canvas is only as beautiful as the art which lives upon it. In our world the tools to paint have been largely inaccessible but the time is now where all that is about to change. Who is going to bring about that change? Canon has arguably re-written what is the standard in terms of media generation
The death of print media is here, the electronic reader is here to stay the Canon EOS-7D along with the Canon EOS-500D have changed media more with this generation than the jump from film to digital. Where that changed the back-end development and quality of the medium this generation has changed what is being generated completely. The progression has come slowly until now where a giant leap has taken place. Professional HD video cameras with prices that we don’t even mention amoung mere mortals, then in 2007 professional quality production jumped with the Red One at $10 000USD but now with the 7D and 500D consumers can shoot real 24fps at 1080p we are now looking at cameras under a $1000USD, the jump in accessibility seems unthinkable but it is here. Just because it is cheaper what does that mean, nothing, wrong! Media generation is easier than ever and this feeds directly into the shock to the system which as described
by Naomi Klein in her book Shock Doctrine, explains the system of shock that lays the foundation of a massive shift in thinking and normality. As seen by examples such as wars, the internet boom, market crashes, natural disasters, iPod, Mp3 platform these shifts in thinking caused shockwaves that forces everyone to re-think the way things are done and resulted in fast and large leaps of thinking. The ease and speed of media generation has never seen such a tool before, could this be the missing link that in the answer to Apples need of light speed media generation. Well Pulitzer award winning photographer Vincent LaForet answered that question when in late 2008 Canon gave him a prototype 5D mark 2 and he who’s only film experience would be his childs birth produced a film with no notice, no funding and no crew, shot in 72 hours. The result? Reverie, this amazingly beautuful short film saw over 1 500 000 hits within ten days of posting. A testament to the ease of media generation. The HD-SLR movement has picked up over the last 2 years with notable milestones such as having the latest season finale of House being shot with the Canon 5D and Suzuki South Africa commercial with the Canon 7D. the quality of this media generator is undeniable. The greatest time of innovation is often in times of shock most notably that of war, World War 2 saw the Jet aeroplane developed, microwaves and many other technologies. What we have today is likened to that war period where media publishers are scrambling to get aboard the train of the shifting market and not to get left behind. But don’t fear the print media is here to stay in one way or another, reading this article on the printed page is a sign that the printed page is here to stay at least until the environmentalists turn their attention to print media houses…. by Ryan Jared Ali
So who did Steve Job’s turn to critic the seemingly infallible iPhone? Who does he respect so much that this extraordinary leader may have even tried to emulate or dare I say copy? Well in early 2007 the answer is found, “When the Mac first came out, Newsweek asked me what I thought of it. I said: Well, it’s the first personal computer worth criticizing. So at the end of the presentation, Steve came up to me and said: Is the iPhone worth criticizing? And I said: Make the screen five inches by eight inches, and you’ll rule the world.” These are the words of Alan Kay who was responsible for the notebook concept in 1968 and part of the Xerox PARC team in the 70s who developed much of what we currently see in computing today, including inspiring the graphic user interface of Apple which Jobs saw on a tour of the Xerox PARC facility. Kay described the device to have a screen which could display 4000 characters, the
ability to display dynamic graphics, weigh less than 4 pounds, utilizing an umbilical connection allowing high speed data transmission and cost below $500. Barring a few extra technologies this is what we have today in the form of the iPad What does this mean for the masses out there, Jef Raskin had this to say about computing today. “Right now, where computers are supposed to be our servant, they are oppressing us.” The windows graphic user interface which catapulted out of the days of command lines and DOS but since then what has happened since then? Most of us use computers to either consume, share and generate media. With the level of processing power we have at our finger tips and the connectivity to make cloud computing a reality is just on the horizon. Let us see whether Alan Kay was right and how the iPad will influence the future of computing. by Ryan Jared Ali
This dream will do
Search for the definition of the word ‘dream’ and you’ll find several results. The definition that seems tailormade for design and branding agency dreamstation is: ‘something that is exceptionally gratifying, excellent or beautiful’. Spend a day at the agency’s headquarters in Rosebank and this definition’s perfect fit becomes clear – a day at the office for the dream team is exceptionally gratifying because they are committed to creating excellent, beautiful design. To understand what dreamstation is it is important to clearly understand what it’s not. It is not a corporate social investment agency, an NGO or a charity agency, and it doesn’t claim to be a specialist in the development of (superficial) green brands. “We love building sustainable brands but we love building brands that build communities even more,” says agency founder Joey Khuvutlu.
dreamstation is about bringing together the power of insight, design and brand management. It is about research, strategy and innovation, about creating substance stylishly. It’s clear, from its founder’s favourite quote, that the agency has a nofluff policy: “Stefan Sagmeister said it best when he noted that ‘we see so much professionally done and well executed graphic design around us [but] there is just so much fluff – well produced, tongue-incheek, pretty fluff. Nothing that moves you, nothing to think about’. He said that our goal for the future [would] be to touch somebody’s heart with design. I couldn’t agree more.” dreamstation’s goal is as ambitious as it is achievable – to change the world we live in in a realistic manner. “We start by understanding the community within,” explains Joey. “Understanding the community within involves uncovering our client’s heritage and discovering their future as articulated in their targets, goals and aspirations. We then embark on a journey of finding synergies between their business and the vast social needs of immediate, connected or related communities.” By developing an innovative brand or campaign strategy that is aligned to relevant social needs, dreamstation strives to create sustainable community-building brands that deliver on the triple bottom line – people, profit, planet. dreamstation is not interested in being trendy, it is passionate about being relevant. www.dreamstation.co.za
DESIGN
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Ngwenya Glass in Swaziland
This unique story unfolded in 1979. A glassblowing factory called Swazi Glass Craft (trading as Ngwenya Glass) was set up as a Swedish Aid Project. The Swedes imported all the machinery and equipment, built the original factory and employed and trained Swazi’s in the age-old art of glassblowing. But unfortunately, four years later the factory ceased production. Suddenly, no more glass animals! This was a mystery to Swazi Glass elephant collectors, the Prettejohn family in the Eastern Cape. Their curiosity, literally, drove them to neighbouring Swaziland to “investigate”. The result; the Prettejohn’s found themselves the proud new owners of the only glassblowing factory in Africa at the time… and a defunct one at that! The Prettejohn’s took over in June 1987, spending a couple of months getting the machinery working and tracking down some of the original staff. They started production in August with four employees, including Sibusiso Mhlanga, the master glassblower. Ngwenya Glass now employs over 60 people. Sibusiso, who has visited Sweden several times in recent years to work again with some of the worlds leading glassblowers, now tutors the new apprentices. Since its rebirth, Ngwenya Glass has been more than an inspiring success story. It is an environmentalist’s dream. The products, which include a wide range of tableware, drinking glasses, vases, jugs and ornamental African animals are all handmade from 100 % recycled glass. Ngwenya Glass has been proudly recycling
100 % recycled glass since 1987. This is not a new “green bandwagon” that they have jumped on recently; it has simply been a way of life. Ngwenya Glass use waste newspaper as a very effective packaging material. Ngwenya Glass re-uses grey water and
Ngwenya Glass has been more than an inspiring success story. It is an environmentalist’s dream. The products are all handmade from 100% recycled glass. have rainwater catchments for factory use. Ngwenya Glass has also started using purified old engine oil to fuel their furnaces. Did you know that it is possible to contaminate one million litres of water with one litre of used oil?
Ngwenya Glass has embarked on an indigenous tree-planting programme - 100 trees are currently being planted, with an ongoing programme to continue regular planting in the factory area. Ngwenya Glass organise environmental clean-up days in their area and encourage schools to pick up litter in exchange for donations of building materials or sports kit etc. They believe that by educating our children about environmental issues, we will have a chance of saving our planet. Ngwenya Glass has for the past 20 years paid a percentage of our worldwide sales to the Mkhaya Game Reserve (refuge for endangered species in the Lowveld of Swaziland). They started the Ngwenya Rhino and Elephant Wildlife Fund in 1989 and since the establishment of this fund, many generous donations have been received from the likes of: The British Government, The EU, W.W.F. (World Wildlife Fund of South Africa and the Netherlands), Doctor Felix Schnier, Aide Environmen, Engen and his Royal Highness, Prince Bernhard of the Netherlands (who was an avid fan or Mkhaya and a regular visitor to the Kingdom of Swaziland). Ngwenya Glass also support numerous orphanages and charities in Swaziland and South Africa and have an active HIV/AIDS policy and program. They also pay a monthly salary to a counselor who councils abused children, women and HIV/Aids patients. www.ngwenyaglass.co.sz
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PHOTOGRAPHY
Beyond the still
So what are HD-SLR camera’s capable of? We have seen the level of quality in the season finale of “House.” But we all know that the talent behind the camera and exquisite lighting can easily compensate for a lack of quality on the part of the camera. Well the answer to that question is here. Canon and Vimeo this year have teamed up to create a user generated film. With a contest called “The Story Beyond the Still”. The concept was simple get the most respected pioneer in terms of the HD-SLR filming to shoot a 3 minute film, Vincent LaForet. At the end of the film called “The Cabbie” a image is left and that is the image which the contest entrants begin from, interpreting the image and picking up where the previous chapter has ended. The contest has been running in rounds, when the winner in the chapter is posted. The quality of the cinematography is astounding, each which could have fitted into a feature film less the B-grade acting and script. Check out the film at http:// vimeo.com/groups/beyondthestill
Brotography, Xavier and Kevin Brotography, The photographic collaboration of two bro’s with magnificent skills who work seamlessly together. If you attempt to locate this definition in any kind of dictionary, odds are you won’t find it. Probably because I made it up. This is only because the newly-formed “Brotography” is most likely the only word to describe the sheer magnificence of the joint photographic forces of good friends Xavier Vahed age 21 and Kevin Goss-Ross 23. Not only are these guys pretty much on the same menstrual cycle by now, but their combined genius that resulted in Our. photography is something that is bound to take the alternative photographic scene by storm. The small, white Goth boy and the large Indian fellow with an impressive ‘fro initially began the collaboration in order to break the figurative window of boredom that had shut closed on Durban’s
photographic scene over the past couple of years. However, both admit that working together was a substantial attraction to the project. “Working in isolation can become quite tiresome and boring” says Vahed. Which is perhaps why Our. photography works so well. Kevin and Xavier know each other and their styles so much so that during shoots, the concept of telepathy definitely seems plausible. Goss-Ross stated: “It doesn’t matter who clicks the button. It’s our work. Hence the name Our. photography.” However, working together isn’t always easy. Obviously there are things about one bro that annoy the other bro. But, these are trivial things such as Xavier not wanting Kevin drinking beer in his car, and Kevin getting irritated when Xavier whines about him spilling beer in his car. Otherwise, the boys only have positive things to say
about each other. “Kevin works very with available light. He really does paint with lights. He shoots in impossible conditions and gets amazing results.... Plus, he’s got a great smile.” On this quote, Kevin, after blushing several times, added “Yeah. I love shooting in the darkness. It gives me more control. I mean, if photography is painting with light, you need a blank canvass on which you can choose what to add.” Xavier, on the other hand, loves shooting portraits. This is because “I find people easy to manipulate...Haha.” Kevin added to this by first complimenting Xavier’s ‘fro (for about the third time) and then complimenting his technique. “He knows his lighting. Especially when it comes to studio lights. Before Xav, I had never worked with them. Technically, he’s brilliant.” More in sync than iTunes, these bros have a lot in common. The beliefs, the etiquette,
the ideas, the philosophies... They’re all shared by both Vahed and Goss-Ross. The old saying “Take care of the background and the background will take care of you” is something strongly believed by each spectacular photographer. The pure, shared love that reigns in Our photography stretches even as far as taste for animated movies, muses (the girlfriends) and British comedy. Perhaps this is why Our photography has done, and is doing, so very well. Perhaps it’s the common interests. Perhaps it’s the respect for one another. Perhaps it’s the agreements of the technical side of photography. But then again, perhaps it’s just the love between a small, white Goth boy and a large Indian fellow who both happen to enjoy taking a good photograph. Bros ftw. by Amy Saville
Clouds are floating always by
I am guilty of nephelococcygia. I find myself gazing up at the sky (a bit dangerous when on a bicycle), excitedly searching for the next extraordinary display of bright white, orange, lilac, charcoal, blue fluff in streaks, dots and ominously voluminous formations all falling within an eclectic framework of buildings, power-lines and v-lines of birds on their way to somewhere warmer. Seemingly painted, they look as though designed and executed by an extravagant artist, rays of light twinkling on the rims of fantastical shapes. Nephelococcygia is the term for cloud watching, just in case you thought I had what sounds like a terrible addiction or disease. There’s a whole society of these cloud watcher weirdo’s on the net. That includes me, but this does not dampen my enthusiasm for taking thousands of photos of the things. Every cloud has a story to tell and in the melodic words of my adorable niece, “Clouds are floating always by”. by Kerrythe Mahaffey
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DESIGN
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Serenade your Walls with 10and5 On the 1st of August, Between 10and5 launched Serenade your Walls at the AmI Collective Garage Gallery in Cape Town and a week later at Wolves in Johannesburg. The exhibition featured fifteen band posters designed by sixteen local designers, as well as one featured guest artist from Featba Design Studio in Buenos Aires. The intention behind the poster project was to showcase South Africa’s finest design talent whilst celebrating our country’s lively music scene. Band posters have a nostalgic and iconic notion to them,
something 10and5 felt lay exciting grounds for collaborative exploration and play. 16 regular 10and5 creatives were paired with a selection of local bands, pairing lesserknown names with bigger musicians and vice versa. The unpredictable matching resulted in an unusual and colouful selection of exhibition pieces. Illustrators involved are: Job Solario (ARG), OneHorsetown, Brandt Botes, Patrick Latimer, Alex Latimer, Kronk, loveandhate studios, Marchand, AnneSophie Leens, Rouleaux van der Merwe,
AMI Collective, Arno Kruger, Fly School Design, Innocent and Justice Mukheli and Lauren Fowler. The bands are: HAEZER, Kwani Experience, Gazelle, Rattex, aKing, Die Heuwels Fantasties, Pity the Fool, Jax Panik, Dirty Paraffin, Van Coke Kartel, Desmond and the Tutu’s, ETC Crew, Driemanskap and Sedge Warbler. This was the first of 10and5’s annual Poster Project, and its successful reception paves the way for many other collaborations and projects between South Africa’s finest creative talents and 10and5. Posters are
printed per limited edition, and are available for limited time on 10and5’s online store at http://shop.10and5.com. 10and5 has very kindly given all readers of Designtimes a discount coupon on all the prints by simply entering the word designtimes into the checkout process. For those of you who may not know, Between 10and5 is a online showcase for the South African creative industry. Every day they feature the best work from agencies, freelancers, illustrators, artists and other creatives. Between 10 and 5 is
also one of the most popular design blogs in South Africa. 10and5 is run by Uno de Waal, and Johann Schwella. Uno runs his own consulting firm called Max Rover, and Johann is an account manager at Stonewall+. In 2008 when they were doing some research for a project and realised that there isn’t really a single place to view all the creative work that South African’s produce. Frustrated knowing South Africa was producing some amazing creative work, they thought let us create a space for that and Between 10and5 was born.
INSTALLATION
Designtimes Page 14
Oskar Barnack
Thinking big He’s quick to emphasise the project’s green credentials: ‘Nothing is manufactured. We’ve just used components from existing systems. The crates are from Coca-Cola, of course, and the scaffolding existed, too.’ The scaffolding is essentially the sculpture’s skeleton, which has been clad with more than 4200 1.25 litre and 2 litre Coca-Cola
Visitors to the V&A Waterfront are increasingly using a new landmark to navigate their way around the harbour. An 18-metre red ‘cratefan’ named Elliot shows the way, even as his huge hands point skywards. Erected to mark the 2010 World Cup, this public sculpture is an effort by Coca-Cola to emphasise the importance of recycling. But is it branding, or is it art? Design Times spoke to Elliot’s creator, and head of the Animal Farm Creative Consultancy, Porky Hefer. ‘It’s an exercise in collaboration,’ says Porky. ‘That’s what I love doing.’
Cratefan is a very considered exercise... there’s been some serious thinking. crates. Despite his relatively small footprint of 7m2, Eric weighs in at some 28 tons. The overall effect is of a giant Lego creation. Once the sculpture is dismantled in July 2011, everything goes back into ‘the system’. Crates that have been damaged can easily be recycled. Sounds simple enough. Porky grins knowingly. ‘Selling an unsolicited idea is a very difficult thing. To get from the initial concept to the final product took us three years. The key is
to find champions for the cause. Several engineers turned the project down citing problems with wind before we met the right one. We struggled to secure a space for Elliot, until the Harbourmaster identified a spot. But it’s nice to see it finished in my hometown!’ Cratefan is a very considered exercise. Beyond the childlike fun and the football celebration, there’s been some serious thinking. Porky points out that, while the sculpture has been made with available materials, it dominates the immediate environment. ‘So it fits in, but it stands out.’ The horizon line of the surrounding buildings has also been deliberately broken. Says Porky; ‘It’s only when you change the physical that you can start changing the mental.’ And is the recycling theme merely making a fashionable point? Porky is emphatic: ‘No. You’ve got to use the things that surround you when you build. Why get marble from Italy? It just doesn’t make any sense. I think we’ve got to find a way to be natural architects – maybe by taking our lead from traditionally rural designs.’ Elliot beams down at us, as if nodding in agreement. The Coca-Cola Cratefan was managed by the Art At Work Art Project. Porky Hefer was named this year’s Designer of the Year by Elle Décor. by Jonathan Bain
In 1849 twenty three year old mathematician Carl Kellner founded an optical institute, developing optics and microscopes in Wetzlar. Not long after in 1865 the precision engineer Ernst Leitz joins Kelner’s institute and becomes a partner of the company we know as Leica, in 1869 he takes over the management and expands it under his own name. But it’s only untill Oskar Barnack came onto the scene that Leica was truly born. Oskar Barnack born in 1879 was a German optical engineer, precision mechanic, industrial designer and the father of 35mm photography. In 1911, he was in charge of microscope research for Ernst Leitz at Wetzlar. He was an enthusiastic
photographer, but the heavy equipment of the day was difficult for him to handle due to his poor health. In 1912, he constructed a 35mm movie camera. Barnack suffered from asthma, and sought to reduce the size and weight of cameras and supporting equipment used for outdoor photography. His 35mm design helped introduce the concept of exposing a small area of film to create a negative, then enlarging the image in a darkroom. The onset of World War I kept the first Leica from being manufactured until 1924, and it was not introduced to the public until 1925, when Leica’s chief, the optician Ernst Leitz, took a gamble and authorized the production of 1,000 cameras. Leica stood for Leitz Camera. Instead of the exposure plates used in past Leitz cameras, the Leica used a standardized film strip, adapted from 35mm Edison roll-film. Oskar Barnack’s genius idea of creating the small format 35 mm camera created a revolution in photography, paving the way for the birth of the Leica Legend. His diminutive, lightweight Leica offered a new, undreamed-of freedom in reportage and artistic photography. From that point to the present day, Leica has had a profound influence on our view of the world we live in. And remarkably, you can still savour this sheer visual enjoyment time and time again whenever you use a Leica product to provide that unique visual perspective. www.leica.com
Giant Pinned, from space... and at the Loeries Giant Films famous place marker, a piece of Art in the real world inspired by the Virtual Reality of Google’s place marker pins, is now visible from space, as can be seen on Google’s Google Map of Cape Town’s CBD. The place marker, as an art work in a public space visible across Cape Town and from Table mountain, was commissioned by Giant Films and designed and constructed by environmental
sculptor and artist Brendan Smithers. The attention getting piece is also a Loerie 2010 Finalist in the Three Dimensional and Environmental Design category. The piece, according to the Giant entry submission expresses Giant’s adventurous spirit and sense of fun and marks it as an independent, creatively driven one of a kind film production house. www.giantfilms.co.za
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INTERIORS
Designtimes Page 18
SpeedHeat dispels the myths! How many times have you heard it said that all underfloor heating is the same, is expensive to run, cannot be used in bathrooms or under laminate flooring, together with the claim that ‘this product is safe to use’?
Henry Pilcher After studying wood and furniture design in Australia and America for 4 years from 2004, Henry started his career in 2009 and established “Henry productions” in Sydney earlier this year. In his brief career he has managed to get one of his designs into production, a retro lamp housed in an icosehedron shaped framework of ash timber pieces named “Block 2”. His designs are featured on various sites such as “The Grafik Museum“ which showcases fresh Australian design talent and “Fabrik Project”. “Block 2” and “Control” have also both been short listed for the Interior Design Excellence Awards 2010. Contemporary, resourceful, accessible, this young and talented furniture, lighting and product designer epitomises this in his pieces. Henry’s aim is to bring the often unexplored integrity and versatility out of materials like cardboard and dowel and debunk their cheap and inferior reputation.
With Block 2 in production, did you set out into the world of furniture design with the intention of starting a business and making a living from it or is it something you enjoy/ed doing more as a hobby? I certainly didn’t set out in the world of furniture to make money, it’s definitely something I enjoy as a hobby. If I wanted to make money there are plenty of easier ways, and if I wanted to make money from furniture I’d be designing generic couches and dining tables. Where do you get the constructive criticism every artist needs? Having studied design at both Australian National University and Rhode Island School of Design I have learnt to become quite critical of my own work. There is a growing interest in design amongst so many people, if your not critical about your own work your just leaving yourself open for someone else to be. Would you like to make more pieces that could be considered more as works of art or stick to making “the lives of the modern user clearer, easier, more efficient” with accessible, fun and functional furniture? My design approach is very specific; I try to create a clear functional object depicting
my own language, subconscious style. Personal favorite of my designs is ‘Block 2’, it can dip into both design and art. It speaks of my interest in adhocism and Dadaism, using the ready made while still becoming a fully functional object used differently to the shades initial intension. What advice would you give to someone wanting to get into furniture design? If it doesn’t come naturally and you don’t enjoy
What has been the hardest part of your journey from turning your ideas into a reality? Most of my friends have 9-5 jobs, go to work and get paid. To put yourself out of a comfort zone and spend time working for not much reward would have to be the hardest. It does pay off though, once you crack the barrier and have a product sitting on a showroom floor that sells and pays bills is better than any 9-5 job.
it then find something your interested in. How did you market yourself and your works? What difficulties did you experience to get where you are today? To create a chair or table would be like shooting yourself in the foot, as a young designer there is simply too much competition. I would like to think ‘Block 2’ sits in a league of its own, neither a pendant nor traditional floor lamp. I only supply ‘Block 2’ to stores with credibility, first was Anibou who import designs from ClassiCon and Artek, these are the designs I want my product to sit amongst rather than your everyday housewife decoration shop, from there marketing takes care of itself.
Do you think that the ‘green’ movement had a bearing on your decision to use sustainable, recyclable materials? Yes and no, first of all I wanted to experiment with a new material and cardboard seemed the obvious choice as we have so much lying around the studio. Personally I think the ‘green’ design movement is more of a marketing strategy for companies to make sales. If people really wanted to be ‘green’ they’d stop creating new products and start reusing what we already have. In what ways good and bad do you think modern technology, in particular the use of the internet, has influenced the world of design and the careers of new young
designers? It has certainly made us more aware of what is being created, so in that sense I think the Internet is a good thing. I spend a lot of time on the computer researching, its important to know what field your pitching your designs to. Who inspires you? Inspirations change constantly, initially it was Alvar Aalto and Jean Prouve, more recently the Bouroullec Brothers and Konstantin Grcic. What do you do for inspiration? Spend a lot of time with books, magazines and the Internet. I’m mostly inspired by design history and material experimentation. What is your most favorite part of the design and manufacture process? Problem solving, coming up an idea and watching it evolve from a sketch on paper. The upmost favorite part would be too see a design side by side in multiples, 10’s, 20’s, 30’s and finding out that people like what you’ve created enough to take home. What do you do in your spare time? Summer I spend a lot of time at the beach and winter at the snow. Both places are a great escape from the studio where you can forget all responsibilities. When are you happiest? Amongst friends. What’s in the pipeline for next year? I take each project as it comes, so far I have a few projects lined up working with other designers outside of Sydney. If I finish early and have nothing to do I’ll design another product for myself like ‘Block 2’ and hope that someone likes it enough to put into production. The simplicity of Henry Pilcher’s works is refreshing. His no-nonsense approach to the design and manufacture process and quirky, innovative sense of style should inspire any budding artist to break out of the box of convention and jump machinery first into the risky yet thrilling and highly rewarding world of creating for pure enjoyment! Evidently, this is a man determined to leave his mark on the world of design in a most unique and carbonneutral sort of way, changing perceptions one piece of ply at a time. by Kerrythe Mahaffey
If you are dealing with SpeedHeat all these statements are regularly proven to be incorrect. The first thing to understand is that there are distinct differences between underfloor “in-slab” heating and floor surface heating systems such as SpeedHeat. Most “in-slab” heating is expensive to run and only certain floor surface heating solutions are economical due to their speed and efficiency. SpeedHeat has numerous element profiles ranging from the Polar to the Tropical range and may be applied to suit any room size, shape and floorcovering. Installed with hi-tech microprocessor controlled floor temperature sensing systems, this enables the system to switch off at predetermined temperatures and times and avoids energy waste. Avoiding “waste” provides outstanding energy saving, which is one of the main attributes of SpeedHeat’s success, making the products ideal for all residential and commercial applications. Also, the green energy materials used by SpeedHeat in the manufacture of its systems will appeal to the environmentalists. Floor heating can be used in bathrooms and kitchens as long as it has full earth connectivity. It can be used under wood and laminate floors as long as the power and temperature is correctly controlled - but only electrical floor heating systems with earth screens connected to an Earth Leakage Circuit Breaker can be considered as safe. The systems are completely waterproof. The SpeedHeat systems are manufactured in compliance with IEC (International Electrical Committee) safety specifications, and the systems do not deteriorate with age. They are known to pass the safety test after having been installed for 20 years - not many systems can do that! Safety first and safety last is a SpeedHeat motto! SpeedHeat provides on-demand control with its seven-day fully programmable intelligent thermostats which allow comfortable temperatures when at home and energy saving when out. Simple bimetallic or trend-setting remote control thermostats are also available. These floor heating systems can be installed under all types of floorcovering including stone and ceramic tiles, resin floors, carpets, vinyl, rubber, cement floor toppings and wood laminates. The patented 1mm-thin heating element means that SpeedHeat technology is suitable for new homes or for renovating existing homes or floors. It is this unique, very thin element that is in contact with the floorcovering - and has a patented design that nobody has been able to copy - that provides the quick SpeedHeat response time. Another advantage is that should a ground fault occur, SpeedHeat is able to pinpoint this in the wiring to within a 1cm radius of the problem, which means that likely only one tile would need to be uplifted and replaced to effect the repair – unlike most others where the entire floor needs to be ripped up. If you want to know more, contact Denise at SpeedHeat at 011 841 8000 or visit the website www.speedheat.co.za
At Heronzagt you will see your project becoming alive as we take pride in giving customers professional assistance on floor plans, story boards etc, which displays recommended colour schemes, textures and furniture. We also proud presenters of our own Interior DĂŠcor Academy. Giving training on various aspects Interior Design. 17 Tafelkop Avenue Riebeeck Village Van Riebeeck Park 083 264 4841 heronzagt@telkomsa.net
HERONZAGT
INTERIORS
FASHION
Designtimes Page 20
Blogs are the new black
Nadja Seale Nadja Seale, Minister of Fashion, The New Fashion Democracy. So who is going to benefit from the revolution? This major power shift from the print media dictatorship to the democratization of fashion through social media outlets such as endless blogs and lookbook.nu has really giving the power to the people. At the forefront of this movement we meet Nadja Seale with the claim of being the highest ranked user in South Africa for Lookbook.nu, we ask Nadja a few questions to find out what is happening on the frontlines of the fashion industry… Do you think it is creating a strong community of fashion lovers across south africa, than further strengthening the fashion identity of South Africans? Definitely. South Africa kind of had this ‘underdog’ identity when it came to fashion and any aspects of it. I experienced fashion a bit more conservative here. Now with communities like Lookbook.nu, we are being exposed to not just what magazines consider fashionable, but individuals. Expanding the view of ‘what’s hot’ in a profound manner. I recently went on a trip to Europe and could say with all honesty, that we don’t have to have this timid character when it comes to fashion anymore. How has blog’s played a major part of your life? Oh for sure, it stimulates me intellectually and creatively. I really think blogs have increased our views of the world too. It gives you insight into people’s lives and the way they view it. It also broadens your knowledge in ingenious ways. I remember when I first started reading blogs it felt as if I was travelling the world in the comfort of my own room. Just to view the diverse mindsets has become an important part of my life. Has blogging increased your visibily in a professional sense, getting your ideas and work out there? Very much. I never realized when I first started how many people actually read it. I have gotten lots of work abroad. I think you almost build up a profile of yourself in the sense that people get to know you before actually meeting
you. It makes you dependable in a way. I found that they trust me to do a good job because they got to know me on my blog. My blog initially started as a means to appreciate everyday life and evolved to this online diary that I can share with the rest of the world. It is a privilege. Do you think that this new medium is stimulating the birth of a more creative generation? Absolutely. The reason why I say that is due to the reason that people have become ‘followers’ of mainstream in the past. Where you only have a few options to choose from. With the development of the vast number of blog’s you get confronted with lots of ideas and the individual gets the opportunity to take what he/she likes and make up your own data and ideas. It stimulates both creatively and mentally. How do you see traditional print media could take advantage of this new collective fashion voice of the public? What a great way for them to broaden narrow perspectives. I found in the past that print media almost became the mafia of public opinions. Now they get confronted with individuals that they might have been rejected before and they have the opportunity to use all their creative talents to expand their views too. It in my opinion it is an overall phenomenon for both parties. Print media can expand content plus observations and fashion voices have the chance to give a new response. Individually, Nadja has become the ‘look’ for German vintage clothing company FKIDS are cool( www.fkids-are-older.de) and will now be working with Malaysia clothing company IWEARSIN (www. iwearsin.com) to do be the look of their new collections and style everything a lot of which she mentions is a result of her blog and lookbook.nu pages popularity. With the collective fashion consciousness sharing open minded and insightful views like these shared by Najda, the future of South African fashion seems to be in good hands. Real talent naturally filtering to the top, the new fashion democracy seems to be strengthening the talent pool. by Ryan Jared Ali
A confusion exists, does fashion emanate from the minds of a few fashion geniuses and filter to the collective hive of followers or has it become more complex in recent times. The democratization of fashion is upon us. What would cause any change if there possibly has been a change in thinking? The social networking and blogging phenomenon is taking the world by storm and this has created a collective conscienceness contained in the internet with ideas being shared across the world at a speed previously inconceivable, a question has arised. Who is the new muse? Or have the masses become the muse to the design geniuses of the world. With an endless resource of inspiration from any subculture and corner of this planet has being a creative fashion genius become easier, knowing that nearly every conceivable fashion concept is out there if you look hard enough. That brings us to Lookbook.nu a platform created by 24 year old Yuri Lee and Jason Su. What they have inadvertently done is create a collective fashion consciousness of creative’s from every part of the world. Granted there are the followers in the pack of users recreating looks already imagined by others but there are those that have placed them on top of the creative pile and done just that, create what wasn’t there before. The war between bloggers and the traditional front row fashionistas has already begun. Much derision was heaped upon blogging demigod Tavi Gevinson after the realization of the status quo changing where she was seated in front of Paula Reed Grazia magazine’s style director, obscured her view with Tavi’s giant bow shaped headpiece. How is fashions hierarchy now defined? To think that the designers and fashion editors of our time are not paying attention to these sources is downright daft. There are stylists and creative’s daily updating and hyping looks forecasting how the rest of the fashion world will follow. Already bloggers with talent are being given opportunities to style magazine features, being featured in magazines and already have taken the internet by storm. Soon magazines and publishers will realize that their needs to be an equilibrium between these mediums instead of war. The democratization of fashion is definitely here, time will tell to see how well designers begin to use this new found voice to their advantage. by Ryan Jared Ali
Freshly cut Mark Gold has launched a new line extension of his famous flower ring termed Fresh by Mark Gold. Fresh by Mark Gold is a more affordable range, using materials such as 18c gold, diamonds, precious stones and acrylics. The rings are constructed beautifully in true Mark Gold tradition,
without sacrifice of his signature style. These super-trendy flower rings range from R12 500 to R28 000. Finally everyone can own a piece of Mark Gold Jewels! For more information contact Candice +27 11 684 2985.
New York CNN icon fashion launches week New York Fashion Week has just commenced and green fashion has already started to make inroads with the crowds. With water in mind, John Patrick of Organic took inspiration from this free flowing life brew to create a stunning new Spring/Summer 2011 collection. Not just a take on the life staple in its static state, Organic’s new line embodies the spirit of water from the tender to the tragic, and as Patrick laments, “from floods to falls to lack thereof.” Hoping to rouse reverence in a resource that is central to being, Organic’s eco-conscious SS 2011 is grounded in Patrick’s need to do more to protect the environment. “I want to inspire a reverence for water, a resource that affects us constantly, everyday.” Go to http://www. ecouterre.com/22775/john-patrick-organicspring-summer-2011/ to see his calculated assembly of soft and subdued colors, functionality and modern silhouettes. www.ecouterre.com
CNN International launches ‘icon’, a new monthly arts series that promises viewers a journey into the worlds of visual arts, architecture, literature, music, photography, dance, opera, fashion and design, accompanied by interviews with their innovators and influencers as diverse as IM Pei, Quincy Jones and Herbie Hancock. The new programme will examine how classic cultural icons have influenced new trends and ideas, and will challenge itself and its viewers to identify new icons in the making. The global remit of the show takes viewers to the Louvre and the Guggenheim, the Tate and the Turner Prize, the Bolshoi and the Met and the Venice Biennale and Fashion Weeks in a fresh, intelligent and accessible way which sees presenter Monita Rajpal stepping into the frame of the designer’s studio, going behind the camera and onto the catwalk under the watchful eye of iconic guests and trend-spotters who share their insights and reveal their influences. Vice President of coverage and feature programming at CNN International, Mike McCarthy says: “’icon’ throws open the doors to the eclectic world of arts and culture around the globe through a mix of rare access and top-name interviews with the vibrant stars of today’s creative industries. We hope our audience will also get involved in helping us find the icons of tomorrow.” Reinforcing CNN’s multimedia offering, a dedicated ‘icon’ website www.cnn.com/ icon launches today. Visitors can help shape ‘icon’s’ future content by voting for their own cultural icons. The most popular will be on display in an interactive gallery space online and featured on the show. The website hosts the ‘icon’ shows for online viewing, plus features image galleries, and will also house web-exclusive video of globally renowned cultural icons. Viewers can also join CNN’s community of user contributors via the iReport website. Each month ‘icon’ will be asking viewers to send in photos and video on subjects as diverse as street art and music icons at www. cnnireport.com with the best appearing on the programme and the website. www.cnn.com/icon
ANIMATION
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From Tin Toy to Toy Story 3D Toy Story 3 in 3D is the third and final film in the popular Toy Story series. The first Toy Story movie holds its place in history as the first ever completely computeranimated feature film. The films have been produced by Pixar Animation Studios and released by Walt Disney Pictures. The third movie ,like the first two, star the voices of Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, New characters in the third movie include voice-overs by Timothy Dalton, Whoopi Goldberg, and Michael Keaton. Toy Story 3 was released worldwide in June 2010. Toy Story 3 is currently the highest-grossing film of 2010 worldwide. It has surpassed Finding Nemo to become Pixar’s highest ever grossing film worldwide and has even surpassed Shrek 2 as the highestgrossing animated film of all-time worldwide and has to date made over $1 billion and counting. Why those figures are particularly impressive is because Toy Story was completed on a $30 million budget, and a $20 million advertising budget, using a staff of 110 which is not that many compared to The Lion King, which was released in ‘94 and required a budget of $45 million and a staff of 800. Pixar’s John Lasseter’s first experience with computer animation was during his work as an animator at Disney, when two of his friends showed him the lightcycle scene from Tron. It was an eye-opening experience which awakened Lasseter to the possibilities offered by the new medium of computer-generated animation. Lasseter went on to work at Lucasfilm and later as a founding member of Pixar. Pixar’s Oscar-winning short film Tin Toy gained Disney’s attention and, after
meetings in ‘90 with Jeffrey Katzenberg, Pixar pitched a television special called A Tin Toy Christmas. By July ‘91, Disney and Pixar signed an agreement to work on a film, based on the Tin Toy characters, called Toy Story. The deal gave Pixar a three-film deal as well as 10% of the films’ profits. Toy Story’s script went through many changes before the final version. Lasseter decided Tinny was “too antiquated”, and the character was changed to a military action figure, and then given a space theme. Tinny’s name changed to Lunar Larry, then Tempus from Morph, and eventually Buzz Lightyear (after astronaut Buzz Aldrin). A second character, originally a ventriloquist’s dummy, was changed to a stuffed cowboy doll with a pull-string, and named Woody for Western actor Woody Strode. The difference between the old and new toy led to a conflict between their personalities. Disney wanted the film to appeal to both children and adults, and asked for adult references to be added to the film. Disney gave approval for the film in January ’93. An interesting fact, that not many know, is that Billy Crystal was approached to play the voice of Buzz, but turned down the role, which he later regretted. Enter Tim Allen and the rest of the now familiar voice stars like Tom Hanks. However things did not run all that smoothly and the project almost did not make it to the big screen. When Pixar presented an early draft of the film to Disney in November ‘93 the result was disastrous. It presented Woody as a “sarcastic jerk”. Walt Disney immediately shut down production pending a new script. Pixar survived the shutdown by falling back on its existing television commercial business while the script was rewritten.
27 animators worked on the film, using 400 computer models to animate the characters.
The new script made Woody a more likable character, instead of the “sarcastic jerk” he had been. Production restarted in February ‘94. Starting with storyboards 27 animators worked on the film, using 400 computer models to animate the characters. Each character was either created out of clay or was first modeled off of a computer-drawn diagram before reaching the computer animated design. Once the animators had a model, articulation and motion controls were coded, allowing each character to move in a variety of ways, such as talking, walking, or jumping. Woody, apparently, was the most complex as he required 723 motion controls, including 212 for his face and 58 for his mouth. To sync the actors’ voices with the characters, animators spent a week per 8-second frame detailing characters’ mouths and expressions. Next, the animators would compile the scenes, and develop a new storyboard with the computer animated characters. Animators then added shading, lighting, visual effects, and finally used 300 computer processors to render the film to its final design. In total, the film required 800,000 machine hours and 114,240 frames of animation, with 2–15 hours spent per frame.
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The Solgar Gold Standard Solgar has been manufacturing fine quality Quality Control. Solgar has high standards nutritional supplements for over 60 years for quality. We have a rigorous quality in an industry that is constantly evolving. control system in place to test products at Throughout these changes, we have never every stage, from raw material to finished lost sight of our original mission - to product. All materials coming into our provide consumers with the highest quality facility are subject to stringent tests to nutritional products and information to ensure they are the highest quality; any help promote optimal health. Our attention that don’t meet our standards are rejected to detail from manufacturing through and immediately sent distribution has enabled us to set, maintain, back to our suppliers. and continually raise the Gold Standard™ A rarity in the for quality nutritional supplements, industry, Solgar education, and service. The Solgar Gold has its own on-site Standard™ is much more stringent than the Quality Laboratory government requires. that ensures that Researched, Science-Based Products. each product leaving Solgar is known globally for producing our door meets our innovative, science-based, efficacious Gold Standard™ for products. All Solgar products have been excellence. We don’t thoroughly researched by our R & D just do one test on department. We have a team of experts our products. We do dedicated exclusively to research. We also many. USP Water sponsor research on existing and potential Purification System. new products by donating funding, our Solgar invested products, and our experts to studies across over $1 million in a the world. state-of-the-art USP State-of-the-Art Manufacturing. Solgar’s reverse osmosis water state-of-the-art manufacturing facility purification system meets pharmaceutical standards for - widely considered machinery, procedures, quality control, the finest type of and environmentalism. These standards filtration available. exceed those required by the supplement This isn’t required industry, but we feel they are necessary by Good Manufacturing Practices (GMPs), to provide our customers with the best but the Solgar Gold Standard™ requires quality products possible. With our own that we have the best system possible. 000529 Caxton Adlaboratory, 100x265pand 11/5/08 11:16 AMHEPA PageAir 1 Filtration System. All of the air manufacturing, distribution facilities, Solgar ensures quality throughout that circulates through the Solgar facility the entire process. passes through a bank of HEPA filters that
remove 99.9% of airborne particulates. Both air and water samples are routinely tested in Solgar’s in-house laboratory. Cleanliness. Solgar disassembles and cleans every piece of machinery after each formula change. In some cases, the equipment is broken down into hundreds of parts and may take up to eight hours to clean and reassemble. We also use food-grade, environmentally friendly cleaners to sanitize equipment between batches. Gluten Free. Most Solgar products are gluten free. Kosher Certified. Solgar selected KOF-K Kosher Supervision, an international organization that follows the strictest laws of the kosher observance, to certify our products. Halal Certified. Solgar chose the Halal Food Authority (HFA), a U.K.-based organization that adheres to the strictest laws of Halal, to certify our products. Aqueous Coated Tablets. Solgar was one of the first in the Natural Products Industry to integrate a natural, water-based C M Ycoating CM MY for all of our coated-tablet products as
We have a rigorous quality control system in place to test products at every stage, from raw material to finished product.
an alternative to using the more common solvent-based coating agent, shellac (pharmaceutical glaze). This natural, waterbased coating improves disintegration and dissolution, providing better absorption of the nutrients. Recyclable Amber Glass Bottles. Our 100% recyclable glass bottles are non-leaching, non-porous, and odorless. Although these “old style” medicine bottles cost more, Solgar uses them because they protect against heat, light, and moisture, thereby preserving nutrient potency. To help retailers and consumers understand how dietary supplements work, Solgar provides a team of nutritional experts to answer technical questions by phone (1-877-765-4274), mail, and e-mail (productinformation@solgar.com). Our specialty market demands innovative products that are unique and available in brands exclusive to our class of trade. Solgar is committed to distributing our products through fine health food retailers across the globe where customers can find the best products along with the best nutritional advice about them. Solgar’s finished products are distributed from our own global distribution centers. This is another way we ensure the integrity of our products. Solgar is distributed throughout the world in over 45 different countries, with affiliate offices in the U.K., Spain, South Africa, and New Zealand. Slogar has also been a carbon neutral company CY CMY K since 2001 and have planted more than 10000 trees.
Five of the best go to Sony
Technological innovation by Sony has once again been recognised by the European Imaging and Sound Association (EISA). This year the EISA judging panel has made five awards to Sony in categories spanning 3D TV, digital imaging and in-car A/V entertainment. EISA Awards 20102011 have been made to Sony for these products: European 3D-LCD TV (BRAVIA KDL-52HX900); European Micro System Camera (NEX-5); European Compact Camera (Cyber-shot™ DSC-HX5V); European High-end Camcorder (Handycam HDR-AX2000E); and European In-Car A/V Head Unit (Xplod XAV-70BT). As products like the BRAVIA KDL-52HX900 3D TV demonstrate, the creative DNA in Sony transforms advanced technology into immersive new customer experiences. Moreover, other 3D-capable products like the NEX-5 system camera hint at further 3D innovation coming from Sony this year. Alongside this expansion by Sony of its 3D World, Sony’s unmatched A/V expertise is underlined by this year’s other award winning innovations in digital imaging and in-car entertainment. EISA is the largest editorial multimedia organisation in Europe, with a membership of nearly 50 audio, video, photo and mobile electronics magazines drawn from 20 European countries. This year’s award winners were selected after the deliberations of a judging panel comprising journalists and independent technical experts.
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