Issue 33 by Designtimes

DESIGNTIMES south africa’s creative resource

www.designtimes.co.za

/12 DESIGN

JEROD GIBSON

Jerod’s 37 Posters is a series of posters for various movies and television shows, featuring quotes typographically fitted into simple shapes.

/18 DESIGN

NOVEMBER / DECEMBER 2010 Issue No.33 ZAR 15 EUR €2, UK £2, US $3

LAST PAPER GEN

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The democratization of design is well on its way but product design has long remained the crown jewel. Which most would not dare to venture into.

FASHION

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FASHION SHOOT

Designtimes is proud to present our very own and very first fashion shoot. We got together a awesome team to give our take on a fashion forward South Africa.

Loerie Award Winner

NEWS

Acrobat X

Samsung NX100 What makes Alistair King and Henk Pieterse the undisputed Kings of Advertising in South Africa... other than their numerous Loeries (they’re becoming as populous as OBE’s) find out on page 4! Speaking of the Loeries we unpack the goodie bags they gave us and try to find the hidden meaning behind the free stuff. Ryan Ali takes a look at the future of design, industrial design and the influence that cloud computing may have in the future in the article ‘The last paper generation’. Whether we are the last paper or generation or not “There’s no place like home” especially if you have one of Jerod Gibson’s great movie quote posters on your walls! In this issue Designtimes uncovers the truth about breaking into the creative industry. Are our creative schools, colleges and universities meeting the challenge of preparing graduates for the real world? Enjoy reading! Mark Rosenberg mark@designtimes.co.za

Editorial

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

Samsung has just launched the NX100 an innovative mirrorless camera equipped with the world’s first i-Function lens, putting almost perfect picture at the fingertips of all photographers using a completely new way of controlling your camera. The NX100 is set to dominate the new mirrorless camera category. This innovative new camera benefits from Samsung’s expertise across multiple areas of technology, meaning that

Apple has announced the public beta of FaceTime for Mac, an entirely new application that allows Mac users to video call iPhone 4 and iPod touch users as well as other Macs. Featuring an easy to use interface, FaceTime for Mac automatically uses your address book contacts so there’s no need to create special buddy lists, and it works seamlessly with the built-in camera and mic on your Mac. “FaceTime makes video calling to or from mobile devices easy for the first time,” said Steve Jobs, Apple’s CEO. “We’ve sold more than 19 million FaceTime-ready iPhone 4 and iPod touch devices in the past four months, and now those users can make FaceTime calls with tens of millions of Mac users.”

Cover

Photographer Seagram Pearce Camera Hasselblad HD4 Lighting equipment Profoto

Advertising

Wendy Scullard, Malika Samuels Shervone Smith, Adelaide May

Admin & subscriptions Kelly Cupido kelly.cupido@telkomsa.net

Publisher

Tandym Print 1 Park Road, Western Province Park, Epping, Cape Town Tel: 021 505 4200 Fax: 021 505 4280 print@tandym.co.za www.tandym.co.za

Motorolla Droid R2D2

New Air

Siri Linn Brandsoy sindinn@gmail.com Eva Csernyanszky eva@friendsofdesign.net

Printer

Slim, light and easy to use, the Cybershot WX5 and TX9 boast exciting new features for outstanding still picture quality compared with conventional compact cameras. Capable of shooting detailpacked Full HD movie clips, they’re also the first Cyber-shot cameras from Sony that can capture amazing 3D images to enjoy on any 3D compatible TV. The WX5 and TX9 are the first Cyber-shot cameras that can capture extremely low-noise images, evoking the expressive power of a digital SLR camera. Powered by the 12.2 megapixel Exmor R CMOS Sensor, Superior Auto mode captures a high-speed burst of up to six frames when you press the shutter button. The new Cybershot series range from R2500 to R4500.

Facetime

Contributors

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

all its key components are 100% produced by Samsung. This unique process has been combined with Samsung’s detailed and extensive program of consumer research, which provided valuable insights to incorporate into the NX100. The NX100 is also complemented by an extensive line up of lenses and accessories, giving photographers a full package of options with which to explore their creativity.

Acrobat X, Reader X, the Acrobat X Suite and new document exchange services at Acrobat.com are Adobes latest releases. The software allows professionals to innovate and create higher quality content, driving tighter collaboration and productivity across teams in today’s dynamic business environments. “Companies today need to work with their customers and partners in multiple time zones, languages and crossfunctional teams,” said Melissa Webster, analyst, IDC. “Seamless, fluid content creation and collaboration is critical to how organisations use, repurpose and share information – it is no longer a ‘nice to have’ it is an imperative to success in today’s business world.” www.adobe.com/acrobat

Cybershot

Spectacle case

Japanese designer Naoki Kawamoto presented this faceted spectacle case called Orishiki folded from a single net at DesignTide Tokyo 2010. Orishiki” is a hybrid word composed of “Ori”, taken f rom Origami, Japanese paper-folding art, and “Shiki” taken f rom Furoshiki, Japanese traditional wrapping cloth which is large enough to wrap and transport goods and gifts, as well as wearing them as scarves.

The new MacBook Air is the first of a next generation of notebooks which will replace mechanical hard disks and optical drives with Internet services and solid state flash storage. These next generation notebooks are faster as solid state flash storage is up to twice as fast as hard drive storage, more reliable as hard drive crashes are eliminated and lighter and smaller becuase solid state flash storage is up to 90 percent smaller and lighter than hard drives. The MacBook Air was designed from the ground up to use flash storage exclusively. Available in 11-inch and 13-inch models and weighing as little as 2.3 pounds, the new MacBook Air is Apple’s lightest and most portable notebook ever. MacBook Air uses the same solid state storage technology as the iPad to deliver instant-on responsiveness, up to seven hours of battery life and up to 30 days of standby time. “MacBook Air is the first of a new generation of notebooks that leaves behind mechanical rotating storage in favor of solid state flash storage,” said Steve Jobs. “We’ve taken what we have learned with the iPad solid state storage, instant-on, amazing battery standby time, miniaturization and lightweight construction, to create the new MacBook Air. With its amazing responsiveness and mobility, it will change the way we think about notebooks.” www.apple.com/macbookair

The Motorola Droid 2 is hitting all the right keys! As expected it is a feature-packed device that helps manage work and social life with an enhanced keyboard, ultra highspeed Web browsing, 3G Mobile HotSpot capabilities, full push corporate e-mail, intuitive social messaging and Adobe Flash Player for access to the full web all built on the Google Android operating system. Droid 2’s slim design helps users e-mail, text and tweet with ease. Droid 2 has redesigned the symmetrical keyboard with raised keys which results in more responsive typing, to push out notes and status updates. Speech-to-text input is a

new feature that’s worth mentioning and I think the first of its kind to hit the mobile phone, a very simple concept which allows you to speak your message without typing, allowing for quick and hands free messaging and note taking. “With the completely redesigned and hardware accelerated Flash Player 10.1, DROID 2 users will be able to experience the full Web on the go.” Now for the exciting part. In honor of the iconic Astromech Droid from the Star Wars Saga, Motorolla will offer a limited edition R2D2 version of the phone, complete with boot up sounds and special effects. www.droiddoes.com/r2d2

Cracking contraptions How do the Techno Trousers work? What’s inside the Rocket? How did Wallace rebuild Preston the Cyber Dog? Find out the answers and more in Haynes Wallace & Gromit’s Cracking Contraptions Manual, as the lid

is lifted on the wonderful contraptions of everyone’s favourite inventor. See what’s inside each invention and find out exactly how it works. www.wallaceandgromit.com

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ADVERTISING

The formula for success is something that everyone is searching for. It seems though that this formula was found years ago and been applied. The rewards? A grand prix at this years Loeries awards and a showing at Cannes. All of that hasn’t been the reward, the reward has been reaped over a number of years and that is trust by incrementally pushing ourselves and the client to a point where we are trusted. We now meet the two representatives of much larger teams on each side that of Alistair King Group Creative Director of King James and Henk Pieterse Marketing Director of Allan Gray.

Where did the partnership begin between Allan Gray and King James? What I admired about Allan Gray from the start was that they didn’t go to pitch in a classic sense. They invited 8 agencies to present their credentials, and then they just met with them to feel the chemistry. That itself was quite gruelling. As one would expect from a deeply analytical and thorough investment company, they did their research on us and came back repeatedly with new questions. That was in 2002. In those days Allan Gray was a well kept secret amongst the super- affluent, and we were tasked with taking them to the broader consumer market. I guess we’re quite proud of that: we did their first ever ad and so have built the brand from scratch, in a mainstream marketing sense. Their investing brilliance did the rest.

or the brand excelling and being smart directly. The decision was to showcase this in a more subtle fashion. Do you think it is as the consumer becomes more mature, that you are doing this or you that are pushing the consumer to develop in maturity? A lot of advertising feels very contrived to us as an agency. So we tend to work very hard to create advertising that feels honest and truthful, and therefor believeable. We like to credit consumers for being intelligent, feeling human beings, rather than merely bombarding them with trivial brand promises. I’m not sure wether that’s pushing consumers to be mature or simply treating them as if they are. With Allan Gray in particular, we strive to create work that appeals in both an intellectual and emotional sense, it’s the way we make ads.

Was it from the beginning between Henk and Alistair? Or did you inherit the business relationship from somebody? Henk joined the team a few year ago. The most dangerous situation for any agency is when the marketing director changes. Most marketing directors like to make their personal stamp on a brand by either changing the marketing or changing the agency. I’d go so far as to say that 90% of all account moves are because of a change in the marketing department. Henk arrived already an admirer of the work we had done, so it was easy to continue to build on where we were.

The advertising has received much critical acclaim, has this helped to leverage to push the boundaries further for the client? Allan Gray has not always won awards, and we absolutely do not make ads for that purpose. Winning awards is not our goal, having the most admired work in the category is. Over time we’ve incrimentally pushed ourselves and our client to make our advertising more and more provocative, simply to keep the brand fresh. Most agencies win their awards in the honeymoon period (the first few years of winning the account). From there on it is usually a slow and painful slide into advertising dullness, until the relationship falls apart. With Allan Gray we have incrimentally got better every year. I have to believe that has a lot to do with increasing trust . Having said all that, we’ve always been proud of the work we’ve done on Allan Gray, even long before it starting winning creative awards and it has been one of King James strongest credentials right from the beginning, and we haven’t needed to win creative awards with it for it to be that. An account becomes perfect for an agency when it is both a great business case study and a great creative credential, and that’s where Allan Gray is right now.

Allan Gray have set the standard in terms of advertising in the Investment and Banking sectors. Being the pioneers how hard was it initially, to start pushing the way these brands are seen? People seem to think that we’ve always had this unwavering-vision and this castiron strategy for Allan Gray that dictates everything that we do and from which we never stray. We absolutely haven’t. In fact, if anything we’ve avoided the traps that so many big brands fall into – the need to have a ‘brand bible’ or ‘brand DNA’, which often just paralyses a brand in cerebral process for years. We’ve always had a strong sense of what Allan Gray is and what their brand tone is. We then simply looked at the market and where Allan Gray sits within it, and decided what the most important and compelling message should be for the next period of time. The brand is intuitive to all of us rather than governed by a set of strategic rules which were written down at some point. Too many brands go up their own strategic arses. I think that what initially set us apart from our competitors is that we never made grandiose promises. Most companies in their category like to make promises they cannot possibly keep. Another thing I believe Allan Gray has done well as a client is to allow us to constantly evolve the brand. Many marketers, when they experience success with a campaign, try had to bottle that formula and emulate it with every new campaign that follows. Allan Gray has always allowed us to constantly shift the brand in a creative sense, which always keeps it feeling fresh. There is occasionally opposition to some of the work we do: we have to do a shit load of pursuading at times to get an idea through, but credit to them for doing what often makes them very uncomfortable. Most advertising in the investment and banking sector portray an individual

How has the process worked, is Henk working along with you through the development of the idea or at what stage does he get involved? Henk would be relucatant to take credit for too much I suspect. The marketing team on Allan Gray is quite broad and even includes the COO. It’s a very involved and collaborative team. And there really are no bullies or dictatorial decision makers who position themselves as marketing gurus. There’s a lot of debate. Sometimes a lot of arguing. And conflicting opinions is always guaranteed. Sometimes they get their way, sometimes we get ours. I suspect their decision making is a lot like their investing process; they analyse and debate everything, and if anything that is the only time conflict ever enters the relationship. We sometimes have to do a lot of persuading and arm wrestling to make the advertising we believe is right, and I honetly believe a lot of agencies aren’t willing to go as far as we do to fight for their work. They’d rather not rock the boat. Generally speaking, most advertising reflects what the client wants and the agencies willingness to give them what they want. We’ve always been able to tell Allan Gray what our strongest opinion is without feeling like we are risking our relationship. That’s the strength of the partnership.

Where did the partnership begin between Allan Gray and King James? Allan Gray started to offer unit trusts to individuals in 1998. This was the start of a retail business. In 2001 the decision was made that Allan Gray needed to invest in building a retail brand. At this point Allan Gray went through an advertising agency selection process and appointed King James. The relationship has grown ever since to what it is today. Was it from the beginning between Henk and Alistair? Or did you inherit the business relationship from somebody? I only joined Allan Gray in mid 2008, so I can hardly take any credit for the brand or the advertising which has always been of a high standard. In an agency-client relationship it is seldom only two people that are at the heart of the relationship. At Allan Gray there always have been and still are three or four key people who are intricately involved in the marketing and advertising decisions and all of them have relationships with Alistair and others at King James. On both sides there are some, like Alistair King, James Barty and Megan Clausen from King James and Tracy Hirst from Allan Gray the marketing manager who have been involved in the relationship from the very start, and there are others like me who have come or gone at various points in time. Allan Gray have set the standard in terms of advertising in the Investment and Banking sectors. Being the pioneers how hard was it initially, to start pushing the way these brands are seen? Was there much opposition to the initial idea of how to portray this brand? I think any brand that pushes the boundaries is likely to go through a rather painful formulation stage. Even if that is only internally. Some of the things that make Allan Gray advertising good, like focusing on human emotions and how to communicate using mass media, do not come naturally to an investment manager that prides itself in its deep analytical and rational capabilities. On top of that it is a business that has strong roots in its founder, and senior people who have been with it for a long time. There is a very strong personal internal culture, which makes for staff members who are very invested in the brand. As advertising is subjective and difficult to evaluate before you actually start advertising, there is an intense process of debate before any advertising is approved. I can imagine it was very hard initially, as even today, with 9 years of experience with King James, it remains a rigorous affair to launch any new advertising campaign. Most advertising in the investment and banking sector portray an individual or the brand excelling and being smart directly. The decision to showcase this in a more subtle fashion, do you think it is as the consumer becomes more mature that you are doing this or you that are pushing the consumer to develop in maturity? There are many answers to the question. Firstly Allan Gray does not attempt to be all things to all people in the investment space. Our advertising always aims not only to create awareness, but also to build understanding of our values or principles of investing. We therefore target people who do invest, or want to invest, with a similar philosophy or mindset. Secondly, like most brands, we seek strong differentiation from

our competitors. This made us realise that there is an opportunity to really stand out by following an approach that is different to the norm that is expected of the industry. In summary I think we probably target the more mature consumers first, but I also agree that consumers are also developing in their maturity. We look at brand building over years, not only from one campaign to the next. I would also caution that marketers who believe that you need to be as direct as possible in your messaging may just be under-estimating the intelligence of their audience. I may still be proven wrong on this, but that is how I see it. The advertising has received much critical acclaim, has this helped to leverage to push the boundaries further for the client? In a nutshell perhaps it is about positively influencing client behaviour so that they can get the best out of our long-term investment approach. The critical acclaim is very flattering, and helps in convincing people that we do a good job of influencing client behaviour, but it is by no means the core of what we look at when measuring our success. Actual client behaviour and feedback around our advertising, other communications and service from our own clients for example play a much stronger role in setting the direction for us. However, it is true that the standards we set for ourselves have always been high, but have become even higher, perhaps mostly because of the critical acclaim we have been receiving. How has the process worked between King James and Allan Gray, are you working along with them through the development of the idea or at what stage does he get involved? Allan Gray team members are involved throughout, but mainly at the initial stages of briefing, approving concept and then again at final approvals. In our case, because King James understands the brand and our business so well, the process is more fluid than perhaps what one would read in a marketing text book. We do not write long briefs, it can be on half a page, or even verbal. The concepts that are produced by King James are entirely their ideas, we do not give suggestions or ideas of our own on how the brief can be met. Once we are presented with concepts there are usually rigorous debates and thinking before we choose any particular one. From then on, we will be available throughout the process, but in essence we trust King James to do what they do best, and try not to get too involved in the actual production of any ad. It seems that there is a winning formula after listening to the insights of Henk and that of Alistair. A steady interactive process or pushing the boundaries and never under estimating the consumer has led to a point where the goals of the campaigns are being met and there is a high trust which allows for considerable debate which is healthy and further helps facilitate the improvement of the work produced. The strengthening of the brands identity not only in the short term but going forward for years. by Ryan Jared Ali

Some of the things that make Allan Gray advertising good, like focusing on human emotions and how to communicate using mass media, do not come naturally to an investment manager that prides itself in its deep analytical and rational capabilities.

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LOERIES

healthy l for the - essentia l and oi r ts e in jo Liv , Cod brain, heart e th lthy fish. a of he function are very d Co . m e st digestive sy

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car freshener - cause your car stinks too

testing - beta Betavit 994 1 e c sin vitamins

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tee shirt - never trust a Chinese “Large”

Swizz

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Lanyard - to hang your fifty other lanyards on.

Pen - Write this down “no goodie bag is complete without a pen”

Product Flyers - in case you cant read the labels on the packaging, dummy!

Lux - because your girlfriend stinks too

Readin g ma terial time while - in c waitin ase y g for ou ne your categ eded to p ory to as be ca s lled.

UNPACKING THE LOERIES We all love the goodie bags we get at functions. They are like the adult version of a lucky packet. Who wouldn’t love tiny gift samples, overly branded tee shirts and useless free stuff? For some of us they are the only reason we attend the events in the first place. For others the goodies last long after the event itself has faded from memory and they are left to wonder “now, where on earth did I get this mug that has a picture of a dolphin wearing pants?” This year, as in past years, the Loeries handed out it’s own goodie bag to guests. With great relish we ripped them open, hoping for stickers of Justin Biba or Zack Effron and maybe a plastic whistle or a comic. Here’s a brief look at what we did find. As they say, It was a mixed bag. by Zachariah King

PHOTOGRAPHY

The Heroes and Villians project Heroes and Villains, the words evoke strong imagery in the minds eye, in most cases though, these images are clouded by preconceived ideologies. Tatiana and Roman, the photographic duo responsible for the project, hold that the line between heroes and villains is fluid and dependant on point-of-view or perception. Their candid portraits of street artists and graffiti artists are not slanted either way, but rather focus on allowing the subjects natural expression to come to the fore. As they explain it, the artists they have captured on film can be hero, villain or both simultaneously. Why the title Heroes & Villains? Tatiana and I chose the title “Heroes & Villains” because of the many layered meanings it

held for our project. With the street artists, many are in trouble with the law. So there’s an interesting dichotomy of the artists being revered by their fans while vilified by the law enforcement. Furthermore, the passion of the fans run so high that even within the audience, the same artist is held in high regard by one group while held in contempt by others. (And REALLY held in contempt.) The title is also a sly wink to the alt-comics/graphic novelists in our project because their work DOES NOT focus on the comic genre mainstay of superheroes but instead focus on more personal themes. Also, with any emerging scene or culture, there is often an “us against them” kind of mentality in relation to the established

circles. The title is a nod to that. Tell us a bit about yourselves? Roman, I’m 33, born in Seoul, Korea, reared in the USA, living in LA. I started photography as a hobby when I was a kid, got more serious after college and was lucky enough to meet a photographer and start working with him. I taught myself the basics, learned advanced techniques on the job by assisting great photographers and the rest was trial and error. Now making a living as a photographer. Tatiana, I was born in Washington, DC and live in Los Angeles. When my daughter was born I bought a used Pentax and was hooked. I took it everywhere and shot everything in sight, I learned simply by trial and error. I also

built a darkroom in my garage and was really into printing for a while. Later I got a job in the photo department of an ad agency and worked my way from photo editing to shooting campaigns. Now I’m mostly shooting my own projects. Tell us how the Heroes and Villains project came about? We worked together on a job in Vegas. We had fun doing that and a year or so after, Tatiana proposed doing a project on Vegas. We tried, but because of our busy schedules simply couldn’t get to Vegas together! Realizing this wasn’t going to work, I proposed a project I had in mind for a while but couldn’t get started on; a portrait series on a new generation of comic book artists. Unbeknown to me,

Tatiana was thinking of doing a project on street artists. We talked about it and decided to combine our ideas given that both were similar. It was evident that media that was formerly dismissed as childish was now being recognized in it’s own right. In the past, much of the work (comics and graphic novels, and graffiti) influenced art, now the work is art. As we moved along on the project, we discovered the New Gallery / Pop Surrealist / Low Brow scene (hate the names. still haven’t heard a good name that describes this new scene of artists) which fit well with the other two genres and included it as well. The project started three years ago and is still continuing as there are some artists that we still want to photograph.

Seagram Pearce Photography 78 Shortmarket Street Cape Town info@seagrampearce.com studio 021 422 5823 mobile 083 978 3143

www.seagrampearce.com

www.flos.com

EUROPEAN LIGHT AND DESIGN CENTER • 310 VICTORIA ROAD • WOODSTOCK - CAPE TOWN • tel 021 4488684 • fax 021 4488611 • info@eldc.co.za

DESIGN

Jerod Gibson’s movie quotes posters These great art prints are from graphic designer and art director Jerod Gibson’s new project called 37 Posters. Jerod Gibson designed this series of posters for various movies and television shows, feature quotes typographically fitted into various minimalistic objects from each

film or show. For example, the Millennium Falcon has quotes from Star Wars stuffed in it, a bowling ball has quotes from The Big Lebowski, the briefcase from Pulp Fiction, obviously, contains quotes and our personal favourite the Simpsons with quotes like “beer the cause and solution to all of life’s

problems”, “doh” and many more as seen above, that will have you reading them out again and aagain. While the idea of fitting type into various shapes is nothing new, this is a fresh take on the concepts and applied beautifully. Jerod has also opened up an online shop as

a home for the 37 Poster project where not only can you purchase the limited edition fine art prints but other adaptations of the project. These include vinyl stickers for notebooks and iphones, tshirts and hoodies. The project translates brilliantly to all these mediums and we can’t wait to get our hands

on some of it. The project name will soon have to change as requests for other movies have been pouring in and Jerod says he will soon add to the growing collection of designs. Well be sure to check out the complete collection on his website. www.cargocollective.com/jerodgibson

FIRST TECHNOLOGY

ROUNDTABLE

Adriaan Landman College of Cape Town

Viv Gordon Viv Gordon Placements

Busch Andrea so urces Human Re Ogilvy

Chrizanne van Vreda graduating Student AAA School

Ryan Jared Ali Designtimes

Michelle Young General Manager CityVarsity Christine Swartz Viv Gordon Placements

How can graduates break into the creative industry? Discuss The gap between the industry and graduates leaving design schools and universities are undoubtedly large. Assimilating themselves into environments where profits and business sustainability become issues, which they have to deal with as part of a business unit. The world we see today is so far removed from 20 years ago and things are changing at ever increasing speed. Will a time come when graduating from a university institution or design school takes too long? Or has that already happened? Are the new generation being equipped to succeed in the new world or are they being educated with the ideals of the old world which does not exist anymore. Marketing strategies which were developed in a world before social networking, mobile phones with applications and blog’s. Is what they have learnt even relevant? Success in business today will be from innovation and forward thinking, are educators and business collaborating enough to ensure that the designers or the future are ready to build and create that future. To gain an insight into the challenges being faced and how these are being addressed we have brought together a group from various sectors. This will help us to work out some answers as to where success lies and is to be found for graduates. There are various approaches to the

solution of competent graduates and after discussing the topic a common thread of focus seems to filter through. Focus as to what the institution is trying to achieve for its students or better said clients. Looking at the College of Cape Town Dr Adriaan Landman has taken the challenge of working with clients from a local income bracket and difficult living conditions. Dr Landman’s major challenge is, “My clients are coming from lower income groups, if you are coming from a shack what is your aesthetic perspective how do you teach some to look for beauty when you come from that kind of world?” This is a real issue which he has taken on and has had much success. A success story was had where a collaboration was completed for Luke Dale Roberts at La Colombe Restaurant where a set of crockery was made up for use in his restaurant and later there was sales generated from this and was able to fund the studies of those who participated in the project, ultimately that is an outcome which is desirable. The arts are being made into a reality and thus in turn helping to sustain the creative art in the future, the question of what relevance does art have to someone living in a shack? The creative arts could be a vehicle to grow out of that situation. Another approach to the solution is presented by Michelle Young of City Varsity. Differing challenges are faced as

they fall into the higher education tier. A large component of what is done has to be theory. However, the environment that is created is that of a production house. The interactions between faculties are not only encouraged but as part of the end of year project all 8 faculties join together to complete one project. This approach is certainly effective as this will definitely facilitate the skills needed to be a success in the real world that of working with other professionals and getting that done in a cohesive manner that leads to success as a unit and not only as a individual. ”Once a year we have role players from industry indaba and we show them our curriculum, find out what does the market need and what can we add because the market is dynamic.” This is important as it serves as a constant barometer not only to find out what industry needs but industry also gains by later extracting much more prepared graduates. These are good approaches to producing good graduates but what is industry facing in terms of who is applying at their doors? Christine who is in charge of the creative art account for Viv Gordon Placements commented that there is a definite hierarchy of schools at the moment. Some of the advertising schools are producing students which are very well prepared with commercially driven portfolios and a good sense of reality in terms of what the industry

expects from them. However, other schools are not applying what they are doing well and equipping students well at all. Viv Gordon commented on this by saying, “The one thing I do find which is across all categories not just the creative arts, there isn’t a hunger to get out there and get a job like in the past, which I mean 5 years ago. By September/October we had people knocking on our doors with their portfolios. Now they go on holiday when they are done come back January or February they start cruising in. There isn’t a hunger and a competitiveness to know they have to be better than their colleagues in order to get those jobs which are limited. “ While discussing this same point with Andrea from Ogilvy and Christine share the same sentiments, of a major disparity between the advertising schools who prepare students well and other institutions who are not doing a good job at the preparation. Further to that what Andrea looks for as a HR practitioner is the drive and attitude especially in the advertising environment. If graduates are not going to gel into the workplace they are going to get chewed up and spat out. A major point of concern is that of basic language skills and CV writing which needs to be addressed. “How can someone design without being able to read and comprehend?” Who is going to be succeeding in this

environment, Students like Chrizanne van Breda have shown that there are still students out there that are passionate and willing to put the time and effort to succeed. This has resulted in a situation where prior to graduating she has the choice of two jobs to decide from. This is a direct manifestation of her hard work earning her a spot in the top of her class which afforded her the chance to be chosen as the cream. The environment which has helped her to be moulded like this is the deadline schedules of every two weeks which are not flexible at all. This is a major contributing factor to help develop that sense of urgency. Viv Gordon comments on this by saying that this is what is essential, “the sense of urgency!” It seems that whatever is in place systemically the old adage of the cream floats to the top holds true. Students that are looking for opportunities to hone their craft, even through working on small freelance jobs taking ideas from concept through to repro are setting themselves apart from the rest. It seems that all is not doom and gloom in the education system however a re-injection of drive and perhaps an injection at school level to instill a competitive spirit is what is needed to accelerate the development of young South African creatives. by Ryan Jared Ali

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ARCHITECTURE

Designer of the year

The last paper generation Begin with the end in mind, a common phrase in strategy and management sessions. But today this phrase is being applied to something which was not thought possible a few years ago. The democratization of design is well on its way but product design has long remained the crown jewel. The forbidden fruit which mere aspiring or hobby designers would not dare to venture into. Things have been gearing up for a change processing power of the average desktop has progressed to the stage where the same software used to design the Airbus A380 can be loaded onto your desktop and with enough man hours you could design your very own Airbus A380. Although you may not have enough man hours available in your lifetime. The example of Gustav Coetzee a student at Academy IDT clearly shows what is possible, self taught due to only having

been in his first year or studies and this content has not been covered yet. With having a knowledge of basic CAD principles has rendered photorealistic intricate componentary from the inside of his mother’s washing machine. Which was taken apart, measured and then remodelled. The detail and professionalism is impeccable. We won’t fool ourselves to believe that anyone can tomorrow produce designs of this quality, however, the change that has taken place is immense. We all sit around tables and have better ideas than the products we see but now the time is here where we can really see if our ideas are better or not. Personal design is the new future localised designs or will product designers partner locally to tailor designs. Is the thinking of “Think global, Act local,” finally taking root? The process of getting your idea from

inception to reality is surprisingly simple. This change is definitely going to raise the stakes in industrial design circles. The time it takes to complete a model compared to previous compiling this through various stages such as first sketching up a idea, which in actual fact is a step back in the process as what designers see in their mind is anything but two dimensional. The process of taking it back to two dimensions seems counter intuitive but has been necessary as this has not been possible before. All excuses are gone, the next revolution is not too far away. CLOUD COMPUTING, the 2012 version of Solidworks looks to possibly change design in a drastic way. All the processing power needed for design work, not required. So what does that mean. It means architects standing on site with a tablet device making real time changes to designs and re-rendering them immediately to see what the outcome will

be. 3D animators on set already working along with production teams and not being couped up into labs of post production. Great ideas do not keep to business hours and with mobile computing rapidly developing and deployment of products such as Solidworks supporting this move to mobility. Further discussion with the creators will provide some insights into what a Solidworks 2012 will mean if it has integrated cloud computing. As end users this only means a great future with good design becoming the standard and why? The democratization of design. If you are not happy with products, design your own, never before possible, now a reality. Beginning with the end in mind is easier than ever. A revolution in industrial design is imminent. by Ryan Jared Ali

Design Miami, the global forum for design, is proud to announce that German designer Konstantin Grcic has been selected as this year’s recipient of the Designer of the Year Award. New work commissioned for the fair, along with an exhibition of highlights from Grcic’s career, curated by Grcic himself, will be presented at the December 2010 edition of Design Miami. Each December, the Design Miami Designer of the Year Award recognizes an internationally renowned designer or studio whose body of work demonstrates unmatched quality, innovation, and influence, while expanding the boundaries of design. The Designer of the Year must demonstrate a consistent history of outstanding work, along with a significant new project, career milestone, or other noteworthy achievement within the previous twelve months. Past Designer of the Year winners include Zaha Hadid, Marc Newson, Tokujin Yoshioka, the Campana Brothers, and Maarten Baas. “As we started looking at potential nominees for this year’s award, Grcic’s name quickly rose to the top,” says Wava Carpenter, Acting Director of Design Miami. “Once nominated, our jury unanimously voted for Grcic, a clear testament to the strength of his work both throughout his career and over the last twelve months. Konstantin’s work in the last year has demonstrated his incredible range and prolific talent. His ability to work in multiple contexts simultaneously is the hallmark of today’s most successful and enduring designers, who of necessity are highly sensitive and responsive to the fluctuating demands of the market and the rapidly evolving discourse surrounding design.” The Munich-based Grcic is not only one of the world’s most influential designers, but his disciplined, architectural, and boundary expanding approach to industrial design continues to set his work apart from his contemporaries. Founded in 1991, Konstantin Grcic Industrial Design has worked in fields ranging from furniture and product design to exhibition design and architecture related commissions. Grcic’s products have received awards including the Compasso d’Oro and are part of the permanent collections of world- renowned institutions including The Museum of Modern Art in New York City and the Centre Georges Pompidou in Paris. Throughout his career, Grcic has designed for companies including Cappellini, Established & Sons, Flos, Iittala, Krups, Magis, Moroso, Muji, and Vitra, among others. In keeping with Design Miami tradition, Grcic has created an installation for this year’s fair. His piece, entitled Netscape will be presented in an outdoor area in the courtyard of Design Miami’s Temporary Structure designed by New York-based design studio Moorhead & Moorhead. www.designmiami.com

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TECHNOLOGY

Creator of world’s first laptop computer wins royal prize

Asus bamboo notebooks ASUS has made its commitment to green values quite clear with the release of a brand new Bamboo Collection of notebooks. This is a follow up to the first Bamboo Series launched in 2008. The U Series Bamboo Collection notebooks sport smoky brown bamboo exteriors that are not overly treated so as to retain their organic look and properties, bridging the gap between nature and technology. The notebooks espouse an elegant, streamlined design that is subtle but very noticeable. They contrast their natural bamboo exteriors with sleek, brushed aluminum interior surfaces and a seamless chiclet keyboard that is as comfortable to use as it is great to look at. One clear advantage of this innovative design is light construction. The designers of the U Series picked bamboo not just for its looks, it was chosen after research identified it as a quicklyreplenishing resource whose utilization has almost no impact on the environment as a whole. Using bamboo also cuts plastic use by up to 15%, delivering a natural feel that one would usually associate with top-end designer furniture. In addition, the notebooks’ green roots are reflected in the product packaging which is made

of 100% natural and recyclable bamboo pulp and non-woven packing cloth. ASUS has put a lot of intelligent technology into U Series Bamboo Collection notebooks. Its exclusive Super Hybrid Engine (SHE), which monitors processing loads and delivers just the right level of power, works

The advantage of this design is it’s light construction alongside NVIDIA Optimus technology to conserve energy and hence extend battery life. Optimus technology intelligently switches between high end discrete graphics and normal integrated visuals, depending on system usage. Whenever possible, more energy-demanding graphics are turned off to conserve power, prolonging battery life. U Series Bamboo Collection notebooks also feature Syncables technology that enables effortless syncing with a plethora of devices, including desktop PCs, other notebooks, smartphones and digital

cameras. This makes it easy to share files, backup data and access collections quickly. Intelligent syncing allows users to get more done using one light notebook as their nexus — invariably reducing their energy footprint as less equipment needs to be powered on at the same time. USB 3.0 is another new addition to the range, reflecting the move toward everfaster data transfers. The new standard is up to ten times faster than USB 2.0, and is fully backward compatible to ensure that all existing USB devices can still be used. And while transferring massive content and large files in mere seconds is a plus, USB 3.0 is also good for the environment, since it charges devices much faster than USB 2.0 and requires less power to do so. The LCD panels come with a Zero BrightDot guarantee, providing peace of mind against dead pixels. The Splendid Video Intelligence Technology automatically tweaks colors, sharpness and other visual parameters to ensure the best experience regardless of the content being viewed. Finally it features high fidelity speakers with SRS Premium Surround Sound for outstanding audio reproduction. www.asus.co.za

The man who changed the way many of us live and work by designing the world’s first laptop computer as seen above, Bill Moggridge was named the winner of the 2010 Prince Philip Designers Prize by His Royal Highness The Duke of Edinburgh at a ceremony at the Design Council in London in November. Bill Moggridge was chosen to receive this year’s Prize from a stellar list of globally recognised nominees including avant-garde fashion designer Dame Vivienne Westwood, creator of the London 2012 Aquatics Centre, Zaha Hadid and the creative powerhouse behind Burberry, Christopher Bailey. The Prize is awarded annually to recognise a lifetime contribution to design. As one of the most pioneering designers of the 20th century, Bill Moggridge has been central to how design makes technology make sense to the people who use it. In the late 1980s, he was a leading force in creating the discipline of interaction design, which has set the terms for how human beings engage with computers. In the early 1990s he co-founded the design agency IDEO, which has arguably become the blueprint for the international, strategic creative agency. Today, he makes a forceful educational contribution as Director of the Smithsonian’s Cooper-Hewitt, National Design Museum. With such an unprecedented line-up of nominees, the judges decided to also award three Special Commendations to Dame

Vivienne Westwood, to graphic designer Neville Brody and furniture designer John Makepeace. David Kester, Chief Executive of the Design Council, commented: “The Prince Philip Prize provides a timely reminder that we are a nation of innovative, sometimes maverick thinkers, that’s why the UK continues to be at the forefront of global design. Celebrating those talents is a vital part of inspiring our next generation of worldchanging designers, innovators and creatives.” This year’s nominees included pioneers and provocateurs covering a wide range of disciplines, from architecture to industrial, graphic and fashion design. Between them they provide a snapshot of the creative and commercial strengths of the UK design industry. The Prince Philip Designers Prize celebrated its 50th anniversary last year. It was created by His Royal Highness as a response to post-war austerity, and aimed to stimulate and reward elegant solutions to design problems. In its half century, the prestigious award has rewarded the best in design from products and graphics to buildings and feats of engineering, and has put the spotlight on designers for influencing and shaping our daily lives. Former winners of the Prize include Thomas Heatherwick, the architect Lord Foster of Thamesbank and Habitat founder Sir Terence Conran. www.designcouncil.org.uk/ppdp

Bill Moggridge is one of the most pioneering designers of the 20th century

DESIGN

Student portfolio

Theo Donald wins a Loerie for commercial

Lost in sofa We often loose things in between the cushions of a sofa because they have fallen out of our pocket, or have just somehow found their way into the cracks, sometimes never to be found again, or perhaps stumbled upon accidentally while cleaning. Tokyo based architect Daisuke Motogi’s

‘lost in sofa’ plays on these occurrences, and has been designed to make the cracks between seat cushions purposeful, in this case loads and loads of storage for books, television remotes, phones etc. Photography by Takafumi Yamada. www.dskmtg.com

A typical surfer-looking guy walks into a shop, picks up a box of Otees cereal and a carton of milk. With determination he puts it down on the cashier counter, opens the box, pours the milk, and shakes the cereal mix before he ambitiously tries to down it all in one go, covering his face with milk. The maker behind this comical commercial Theo-Donald Stewart recently won the silver Loerie award in the student category of TV and Cinema Commercials though he was believed to be the underdog among the nominees. I meet up with him at CityVarsity, Cape Town, where he is currently finishing his diploma in Film and TV production. Behind the camera he’s the comedian and in an interview he boosts with confidence, but in front of the lens he is extremely shy; almost to the extent that it is impossible to take a photograph of him. So tell me, how did you get involved with the Otees campaign? It was a competition organised by Bokomo Company. They invited all the film schools to do an Otees advert, and my teacher, Riaz Solher, thought that I should enter it. So I gave it a go, and we ended up winning the competition which is cool. And then you won a silver Loerie even though you were believed to be the underdog. What do you think about that description? The underdog? I think it’s cool, because there’s not a lot of pressure there and you get double the reward because you’re not expected to win. I like to prove people wrong. You’re majoring in camera work and lighting, but wrote, directed and edited

the Otees ad. What’s your strongest card? Coming up with adverts and conceptualising them is what I specialise in. In past productions my adverts contained a fair amount of humor and I sort of became the comedian in my class. Camera work and lighting are skills that I chose to learn so I can use them together with my directing. So when I get on set nobody will be able to bullshit me because I can think for myself. How did you come up with the idea? I just thought of the quickest way of getting cereal down your throat; buying it at the store and putting the milk in the box. And then the tag line too good to wait goes with what the person is doing. He literally can’t wait to eat the cereal. What’s your take on cereals? Are they too good to wait? I don’t really like cereals to be honest. Its too artificial, and not very nutritious. They say it has like nine different vitamins, but I think it’s a load of... I guess I can’t say that without getting into trouble can I? It’s not that I really dislike cereal, I just don’t eat it. Do you see yourself going more into the advertising industry? Yes, definitely. It’s creative and the money is good. Being creative is my first priority, and the money is a bonus. I don’t want to do boring redundant non-thinking work. I would like to do internet videos and work with internet marketing. I’m actually on my way to a job interview. I also want to work on more adverts for next years Loeries to prove that I’m not just a one hit wonder. by Siri Linn Brandsoy

This year The Loerie Awards launched the Student Portfolio Day, in partnership with Adobe. The portfolio day took place during the Creative Week Cape Town at the Old Slave Church Museum on Long Street. This new initiative gave 40 top students the opportunity to showcase their work to the thousands of creatives that flocked to Cape Town for The 32nd Annual Loerie Awards, with the intention to expose this young talent to the industry. “Adobe is proud to be associated with the Loeries Student Portfolio Day. We were overwhelmed by the positive response from industry in supporting the students that were showcasing their work at this event,” says Leonard Rabotapi, marketing manager in Africa at Adobe Systems. “We were astonished by the excellent quality of work and hope and trust that these students will secure employment from our leading agencies. The educational institutions represented were AAA Cape Town, Red & Yellow School Cape Town, North West University, Vega Cape Town, Vega Durban, AFDA Cape Town, Cape Peninsula University of Technology, Nelson Mandela Metropolitan University, Stellenbosch Academy of Design & Photography and Tshwane University of Technology. Each of these institutions had student finalists for the 2009 Loeries, and they each put forward a selection of their best students. Ryan Rapaport, a student at Vega Cape Town, explained how the day gave them the opportunity to meet and show off their work to the creative leaders in the industry. “It was great to see the standard of work from the other institutions in South Africa and have the input and interest of the best creative minds in the business. This gave us a great opportunity to make invaluable contacts and get a few jobs offers in the process. All in all, a very enjoyable and successful event”. Nathan Reddy, chief executive officer of Grid Worldwide Branding and Design, and winner of the 2010 Loerie Grand Prix for BA/Comair’s SLOW Lounge, attended the Student Portfolio Day and comments, “I thought it was a great opportunity for the industry to catch a view of what’s out there. It was interesting to see how different institutions approach the professional world. A must going forward!” There were also positive reviews from the lecturers and navigators at the various institutions. The event is free and will be on the cards for next year. www.theloerieawards.co.za

DESIGN

Sihle Maku Sihle Maku is a Photography student at the College of Cape Town. His keen interest and tremendous potential in photojournalism and documentary photography made him an ideal student to apply for a bursary for the Market Photo Workshop. Through the help of his lecturer, Ms Sonia Hamilton, he produced a 300 word motivational essay and portfolio which was submitted to the bursary committee. Sihle was accepted in the Photojournalism and Documentary Programme and been granted one of the few bursaries available. What makes this award more remarkable is the fact the bursary is awarded to professional photographers. During his studies at the Photography Department at the College, Sihle gained professional status as a photographer. The

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course allows for excellent opportunities as the students are taught and mentored by experienced professional photographers and placed in internships. The main bursary sponsor is Getty Images, the largest international image banks. This contact already gives the student a possible work entry into the international market place. Market Workshop also provides many other work contacts to develop meaningful career opportunities for bursary holders. Market Photo Workshop continues to create strong national and international links and plays a crucial role in establishing new voices in South African photography. Sihle Maku will enroll in January 2011. Our best wishes accompany him. by Adriaan Landman

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Growing the Western Cape Handmade Sector The dynamic Cape Craft and Design Institute has designs on growing the Western Cape handmade sector into a competitive, world-class innovation and manufacturing segment. Western Cape creativity Cape Town is the cultural and creative capital of South Africa, supported by a bank of crafts producers and designer makers whose skills have been honed over generations. Both locals, and the many tourists and business visitors who flock to the metropole, have a growing appreciation for the wonderful handmade items that are produced in the region, ranging from ceramics, bead and wire ware to wood, textile and even recycled products. While the vast economic and creative potential of design is increasingly recognised – it can generate much-needed jobs, incomes and even export trade - this can only be achieved with strong support. Growing the handmade sector requires assistance in numerous areas such as creative inspiration, skills training and access to materials and finance. To help meet these needs, the Western Cape provincial government and the Cape Peninsula University of Technology set up the CCDI as a fledgling Section 21 company in 2001. Help at hand Under the inspiring leadership of CCDI executive director Erica Elk, and with the hard work of an enthusiastic and committed staff, the CCDI has become one of the largest and most successful of government’s Special Purpose Vehicles. It has partnered seamlessly with national, provincial and local government to make a real difference to the craft enterprises on its database, now numbering about 1900 – compared to about 63 on its database in 2001. The CCDI’s many demand-driven projects are fully aligned with the provincial government’s aim to improve the global competitiveness of the Western Cape by identifying and tackling constraints to investment, marketing the destination, cutting red tape, encouraging a fair business environment, and promoting the participation of citizens in the economy, particularly small and emerging

enterprises. Core CCDI programmes The CCDI has three core programmes: Product Support helps craft producers to develop their products and target appropriate markets, as well as attending workshops and other programmes to develop creativity, design and innovation.

The vast economic and creative potential of design is increasingly recognised The Busisness Support programme offers learnerships to develop craft producers’ skills in design, business management, production and marketing. There is also mentoring and counselling for craft enterprises. The Market Support programme helps craft producers to define their targeted niche markets and to reach them through channels such as local craft markets, retail outlets and trade shows. An order facilitation service helps craft producers to reach both corporate buyers and retailers. It also helps them make the transition to the challenging and highly competitive export market. Established craft producers and designer makers are not only getting the opportunity to showcase their products at local trade shows, but also tapping into top international lifestyle exhibitions such as Ambiente in Germany and Top Drawer in London. Here they are notching up orders and establishing valuable long-term contacts. There are also support programmes such as the Communications and Sector Promotion programme that includes a factfilled website and newsletter, reflecting design and craft news, articles, research, events, training opportunities, and more. Under the Rural Outreach programme, a

dedicated officer travels to the Winelands, Overberg, West Coast, Central Karoo and Eden regions, to ensure that even remote rural craft producers can access creative workshops and other services. Dynamic design assistance One of the meccas for local designers is the Product Support programme, on the 4th floor at the CCDI offices, 75 Harrington Street in the CBD. Here craft producers, learners and the general public make use of assisted DIY computer-aided design/ manufacturing environments equipped to facilitate the development of ideas into prototypes. Access is free during open access times, which is on Mondays, Tuesdays, Wednesdays and Fridays from 12:30 to 16:00 and Saturdays from 09:00 to 12:00. Handmade Collection One of the leading showcases for beautiful Western Cape craft products is the annual Handmade Collection. In response to numerous requests for outstanding Western Cape craft and designer items to display in prominent settings, the CCDI launched its first Handmade Collection in 2009. High quality, creativity and Innovation are high on its selection agenda and this is a hugely prestigious collection to be part of. Many leading designer makers and craft artists have cited their inclusion in earlier CCDI Handmade Collections as a springboard to career success, raising their profiles considerably and leading to bespoke commissions. The prestigious 2011 Handmade Collection will showcase the top 100 handmade products in the Western Cape and will launch at the iconic Design Indaba Expo in February 2011. Thereafter it will be shown at conferences, exhibitions and creative venues during the year. Contacting the CCDI Whatever your area of handmade or design expertise, the CCDI could offer a helping hand to take your dreams and enterprises to a whole new level. Take a look at our factfilled website, www.capecraftanddesign. org.za or contact us on 021 461 1488 at our headquarters in the edgy East City 75 Harrington Street Cape Town.

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Whatever your area of handmade or design expertise, the CCDI could offer a helping hand to take your dreams and enterprises to a whole new level. Take a look at our fact-filled website, or contact us at our headquarters in the edgy East City on 021 461 1488.

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CAPE CRAFT & DESIGN INSTITUTE

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2010/11/16 3:23 PM

EXPERT SERIES: Mobile Techniques

Create an ad for iPad with Adobe® Digital Publishing Suite It’s more re-imagine than re-design when exploring the possibilities of the new Digital Content Bundler, Interactive Overlay Creator and Digital Publishing Plug-in for Adobe InDesign®, writes Eva Csernyanszky These tools are used in combination with InDesign CS5 to author a single or multi-page, single issue application. Add interactivity DQG EXQGOH WKH ¿QDO FRQWHQW into the an issue and preview and share it on the Apple iPad through an Adobe branded viewer. In this tutorial you will create alternate vertical and horizontal InDesign layouts, enabling viewers to rotate the iPad to view a different layout orientations, and then bundle and test it using the Adobes new Digital Content Bundler.

TUTORIAL

ADOBE INDESIGN CS5 Duration 30 minutes Level of difficulty Intermediate What you will learn - Bundling horizontal and vertical files for iPad conversion - Understanding .issue and .folio formats - Working with stacks - Exporting via the new AIR applications - Viewing the bundled issue on iPad

The final item that gets loaded to the iPad is called an issue and uses the .issue format. Each issue consists of one or more stacks which can be an ad or an article. Create the dual orientation InDesign layouts for your simple, static ad. Name the layouts with suffixes such as “Ad_v.indd” and “Ad_h.indd”, for example.

Create a 70x70-pixel file called a tocPreview.png. This file appears as a thumbnail image in the Viewer table of contents. Save this into your issue’s folder, as above in Step 2.

Now that the issue includes a stack folder with all the necessary files in place, you’re ready to use the Content Bundler to create an issue file that can be uploaded to the iPad. Begin by closing all InDesign files. If you have not already done so, install the InDesign plug-in by double-clicking the InDesign Plugin.zxp you would have downloaded from Adobe Labs. Launch the Content Bundler application.

Click New, browse to your issue folder, and click select to choose the directory to be used. The Content Bundler launches and prepares the files for the iPad.

Choose Export Issue and test your layout on an iPad directly. Note that you cold also Sign in and upload the issue to a test server that Adobe has provided.

You may experience that the application stalls at this point, in the Beta version. If it does, it’s a background process called Switchboard, for details on troubleshooting, go to page 43 of the user guide.

In the Export Options dialog, choose Single file from the Issue pop-up and use the default export settings for Dimension (1024x768). Click OK.

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

Package the InDesign files beforehand so that all linked images and fonts are collected. Ensure that your files are organised correctly for the Content Bundler application to bundle them into an issue. (The beta version’s .issue format will later change to .folio when shipping, so be ready for that name change when you get your copy.)

Finally, view the bundled issue on your iPad by installing the free application, called the Preview Tool, available on the iTunes Store. Adding content to the Preview Tool from your desktop is called sideloading (as opposed to downloading from a server). The application will appear as “Adobe Preview” on the iPad. Browse for the .issue file from the iPad and test it.

Enter the issue data such as the Magazine Title, Issue Title and Issue Description at the bottom of the dialog box. The meta data fields, such as the Kicker and Ads fields, refer to the section title of the magazine and the Ad indication field, respectively. Add details to the Ad column for any content that should not appear in the table of contents.

Specify a known location of the file (such as the CourseSpecials_ Folder), type the name of the file, such as CourseSpecials.issue, and click Save. The prompt will let you know that you have exported the issue correctly.

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