Issue 36

DESIGNTIMES south africa’s creative resource

www.designtimes.co.za

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Garrick Hamm is a creative partner at London based brand design consultancy Williams Murray Hamm. He will be judging at this years Loeries.

/06 DESIGN

LOVE AGENCY

Love Agency was founded just over a year ago by Tomas Ramanauskas and his business partner Maksim. The agency is based in Vilnius, Lithuania.

MAY / JUNE 2011 Issue No.36 ZAR 15 EUR €2, UK £2, US $3

/12 PHOTO

PETE BARRET

Pete Barret has been taking photos for the last twenty years.

Awards for his photography are legion. He’s been callled the photographer’s photographer.

ZAR 5 goes to the Japan Earthquake & Tsunami Relief Fund

DESIGN

GARRICK HAMM

in cahoots with 9 77199 9 24 8001

06011

Loerie Award Winner

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NEWS

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Nikon wins four red dot’s

f you’re reading this then you have already given R5 to the Japan Earthquake and Tsunami Relief Fund.

Look to the right, really... go on look to the right. We tell you all about the cover illustration and how it aids Japan. In this edition Garrick Hamm gives us his pound of bacon and tells us all about selling bread. Incidentally he will be judging at the Loeries later this year. Andrew Human gives us a preview of some of the changes to the Loeries categories and judging process this year. Lithuanian based Love Agency showcases some of their fascinating work from abroad and Pete Barrett and Luke Coppings show off their photographic prowess. There is plenty more to read and we have given you a little present this issue, an awesome centerfold poster of this issue’s cover art.

Enjoy! Mark Rosenberg

Editorial

Mark Rosenberg mark@designtimes.co.za Roxy Rosenberg roxy@designtimes.co.za Ryan Ali ryan@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Zachariah King zac@designtimes.co.za Kerrythe Mahaffey kerrythe@designtimes.co.za

Contributors

Eva Csernyanszky eva@friendsofdesign.net Editors photo Andrew Brauteseth

Our cover aids Japan

We commisioned Simon Berndt to create this issues cover with the theme, Japan’s recent disaster. The reason? Well its simple, we wanted to do our part to help. Five rand of every issue sold will be donated to the Global Giving foundation. We asked Simon to tell us about the illustration. “When coming up with the concept for the cover I wanted to draw on Japan’s rich history and sense of legend as well as bringing in the theme of the disaster. I’ve also always been fascinated with the samurai, the epitome of honour, duty and self sacrifice. So my idea was basically to try and combine all of these factors into one awesome illustration.

I wanted the style of the illustation to be a marriage of traditional Japanese art and more modern Japanese visual culture. After spending some time researching I came across a statue of a famous 14th century samurai general located outside of the royal palace in Tokyo. His name was Kusunoki Masashige and he fought for Emperor GoDaigo in his attempt to wrest rulership of Japan away from the Kamakura shogunate and is remembered as the ideal of samurai loyalty. When the emperor insisted that Kusunoki meet his enemies superior forces in the field in a pitched battle Kusunoki reluctantly agreed and knowingly marched his army into almost certain death. When Kusunoki, was down to only 73 of the original 700 horsemen he committed suicide along with his brother and the rest of his army. According to legend, his last words were Shichisei Hōkoku! “Would that I had seven lives to give for my country!” I felt immediately that this was an ideal folk hero to recreate, battling the elements in the defence of Japan.”

Cover

illustrator Simon Berndt, Onehorsetown

Sales Manager Wendy Scullard

Advertising

Wendy Scullard, Malika Samuels, Thandolwethu Jevu, Nigel Fortune, Enricho Monsinger

Traffic Controller Kelly Cupido kellycupido@telkomsa.net

Accounts Executives Kelly Cupido kellycupido@telkomsa.net Laurenda Hagglund laurenda@telkomsa.net

Office Administrator

Rene Williams beyondpublishing@telkomsa.net

Publisher

Beyond Publishing 25 Voortrekker Road, Goodwood Tel: 021 592 5721 Fax: 021 592 5714 www.beyondpublishing.co.za

Printer

Tandym Print www.tandym.co.za

MIT Media Lab To honor 25 years of backseat-driving robots and vision-scanning iPhones and touchscreen keyboard 3D display hybrids, the MIT Media Lab commisioned Brooklyn based designers E Roon Kang and Richard The to come up with a fresh identity. The result, an algorithmic logo that generates 40,000 logo shapes in 12 different color combinations, providing an estimated 25 years’ worth of personalized business cards or a unique image for each of the Lab’s various departments or projects. The algorithmic design represents the Media Lab’s first official coherent identity.

Creative Circle Ad of the Year The Creative Circle announced the winners of its 2010 Ad of the Year awards last month.The winner in the Magazine category went to FoxP2 for their National Geographic Kids campaign entitled, Air Pollution as seen above, Deforestation and Oil slick. Creative Circle chair Brett Morris said the Ad of the Year awards remained “a much coveted award as evidenced by the entries and quality of work.” “It’s very clear from the caliber of winners that the creative industry in this country is world

class. Creatives are certainly going all out in pursuit of new and innovative ideas that push boundaries and that’s exciting,” said Morris. Primedia Unlimited, sponsors of the Ad of the year talked the creatives through the creative opportunities available for ambient media and the growth of this category over the years. He said that Ambient media had grown to deliver half of outdoor ad spend and had to be distinguished from Alternative media which is a once off event.

Sony Cybershot HX100V Forgotten your camcorder? There’s no need to worry. At the touch of a button, the Cyber-shot HX100V from Sony now offer Full HD AVCHD video recording, capturing stunning movies in rich, high definition detail and stereo sound. The HX100V features a Vario-Sonnar lens

by Carl Zeiss with T coating on optical surfaces that virtually eliminates flare. The lens offers a 30x optical zoom range for detailed close-ups. Comfortable to hold and carry, the camera’s styling echoes the body shape and control layout of larger DSLR designs.The smaller and lighter sister camera, the HX9V offers a G Lens with a 16x zoom range with 24mm wide angle.

Nikon has won four accolades for product design in the 2011 red dot awards. The Nikon D7000 D-SLR camera, the COOLPIX P7000 and S1100pj compact digital cameras and the EDG 8x42 binoculars were all honoured this year with the red dot seal of approval for design quality.The red dot award for product design has become one of the largest and most prestigious design awards worldwide. This year, designers and companies from 60 countries entered 4,433 products. Winners will be on display from July 5, 2011 to August 1, 2011 in the exhibition “Design on stage - winners red dot award: product design 2011” at the red dot design museum on the premises of the Zeche Zollverein World Cultural Heritage Site in Essen Germany. www.red-dot.de

Used car part furniture As part of Green Office Week, Europcar commissioned students from Design Time a design school based in Woodstock in Cape Town to design and produce office furniture made from used and discarded car parts, from their own depot facilities.

Europcar initiated this project to reinforce and highlight the need to reduce, re-use and recycle as a means to making work environments more environmentally friendly and sustainable. Forty one first and second year students were divided into eighteen groups and tasked to design and produce the office furniture. The students were given six weeks to conceptualise and finalise their designs with the help of a mentor, Heath Nash. A complete gallery of photographs is available on Europcar’s Facebook page. www.facebook.com/gowithgreen

Featured on both cameras, the Optical SteadyShot with Active Mode is a image stabilisation system with ‘3-way shake cancellation’ as found on premium Handycam camcorders by Sony. You’ll be rewarded with clearer results when you’re shooting handheld, even at telephoto settings where camera shake is most pronounced. Bothe cameras offer a choice of 3D shooting options as well as the new Intelligent Sweep Panorama HR (High Resolution) mode. Just press the shutter button and sweep the camera, Cyber-shot captures huge panoramic images with an incredible 10480 x 4096 resolution. www.sony.co.za

Design Indaba Expo success Skew watch Design Indaba Expo has once again established itself as the leader in showcasing South African creativity, with 379 exhibitors and over 38 000 visitors.

This year’s event, which took place at the Cape Town International Convention Centre from 25 to 27 February, proved yet again to be so much more than just a trade fair. Complementing the main Expo was a chock-a-block daily programme of activities for everybody. All-day fashion shows presented the creations of some of the hottest designers on the scene while a short film festival took viewers on a delightful journey of escapism. The Design Indaba Kids workshops saw, among

others, Zapiro and Heath Nash showing the designers of tomorrow how to draw a striking cartoon or create something from other people’s rubbish. Pecha Kucha’s presentations by leading creatives gave visitors something to chew on while the Grolsch bar ensured that everybody stayed refreshed. Visitors also enjoyed a delicious, high-quality food market experience with the Earth Fair Market on the Expo floor.

One of the key attractions at Design Indaba Expo, the Most Beautiful Object in South Africa Award went to Woza Moya for their Dreams for Africa chair. The Most Creative Stand Award, as selected by Richard Hart, went to Ian Kelynack’s Isle of Trees exhibit.

A wrist watch should serve its owner, but generally one has to adjust their movements to suit the watch. Skew a new watch by designer Ross McBride allows for a more natural relationship between a person and their timepiece, by allowing them to adjust the LCD digital display to their ideal viewing angle. The digital module housed within the stainless steel case is able to tilt 30º clockwise, or counterclockwise, enabling the user, be they right or lefthanded, to adjust the display as they desire.

Functions include time (12/24 hour), date, 2nd time zone, alarm, stopwatch, and backlight. Skew is among the first lineup of products in Idea International’s new watch brand, Untrod.

DESIGN

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Garrick Hamm judging at the 2011 Loeries

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arrick Hamm is Creative Partner at London based brand design consultancy Williams Murray Hamm. Williams Murray Hamm specialises in inventing and reinventing brands. Garrick joined Michael Peters & Partners after graduating from Somerset College of Art in 1989. After four years he joined Tutssels/LambieNairn where he worked across a variety of different design disciplines and fell in love with the moving image.

Williams Murray Hamm was established in 1997 by Richard William, Richard Murray and Garrick Hamm. The trio set up the agency following a chance meeting and conversation at a wedding where they discussed a lack of new and exciting work in brand design. Almost eight years later the company employs 20 staff and boasts a number of D&AD and DBA Design

Fortnum & Mason’s packaging and identity and, more recently, helped launch Jamie Oliver’s new Recipease store in Clapham.

Garrick has a keen interest in design education, running workshops in the UK, Beijing, Singapore and Hong Kong. He has been profiled in the Financial Times and The Observer.

It’s no wonder with his twenty two years of experience in design and thirteen of those running Williams Murray Hamm he is also the 44th President of D&AD and also a judge at this years Loerie Awards.

Garrick most of us here in South Africa only know you as a judge on D&AD and now the Loeries, tell us something about yourself that we dont know?

I have two daughters and I’ve only met one other Garrick and it was a dog. I’m 6 foot, well not quite.

You formed Williams Murray Hamm with Richard William and Richard Murray.

What is the secret formula to finding the right business and creative partners, besides attending weddings?

Don’t go into business with mates. Business first, friendship second. Only work with people you like, you’ll find you do your best work with people you respect.

We’ve heard you guys are pretty good at packaging and identity design, tell us what projects stand out from the rest and make you proud?

The re-invention of Hovis, the relaunch of Fortnum & Mason and the creation of Jamie Oliver’s Recipease.

So you’ve won about every award there is to win, how do feel about winning awards and what do they mean for you?

It still gives me a buzz. Every year is a new awards year that just reflects if your work is hitting the mark.

Do you judge on any other award ceremonies?

I’ve judged every design award going, I’m an award tart.

How does it feel to go from winning awards to judging who should get them?

Judging gives you a snap shot of what’s going on in the creative world and a kick up the arse if you aren’t cutting it.

What do you think of the creative industry here in South Africa, have you been exposed to any of our work prior to The Loeries asking you to be apart of it?

Yes, at the Design Indaba.

Is it difficult to judge work that is very focused for a South African market especially when humour is involved?

Generally ideas are international. If there is a local joke, another judge is bound to point it out.

What are you looking for in the work you will see?

A great big idea, relevant and beautifully executed.

There’s been lots of talk about scam campaigns is this something you will look out for?

Most definitely. Anything that looks made up will be kicked out.

Garrick you’ve made two short films is this correct or have we got the wrong Garrick Hamm?

Yes, that’s me. In my spare time I’m a film maker. In the end it’s still using my storytelling muscle.

What do you do in your spare time?

I try keep my two cheeky daughters entertained and planning my next short film.

Mark Rosenberg

Hovis before we created difference

I will be looking out for that great big idea, relevant and beautifully executed Effectiveness awards as well as Marketing Magazine’s Design Agency of the Year in 2002 and 2004.

By far the most recognisable success of all Williams Murray Hamm’s portfolio is the Hovis bread packaging, which two years ago changed radically from a traditional design to the now-familiar baked bean, cucumber and tomato imagery. “We prefer briefs that can be expressed in a few words,” says Garrick. “For Hovis, it was ‘good things you can do with bread’.” The client wanted a design that kept something of the past but moved the brand forward, something they labelled ‘continuity and disruption’. “The main challenge Hovis had was that everybody knew the name, but it was associated with brown bread due to the old 70s adverts with the boy and the bike. The big money is really in white bread. They needed something that would attract people at the point-of-purchase.”

After nine months in development, the result was a huge boost in sales and a staggering 2,000 letters from people enthusing about the packaging. “That was a pretty unusual response, but as bread is at the heart of what people use and buy, it struck a chord with many people. I think it was so successful because we were actually talking to consumers. We weren’t overlaying old imagery but getting the message across in a modern way by saying ‘beans on toast is fantastic’.”

Garrick has been the Creative Director on Williams Murray Hamm’s re-launch of

Hovis after we created difference

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Love in Lithuania

L

ove Agency was founded just over a year ago by Tomas Ramanauskas and his business partner Maksim with participation from a local media company. The agency is based in Vilnius, Lithuania. When we asked Tomas why he started the agency this is what he had to say. “We started it, because we thought there was a need for an agency with no cynisism and kid-like sense of wonder and passion for the craft, in this tough and often very rough business. Both of us had quite solid experience in other agencies and knew what could be improved. Most notably, no corporate feel and fun as the main ingredient in what we do.”

Why the name Love Agency?

Three things, first, theres’ not enough love in the ad business and too much envy and greed. Second, we love what we do honestly.

Third, we love the brands we work with. If we fall in love with them, it’s much easier to convince the consumer, right? In the end it’s all about some degree of affection when we talk about relationships, between brand and audience.

Who are your clients and your favorites and who would you like as a client?

Most of our clients are local, they’re huge for our market but unknown outside the border. Our biggest client is Telia Sonera’s Omnitel a mobile operator. We can’t single out our favorites, because the others will get offended! Our dream client won’t be any of the award winning ones, like Playstation or Diesel. On the contrary, we’d love to create some great work for the ones who have crappy ad reputation like Ryanair airlines, for example.

What projects are you working on?

We’re promoting one cool electronic beats music festival Satta, we’re starting to work with National Theatre as a client and launching a few new product lines for one of the biggest supermarkert chains in the country. Can’t wait to share these.

What is your creative environment like?

It’s pretty loud. We’re a small company only 18 people, but there’s loud singing and cursing in equal measures. Most of the team are in their mid twenties, so it’s youthful and feral inside the office. We’re based in nice space overseeing Vilnius’ Old Town. So that gives a good push if creatives get stuck. You see the town from above and all problems become smaller.

Do you work as a team on every project?

Yes, totally. Usually there is a power team of art, copy and project manager plus strategic thinker. We always try to balance strategy and creative sides. Not as easy as it sounds. Me, I’ll try to oversee the general quality of the work that we produce. In some cases we have a few teams working on one solution. There’s no ego fighting in the agency and that is something which is new and unbelievably satisfying for me.

What is your creative process you start each project with?

We try to gather in a small team before we begin to see if the problem that we need to solve is stated right. Very often agencies get the brief from the client and start immediately working on it. But we try to reevaluate what needs to be achieved and if it’s possible. It’s a pain in the ass, but gets better results. Only then do we proceed with creative work. The creative process is also less of a stress, as we try to eliminate negativity in talking about ideas. “Ok, but could you do it a bit differently”, is a more common expression in Love Agency than “It’s shit. Go and redo it.”

What makes you successful?

Many things, most importantly passion. It’s central to anything in life and advertising.

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AGENCY

THE JUPITER DRAWING ROOM

C

onsistency, good relationships and the search for the next ‘Vuvuzela’ idea. Designtimes met with Joanne Thomas of The Jupiter Drawing Room to delve into what has been a interesting path from the time of hand drawn advertisements to augmented reality showing off conceptualised products which don’t yet exist in our reality.

The story begins at Young and Rubicam retail division where Jo started out working on the Pick n Pay retail account. It was a polar opposite of the methodology of today.

“Today with Macs on every desk. Then if you did a product and price ad you drew the product and price ad. In a weird way the beginnings were the best.” There she developed a speed where she confesses is much to the detriment to anyone that she works with because she now expects the same pace. The skills and retail mindset would later be quite advantageous in her growth path.

We noticed that you together with some of your current colleagues as well at Ravi Naidoo at Y & R in the early nineties, what was the culture at that time? Out of that environment a number of influential design industry people would emanate form?

Yes, well creatively the atmosphere was quite stifling and answering to the New York office at a simply financial level, it was just about the cash. When Ross, Kevin and myself moved away and started TJDR Cape Town we knew what we didn’t want to recreate. It was simple what we wanted to have as an agency, the environment we worked you could have mistaken for an accounting firm and not much space for creativity.

Ravi also moved on from Y&R to work on his own project the Design Indaba.

At a later stage Jo and Ravi would team up to further work on the Design Indaba project. This relationship has been in effect for almost 8 years Jupiter has worked on the Design Indaba project. It is notable that along with Ravi the team at Jupiter have been quite consistent and Jo personally has worked on the project for a large proportion of the time that the Design indaba has been around.

How is the relationship with Ravi and working on the Design Indaba Project?

It must be challenging in a sense that it has a very discerning audience which are highly critical.

A lot of the time what I tell the designers is to pull back and put the bare minimum down. Just enhance the concept. There is a temptation to go use the trendiest font or to go “creative.” But the opposite is needed; a clean classic solution is the perfect anecdote. We try and avoid drawing attention to the design, we rather work at making the idea the hero. Don’t overwhelm the message but let the design frame the content. It is the campaign I think we are most mature about. It is a small team that work on this project. We are a large agency of about 40 to 50 creatives but only 5 people work on it. I can see everyone wants to work on it but it is a challenge.

Ravi will buy into the idea and then we have to run with it. We have to set our own deadlines, create our own budgets and be quite disciplined with the project.

That is quite a strong example of a great client relationship. What other clients have you developed strong ties with, which give you that creative freedom?

Sadly brands come and go and it was nice to think over time who I have worked with.

I thought of Musica, it was a somewhat undesirable brand at the time when we first got the account but grew it to something everyone wanted to work on. At the peak of the relationship and when you have the

trust and creative freedom. That is when the creatives who work on the account give a lot to the project. When they feel that they have the freedom they give their all, that is when the clients actually get far in excess of what the agencies are charging.

One of the best examples I can think of is Sissy boy. Ronald Sassoon and myself in particular, I was working as an art director, at that time the international jeans brands such as CK, Levi and Diesel where coming into the South African market. He faced a challenge in that on a much smaller budget than those brands he had to make a big noise. The first brief I received from him was “I want my advertising banned”, that started one of the amazing relationships which continued on for years. He and I personally absolutely saw eye to eye for years, we got several of his campaigns banned; it created a lot of publicity whenever an ad ran, he was on the covers of the papers. We only ran each ad once.

The sad thing was that magazines cottoned on to us and eventually we had to get ads pre-approved when they knew it was Sissy Boy. By that time everyone knew Sissy Boy. That was a classic example of where the creative and client really understood each other and understand what the brand needed. Now we have a similar relationship with our creative director and Woolworths there is an alignment and synergy of what that brand is, what it stands for and how much you can push it forward. You always have to be moving forward but you can’t

we can do it.’ Then you imagine it looking [big] and in reality it is looking [small].

The But it is fun. The danger is that it can get gimmicky. We were certain that if we were going to use it is was going to be part of the message and add value. Their will be a point where it feels less effortless it wont be such a effort. If I look at the Ipad applications that now feels effortless.

With regard to advertising and the World Cup one of the most impactful statements was the larger than life size Vuvuzela on the unfinished highway in Cape Town. It was quite simple but idea but quite big to execute.

I wasn’t in the brainstorm and I must be honest when I first heard about it I was a sceptic thinking, “Yeah yeah, lets see if we can pull that off.” All credit must go to the production manager for making it happen. It was one of those things World Cup was looming and I wondered if anything happened with that “Vuvuzela“ idea that I heard about. Then in warehouses just in the harbour it was being built and had to go give some guidance around the project, I remember standing there and realising. “Oh my goodness, this is really happening!” I also remember the day it went up and everyone was around their with their own little vuvuzela’s and we set the horn off. It was just incredible. Like the vuvuzela or hate the vuvuzela, it captured the imagination. When we saw it coming down it was a bit sad, it had become part of cape town. The incredible thing for Hyundai was the international press coverage they got out of it, Hyundai’s spend for the world cup was far less that a lot of the other major sponsors. A lot of the other sponsors were calling their agencies asking why we aren’t getting the same kind of coverage. And it was ONE idea. We now in the agency when we have a brief we now look to find that ‘vuvuzela’ idea. The one big idea. The thing is we encourage craziness. I always say go all the way out there and I will pull you back. Don’t inhibit yourself when you brainstorm don’t stop yourself from going all the way out there put the 20 crazy ideas out then I will say which are the 19 which are too far out.

Looking forward for the Ad industry, their has been a shift from consuming above the line advertising due to technology like PVR? Do you think we will have a South African shift toward product placement?

I think PVR is dangerous, I’m in the ad industry and I find myself fast forwarding through advertising. That’s why the 360 degree campaign is necessary to reach people and coming out in many different media forms. I don’t know I’m not a Media expert but I would be worried. I think as a person in the ad industry as I fast forward through ads I would maybe watch a interesting ad I will go back and watch it. That is purely me in the ad industry but I think it would be even less appealing to a average consumer not related to the industry. Looking forward to a time of product placement. I think it’s a smart way of doing it but you have to be very careful to avoid having it look cheesy and forced.

I would like to believe that agencies are smart enough to do it. I think we will have to. The difficulty with agencies is the day of the ‘AD MAN’ has gone. Going into the future looking at holistic marketing which holds diverse answers. These days you have to think differently.

With insight and bringing this level of guidance to a already established agency pushing their creatives to find the next biggest or craziest idea, we are eagerly awaiting what TJDR has to show us.

Ryan Jared Ali

We encourage craziness.

I always say go all the way out there and I will pull you back leap, it sometimes is difficult. You have to understand what the tone of the brand is and therefore what is the relevant message.

Technology is playing a stronger role in our daily lives, the advertising industry often pushes the boundaries of how these technologies can be utilized. Has Jupiter embarked on any campaigns utilizing new technologies such as QR Codes and Augmented Reality?

To be honest we weren’t first off the mark. In the beginning we were a classic example of embracing all change and jumped into it. Stupidly and naively we thought that department could handle it on their own, without the rest of the agency understanding and embracing it. That I think was our biggest mistake.

And inevitably it folded like many of the digital agencies of the time. Slowly and very slowly we have stepped back into that arena. Having wisely learnt that you can’t expect a department to solve a problem. The entire agency needs to embrace it, adapt the skills which have been honed in the agency and reapplying it to a different medium.

That is the approach which we are taking now. In the last 2 years the agency has seen a massive escalation in digital arena. We are using it to link below and above the line campaigns, we are currently doing that with American Swiss rebranding where the campaign is present on television and also the social media aspect brings it together.

In order to get the big brand message out there it needs to be done, it is a far more rewarding way of way of working than just the one off TV ad where some people see it and some don’t. With regard to the whole latest Design Indaba campaign we utilized augmented reality at the DI stand where we conceptualized products that don’t exist yet and we sold them as If they existed. You picked up the box at the stand and could physically play with them in the augmented reality world. Working with new technologies is challenging frustrating because the danger is everybody says.’ yes

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DESIGN

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Andrew Human What was your history prior to the Loeries? What did you take out of previous ventures that you brought into Loeries?

I studied engineering and after a short career working as an engineer I was drawn to the ‘new’ world of the Internet in the 90’s. I worked in New York during the dot com boom and worked with awards shows such as the One Show, the Art Directors Club and the London International Advertising Awards.

The Loeries is the award to win in the advertising and design industry in South Africa. How do you think they achieved this status?

I believe the main thing is to maintain a high standard. We put an enormous effort into our judging process, inviting world leaders to chair the panels and ensuring that the panels are made up of industry leaders in each area. For example, Greg Quinton whose agency was recently named the most creative company in Britain chaired the Design panel last year. It’s also nothing to be sneezed at that the Loeries is 33 years old this year, older than many recipients of the award. This has given the award time to develop a reputation. And an important element is that there is a very passionate team behind the Loeries. Besides our full-time team, all the members of the board and committee are leaders in the industry and contribute their time voluntarily, because it’s what they believe in.

What keeps you motivated and inspired on a day to day basis?

I believe that innovation is the key driver for change and success.

Change is brought about through ideas and these ideas are valuable. In South Africa the creative industries have fantastic potential - an educated person behind a computer can create and can service any client anywhere in the world. We need to ensure that young creative people are given every opportunity to succeed.

You mentioned an interesting point in the press conference last year that Public Service and Charities entries were not eligible for the Grand Prix. Do you believe that in working with paying clients

demands more from an agency?

One of our previous jury chairmen, Richard Bullock put it simply: “It’s more difficult to play tennis with the net up.”

What would you personally attribute, since 2005, as the most impactful award winner?

I would say what has impressed me is that

We have a specialist panel for design and within that we include additional specialists for architecture and interior design, and for motion graphic design.

Explain the new Loeries campaign Don’t Hate, Create?

The reality is that with such a high standard there are always a lot of entries that don’t win an award and losers. So the campaign simple states the obvious - “don’t hate the winners - be one” The awards look to be more streamlined this year, has their been a reduction in catergories?

The categories have been completely restructured this year to better reflect how the brand communication industry is structured. The old differentiator between “above-the-line” and “belowthe-line” has been removed and for the first time there is no advertising category.

Categories are now grouped primarily by media type.

What have you seen as being major milestones in the growth of Loeries?

Television was kept out of South Africa until 1976 because the government viewed it as a threat to its dominance of the broadcast media. With this late start television commercials were a novelty and it took a lot of convincing to get marketers and agencies to adopt this “new medium”.

Consequently, The Loerie Awards were set up in 1978 by the SABC as a way to promote television advertising. So, the revolutionary medium of television in 1976 was clearly a milestone. Since then the Loeries has continually added categories to the point that today we aim to recognise every point at which a brand interacts with its consumer. The Internet has been the “new medium” in recent years and mobile communication is just beginning to make its mark. I am sure we will award work in future on platforms that don’t exist today.

Ryan Jared Ali

I believe that innovation is the key driver for change and success.

Change is brought about through ideas and these ideas are valuable on a few occasions we have had small agencies enter one piece of work and this piece has been awarded the Grand Prix.

Yes, large agencies do enter more work and do win a lot of the awards, but it’s the idea that counts.

Who make up the judging panel, is their a single panel across the different disciplines or do you have specialists judging each category?

We have specialists judging each category.

Steering art public Graphic Laminates makes waves in the public art sphere at one of Cape Town’s MyCiTi bus stations in the city centre.

Well known as an industry leader in the production of out-of-the-box signage and marketing material, Graphic Laminates is constantly pushing the boundaries to create unique applications for their stateof-the-art self-adhesive products. This is certainly true for the company’s first public art collaboration with emerging artist Julia Anastasopoulos whose unique mural is now emblazoned on the new MyCiTi bus station at Cape Town’s Civic Centre, in the heart of the busy CBD. “My idea for the artwork was to create four Cape Town cityscapes on the station walls, which would each represent a different aspect of Cape Town and explore the metaphorical and physical implications of “looking back” and “looking forward”, says this confident young talent who was first discovered by the MyCiti Bus Artworks department through a mural she had completed at a local independent bookstore.

Once she had completed her design, inspired by the surrounding cityscape, Julia’s next challenge was to transfer her design onto the station itself without losing its essence. “The canvas for the artwork was three dimensional and a vast size but once I got into discussions with Garth Richards at Graphic Laminates I could see we were going to find a solution and after some experimentation we made it happen,” she says. A pioneer in the self-

adhesive vinyl industry, Richard’s years of experience helped steer Julia in the right direction for transforming her previously one-dimensional design into a piece of striking public art. “We had to take into account that the artwork had to have longevity – it is going to be exposed to potential vandals as well as the elements, including harsh sea air and we had to find a self-adhesive solution that addressed these issues,” explains Richards.

After the pair’s initial research and exploration into what self-adhesive product would work best, the process from printing at the Graphic Laminates factory to application was quick. “The wonderful thing about print and application is that you are able to create something extremely effective, on a very large scale in a relatively short space of time,” says Anastasopoulos .

Turn the clock back a few years and Anastasopoulos certainly would not have been able to access such hi tech solutions for the creation of public art - “I would probably still be up on a ladder pen in hand,” she laughs, adding “to be able to create an artwork with fine liners and transform it into a very large installation is very exciting.”

With this unique public installation under her belt, Julia has her sights set on a number of exciting new projects – and with her knowledge of what applications are now available to her from innovators like Graphic Laminates out-of-the-box artworks are sure to become her signature.

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PHOTOGRAPHY

Pete Barrett

P

ete Barret has been taking photos for the last twenty years. He first got interested in photography in high school during college he started shooting weddings for friends and interiors of rooms for his mother who was an interior decorator. He began working for a production company and started on his own fifteen years ago. His first real advertising jobs were shooting for a variety of resort clients such as Atlantis, Hilton, Superclubs and the Radisson. Today he works primarily for large advertising agencies, shooting advertising for AT&T, Budweiser, Ford, Heineken, Kodak, Corona, Merck, New Balance and the list goes on. Awards for his photography are legion. Hes been callled the photographer’s photographer. We asked him a few questions about his carreer and his amazing work.

What inspires you as a photographer?

I’ve been inspired by many photographers over the years, from early on the masters such as Ansel Adams, Stiechen, then Herb Ritts, to Harry DeZitter, on through the years guys like Jim Erickson and even today some brilliant shooters like Eric Almas and Tim Tadder. Styles and subject matter vary widely but their works have clicked with me.

How important is planning a shoot?

Most of my shoots involve a fair amount to a great deal of preproduction. It is not uncommon to spend a week or more producing a shoot.

How do you select that perfect shot?

My editing process is a multilevel process, I generally edit in a program called PhotoMechanic. We will go through very quickly and edit out the obvious garbage shots. This gets rid of about fifty percent of the images. Then we go through and start grading the images from good to better to great and tag them with a series of colors.

This will usually be a several step process, refining each time. At last I will usually try to sleep on it and edit one last time with fresh eyes and that narrows it down to a much smaller edit that then gets passed on to the client for them to make their hero picks. Many times we are doing image composites so we may be composing several hero elements together to make one final image composite.

You are planning a trip to South Africa this year is it business or pleasure?

We are coming to South Africa on a business and pleasure trip. It has not yet been decided exactly where we will be shooting suffice to say that I want to do as much as we possibly can in the two weeks we have. We are looking at options to shoot in Zambia, Botswana and Namibia. Still working with local contacts on what will be feasible with the time we have. Also working on possibly shooting a great white shark dive. Other than that, visiting a few ad agencies and just being tourists.

If you you were handed a ticket to go shoot anywhere in the world were would you go?

If I could go anywhere? Wow, probably Bali or maybe Thailand. The landscapes are amazing. Iceland is a place that I spent a very short time at as well and would love to go back. There was a period of time when I was traveling constantly. Between 2001 and 2004 I was constantly on the road on jobs and self assigned travel about seventy percent of the year. Then I met my wife and we have a wonderful little boy and that keeps me a bit more close to home. So to feed that itch for travel, I create these trips to places whenever we can. www.petebarrett.com

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PHOTOGRAPHY

Luke Coppings pigmnet Luke Copping is a Canadian born photographer from Brampton, Ontario, Canada, currently working in New York.

He studied photography at the Rochester Institute of Technology, In Rochester Ney York and graduated from their advertising photography program in 2003. Prior to that he had studied photography in high school and had dabbled with it in childhood as well.

After graduation he worked in the industry briefly doing some food photography and styling, but left the industry burnt out and spent a few years working for a manufacturing firm in Niagara Falls. After a break from photography he slowly started to shoot again, but was more foucussed on shooting for himself and finding what made him happy as a photographer, which reinvigorated his professional work allowed him to re-enter the industry shooting work that he was passionate about and translating that passion to his professional work.

What was your first camera?

I honestly do not remember, I do have memories of playing with cameras as a child, I remember an old Kodak flat disc film camera that had been given to me by a relative when I was younger, I cannot for the life of my remember the model or type. But I remember carrying it around as a child to the zoo, taking picture of animals, friends, relatives and my family’s travels.

All the exploratory work of a child, the camera was more of a toy to me than a camera, a magic box that pictures came out of when I gave the film to my mom. Later I remember having some older nikons and canons when I was in high school and I do clearly remember the first digital camera I

ever had, A canon 20D. It may seem strange for me to have such vague memories, but I have never been a gear hound, I am a firm believer that someone with creative vision, passion, and know-how can create a compelling image regardless of tools or equipment.

Tell us about the pigment project featured?

This is a personal project shot in the style of some of my commercial portraits. I find that I make less and less of a visual

How do you plan the shoot?

A lot of photographers tend to work from drawings or thumbnails. Almost all of my projects and visual ideas start with the written word. I carry a notebook with me constantly, and always have Evernote ready on my phone and iPad and am cconstantly jotting thoughts, ideas, and production notes down in them. These loose ideas will eventually coalsece into much longer descriptive prose pieces in which I lay out a lot of the scene and shoot styling. From there I move into test shoots, I like to pre-light and have some loose time to mutate and morph the project a bit before I truly finalize the look from my written ideas. On this project I went though a day of pre-shooting and preliminary lighting before we started to bring talent in.

What keeps you motivated and inspired?

Everything, film, music, the city I live in, books, friends, fever dreams, nightmares, and the utterly mundane. You never know what might set off a creative revelation or provide the seed for an idea. Something as simple as a tile aptter on a bathroom floor may give you an idea for visual to incorporate, something in depth as a cukltural archetype could be equally inspring.

What’s your favorite subject to shoot?

People, I do a lot of fashion and beauty work as well as some commercial, but photograqphing real people with talent is something I am fascinated with. I find so much character and story in their faces. www.lukecopping.com

You never know what might set off a creative revelation or provide the seed for an idea distinction between my personal style and the professional work I do. By blurring those lines I have been able to develop a much more chesive body of work, and find a direction, both personally and professionally. Ultimately this project became one my major self promotion projects for 2010 and early 2011.

How did you give birth to the concept?

A part of my creative process on this project was to give myself a loose brief and theme and find a way to solve the problems that would be inherent in it if it were a true assignment. I wanted to sell the ideas of color and the notion of creating a sort off fictional campaign for a non-existant paint company. Ultimately I conceived this visual as a way to tie peoples personal connections to their choices in color, shape, and design to the images. In a way it allows each image in the series to illustrate each subjects personality in color.

Contemporary accessories for a greener lifestyle T: +27 31 701 6565 F: +27 31 702 0753 info@obbligato.co.za www.obbligato.co.za

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PHOTOGRAPHY

Photograph by Melina Michaletos

Photograph by Nicoletta Michaletos

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Tomorrows camera St Cyprian’s School celebrates 140 years of excellence This year St Cyprian’s School for girls celebrates its 140th anniversary.

The school recently unveiled its new Creative Centre, designed by Noero Wolff Architects. In celebration, and as a welcome to the Creative Centre, the school held a photography competition

open to all students, parents and staff of St Cyprian’s School. The simple brief: to capture a moment in the day of the life of the school. 140 photographs were selected for the exhibition at the opening night of the Creative Centre. This first prize, a Lomography Camera, was awarded to

Nicoletta Michaletos, a Grade 12 student who photographed a desk and chair.

Coincidently, her sister Melina Michaletos in Grade 10, won second prize for her photo above. Designtime will be keeping an eye on these talented sisters and their photography in the future.

Well what does the future hold for the camera? Some argue that its has reached the end of its life as the quality of smart phones have almost killed the digital point and shoot. Some believe that smart phones now have their eyes fixed on the professional camera market.

The Artefact group has provided us with a small leap into the future of what might be the next stand alone camera that we purchase.

There has been a integration of DNA from other technologies which have come to be part of our lives. For one it is connectivity, we are constantly connected, located and informed by apps enriching our lives. With the advent of cloud computing this aspect of being connected will for an even more

organic part of our life.

As applications begin to appear on every piece of powered technology the camera will certainly not be free of this. What it means is, opportunity for apps to train the user and another opportunity to share shooting styles with friends or even with other professionals.

Change however does not turn its back on the past, the integration of current lens mounts ensure that current professionals are not alienated and will help to drive the change.

Artefact is a strategic design group that focuses on defining next generation user experiences, this even though it is a concept will surely influence what we see tomorrow.

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FASHION

Lindiwe Suttle, fashion meets the stage Today more than ever, just getting onto a stage and singing is not good enough. Now it has turned musicians into true artist’s who express themselves in the sonic and visual arenas. Lindiwe has done just that and gone further by being a stimulant to the local fashion design industry. Designtimes asked Lindiwe a few questions to see where this love for fashion started.

Today we see as a performer you have integrated fashion as that as part of your stage persona but you also have a history also as a buyer in the fashion trade, Where did your love for fashion emanate from?

From an early age I was experimenting with fashion. I even remember wearing my Dad’s cardigans in the 90s just to be different. It must have counted for something because my high school voted me Best Dressed my senior year. I was in love with Boy George, Cindy Lauper and Michael Jackson at the time so I think their flair for fashion rubbed off on me. I credit my mom’s style for adding the touch of class and sophistication to my own style.

What aspects in the fashion industry have you been involved with?

My very first retail job was working at the Gap as a sales associate during university. Liz Claiborne then recruited me to be a visual merchandiser. I loved that job, styling the insides of a store, speaking to customers and reporting back product information to headquarters. Liz Claiborne then signed a license agreement with DKNY Jeans and Kenneth Cole, they then transferred me to New York to help launch the new brands for DKNY and Kenneth Cole, I then became the Marketing Coordinator for the brands. Then my life changed when Sept 11th happened while I was living in New York, it was a shock. I decided to move back to Atlanta to decide what I really wanted in life. During that time in Atlanta, my mom suggested that I go spend the soul searching time getting my MBA. I enrolled and graduated with a degree in Entrepreneurship and Marketing.

I enrolled in a class called Entrepreneurship, Creativity and Innovation pushed me to discover my career dream. At the time, I wanted to style celebrities. I lucked out and my first job was working with Beyonce on a film.

You provide designers with a great platform to showcase boundless creativity.

What are you looking for as Lindiwe the performer to wear?

I am looking for costumes that are visually memorable and even shock people, I love people to come closer to stage and ask to themselves what is she wearing. I believe in using fashion to help tell the story, I learned this from some of the great performers and from watching the fashion in old films.

What keeps you excited about fashion?

Fashion is my way of being creative. I use it to explore my different personalities and characters that live within me. I have so many different looks, one day I dress very feminine, some days sophisticated and corporate, others androgynous, the only consistency is that I always make an effort and you will never see me in a tracksuit or T-shirt and jeans.

The fashion film is a fairly new concept, has their been any notable fashion films that inspired you to also pursue the idea?

That behind the scenes clip was my homage to Nick Knight and Gareth Pugh, they’ve

collaborated on a series of videos and the aesthetic of our video was inspired by one they shot together. I am very grateful to the designers that have helped me win fashion awards like Glamour Magazine’s Woman of the Year Style Icon and SA Style Icon so this video was my thanks to them.

I found an ambitious 22 year old fashion videographer called Roice Nel that insisted he come to the fashion shoot to film it and we had no clue this would be the result. I was impressed by his persistence, work ethic and drive; the final result was better than I ever expected.

You often utilize younger designers, has there been pieces designed especially for you which you have had input to?

The jewelry for the Man Made Moon shoot was designed together with me and good friends, Ida Elsje and Philippa Green. Ida was instrumental in getting me known for headpieces. The silver headpiece in the video started as a concept off her famous earring designs and was made especially for me. Philippa Green is known for her amazing work with Perspex and did my armbands for the shoot. These two ladies are my favorite jewelry designers!

Where and how did the relationship with Lara Klawikowski & Lameez Claasen come about?

Kluk CGDT were the first designers that supported me, the first to take a chance with an unknown name. I still work with them. I found Lara at Design Indaba when I saw a dress of hers made of condoms that she made for a SACTWU fashion show on AIDS awareness, she won the competition.

I ended up wearing that condom dress when I opened for Finley Quaye. I fell in love with her work immediately; she is a couturier, which is not often found in SA. You can turn anything she makes inside out and still wear it, her attention to detail, finish, and creative designs are meticulous and utter perfection. I will work with her forever and hope to support her to help make her world famous.

How do South African designers compare to their international counterparts?

I think the talent is the same if not even better. The young designers just need more financial support to help build their craft and business. I will continually wear local designers and do my part to help them get to where they need to go. Every time I wear something from a South African designer, I get a compliment, it never fails, every single time.

With the seeming increased passion to support local designers by SA consumers, how do you think designers can better service the industry?

For designers, I think most important to me is quality finish and quality use of textiles.

I think the responsibility falls on the SA consumer to support local designers. The designers cannot get better or use better quality fabrics if they have no consumers to support them from the beginning. They need money to build their brand. I have worked with many local designers and they are doing their part, they are creating unique, innovative products and they can only get better if we buy their products.

To keep up with Lindiwe and see what she is going to be wearing next follow her on Twitter @lindiwesuttle and find her on Facebook.

Ryan Jared Ali

DESIGNTIMES

illustrated by Simon Berndt

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ARCHITECTURE

Wadi Resort by Oppenheim Architecture Oppenheim Architecture and Design unveils future primitive lodges in Wadi Rum, Jordan shifting the paradigm of luxury forever. International green architect Chad Oppenheim sets a new benchmark for design and ecological sensitivity with the Wadi Resort, located in Wadi Rum, Jordan, set for completion in 2014.

Oppenheim Architecture and Design beat out a global competition and will execute an unprecedented project comprised of forty seven desert lodges, setting forth a future primitive experience for the avid globetrotter, an hour and a half outside of Petra, the ancient city of the Nebataeans

carved into the desert rock. Oppenheim’s winning proposal set out to reinterpret the way society deals with surrounding nature by taking full advantage of the mystical valley where desert sand meets desert stone. The project merges silently with its wondrous setting, exploiting and enhancing the natural beauty of the desert to establish accommodations that are uniquely elemental and luxurious.

Dramatically situated, the lodges and villas in their various incarnations; are all about a visceral connection to culture and place.

The resulting experience is a revolutionary notion of opulence that is intentionally

reduced to what is essential. The structure of the lodges will be carved into the sandstone cliffs, utilising the existing geological geometries of the rock to devise the form. Other structures are comprised of rammed earth and cement mixed with the local red sand. The minimal yet powerful gestures of the architecture, both built and carved serves to create harmony, and balance while framing and amplifying the surroundings. The interior and exterior are deliberately blurred establishing maximum impact with minimum effort.

Inspired by the primordial, Oppenheim used his expertise in sustainable design to

create passive means of cross ventilation, taking full advantage of the natural cooling effect of the rocks, and proper positioning allowing the project to minimize energy consumption and maximize comfortable healthy living. “We have trained and heightened our senses to see, smell, taste, hear, and touch the mystical beauty of Wadi Rum. We tapped the inherent power of the desert through primal and instinctual design moves, informed by the forces, rhythms and patterns of nature, past, present and future,� says Oppenheim about his creative process for the project. The strategies employed are those that have been proven

over the last thousands of years. We have learned a great deal from the civilisations that have lived in the beautiful and magical desert for millennia. Great care has been given to utilising local materials as well as various water conservation measures for both human and site irrigation to establish a relatively closed system of harvesting rain water in subterranean cisterns completely integral to the design. The 80,000 squarefoot architectonic form responds directly to the rich regional cues, an evolutionary process that has established, over millennia, a clear and appropriate identity found in the Middle East.

FURNITURE

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Froth Bubble Bath - image courtesy of INAX

Drawing Machine - image courtesy of Designboom

Wire Ware - image courtesy of Plusminuszero

Yii Motorcycle - image courtesy of Yii

Zartan Chair - image courtesy of Magis

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MILAN DESIGN WEEK 2011

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he Salone Internazionale del Mobile is the International Furniture Fair of Milan, the largest decoration trade fair in the world. The annual show showcases the latest in furniture and design from international sources. It is considered by interior designers as a leading exposition for the display of new products by furniture manufacturers, designers, lighting concepts, and other design items. The show is commonly referred to as ‘Salone’, ‘Milano Salone’ and also ‘Milan Design Week’. It is held every year, usually in April, in the FieraMilano complex in the Milan metropolitan area town of Rho. The Salone Internazionale del Mobile di Milano was launched in 1961, with the original

focus being Italian furniture. Unfortunately we were not able to make it this year because of general financial and budget cutbacks but you can be sure it will be on our diary for next year. However we are still able to bring you some of the designs and products showcased at the event.

First we have a sculpture piece the Yii Motorcycle presented by Taiwanese design brand Yii by artist Rock Wang. The piece is influenced by the aesthetics of Taiwan’s most popular vehicle, the motorcycle. the baroque-styled frame of the design is constructed from parts of SYM Wolf 125 motorcycles, while the inner side consists of 140 readymade motorcycle rear view mirrors.

Next up is Japanese designer Toshiyuki Kita who collaborated with Japan based-

manufacturer INAX to create ‘froth’, a bathtub that offers a new bathing experience.

Realized through the technologies of INAX, the tub contains a unique component which allows for the production of substance-safe bubbles.

A layer of foam, which enters through a separate spout acts as a lid in keeping the water warm and the steam inside.

Distinctive in its appearance, the bathtub features contoured sides that are designed to engulf the body and provide maximum comfort to the user.

What would any design show be like without the likes of Philippe Starck who teamed up with Eugeni Quitllet bringing you the Zartan Chair made of a sort of liquid wood. The new technology uses wood powder derived from discarded

wood pulp-based lignin which is mixed with a number of other natural materials, fibers and wax or fish oil to create a strong, non-toxic alternative to petroleum-based plastics. Under high-pressure conditions, the composite aterial behaves like melted plastic, allowing it to be injected through a nozzle into a mold.

Wire Ware collection is a series of tableware, made from black wire, resulting in simple objects defined by this single element. Appearing as abstract linear forms, the collection includes a bread or fruit basket, egg carton and cup, as well as a toast stand. The collection was launched by design company Plusminuszero headed up by Japanese designer Naoto Fukasawa.

Finally we bring you the Drawing Machine created by Eske Rex inspired by the

Renaissance interest in pendulums and harmonographs, the device is composed of two 2.7m tall pyramidal structures, from the center of each of which is suspended a weighted pendulum. The weight of the pendulums can be adjusted to up to 75kg, by adding and removing slotted concrete disks that are otherwise stored along the base of the towers. More weight produces smaller circles on the paper, while less weight enables a greater swing of the pendulum and thus larger circles. Once set into motion by hand, the pendulums, linked together at the site of the pen, continue in motion from the transfer one another’s kinetic energy. The images produced can range up to nine feet by nine feet in size, and can be produced with any ink pen. www.designboom.com

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INTERIOR

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Laurens van Wieringen, beaking the mould

Visualising the future with Furnspace 3D Trying to visualise what the future holds is a dark art, which the can never be proven.

Now that has changed due to a Chinese software development firm. Now you can walk in through the doors with the plans of your future space. Twenty minutes later you can have a base to work from to visualise the future.

What InteriCAD does is allow designers to bring a whole new level of visualization to clients. The strength of the software lies in the depth of customisation which can be achieved. With local suppliers also creating libraries of the their wares within the software, it is even easier to create spaces which a exact replicas of the real world.

Like all tools the twenty minute timeframe is only where it starts, tracing a plan of your space, placing sample furniture and setting up some lighting. As with all design, god is in the detail. Taking it to the next level involves creating customised furniture, ornaments and even specifying the wattage of the lighting, the lights colour and bringing in natural light by using a north point as a common axis. If you can think of a possible variable for an environment it is sure to be within the software.

A simple game of trying to guess which the rendering is and which is reality is a pure testament to the effectiveness of the software. With Furnspace providing expert

support this tool that designers will surely not be able to operate without in the near future. If changes need to be made this can be easily done and new renderings created.

Designers now have a tool that can visualise their design and help in communication with clients. It is even going further by providing one with a 3D experience with 3D glasses. The experience can only be described as astonishing.

With a increasingly cost conscious society, spending is going to go to those designers that not only explain but also show you the future of your space.

Ryan Jared Ali

When I saw Laurens van Wieringen’s fun and quirky designs I was itching to get to Amsterdam and have a good look around his studio. An email interview just doesn’t crack it! His fresh and exciting approach towards design is infectious and is a talent I’m sure was always there, even before studying 3D Design in Arnhem, Netherlands, and Product Design in London. Through design, in particular interior design, he desires to inspire people to let loose and be swept away by a moment of spontaneous joy - making offices come to life, bars into chic lounges and shops into welcoming havens. Always looking for new ways of producing with a-typical materials and alternative applications, he says: “You can play with the rules if you know the rules… sometimes you have to come up with a new game in order to create new rules.” People are all important to Laurens, deriving much inspiration and joy from working with a team and making the team work. For instance, he designed a carpet depicting an aerial shot of a landscape and used various heights of foam bars to create a relief effect. He says about this: “Special thanks to all 29 friends for helping with realizing this crazy production.” In other ‘one-off’ commissioned works

Laurens has had to create for particularly small spaces, resulting in the design of park-able, stack-able, puzzle-like pieces such as “Stacking Throne” made for a 1 year old girl - multi-coloured, lightweight stools for packing and stacking any way she pleases. “Furniture Cube” is an ingenious design for those who move house often - just assemble your foam puzzle of furniture into one neat, transportable cube and off you go! And for those who would like three individual, fantastically classic chairs of different heights of convenience, all huddled together like three little pigs, check out “Chair–Park” – inspired by a parking garage. On a different note, one of my favourites is “Fruitboom”, which is Laurens’ take on a fruit bowl in the form of a tree which came about after asking a little girl where apples came from and hearing her say, “The shop”. The “Crack Series” - porcelain crockery cracked whilst in the mould and reassembled before casting, resulting in each piece being unique - is a perfect example of what Lauren’s van Wieringen is all about.

Breaking the mould. Off to Amsterdam I go or alternatlvely to his website www. laurensvanwieringen.nl.

Kerrythe Mahaffey

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INTERIOR

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Push & pull

Designer Flavio Scalzo from Diciannove Dieci Design has created the Push & Pull Chair a comfortable and versatile chair.

When closed, it reduces storage space when opened it becomes a more comfortable chair and usefull side table when open. www. diciannovediecidesign.it

The Millennium Yacht Design Award 2011 The winner of the 2011 Dreamboat Millennium Yacht Design Award, this brave interpretation of the motor boat concept by designer Hyun-Seok Kim was inspired by all of the natural beauty and fun activities found at sea. Tofi’s unconventional shape and unique furnishings compliment it’s far-out exterior and spaceship aesthetic, stimulating the imagination on board, while features like the hide-away diving board and safety buoy system promote fun in the water.

At first, Hyun-Seok focused on creating an attractive exterior shape in order to stimulate people to dream of a great vacation. He then

tried to install certain specialty to access the mantrap of sea nature. Some of Tofi’s attractive features include a wide opened and lower positioned rear deck, a safety buoy system for both children and adults and diving board to enhance amusement of sea dabbling. To offer a real retreat to the passengers when they are on board, the designer has designed exclusive furniture and stunning upper dining area.

Tofi stays exceptionally unique from other yachts with its stunning external view and beautiful interior details. In total, this 12mt long yacht will certainly give the passengers with a wonderful marine

vacation experience. In this 12 meter long and 5.75 meter wide trimaran project, I imagined the yacht which has strong eye catchable concept with very simple lines that express enjoyable, casual vacation and remarkable yachting experience.

We asked Hyun-Seok Kim to tell us about his design in his own words. “I named on this small, cute, and useful trimaran as Tofi which is originated from tropical fish which stimulate me to imagine how fantastic under sea world is. In order to represent wonder sea world, I focused on three outstanding features for my 12 meter long trimaran project and designed

many different aspects for its purposes.

Especially I focused on natural beauty and fun activity. Firstly, I put extraordinary and attractive exterior shape to stimulate people to be able to dream a really great vacation.

Secondly, I tried to install some speciality in order to access the beauty of sea nature.

Therefore Tofi is specially equipped three features. One is wide open and lower positioned rear deck. Another is safety buoy system for children and adult. The other is diving board to maximize amusement of sea dabbling. Finally I designed unique furniture and upper dining area. www.yachtndesign.com

Maritime

British designer Benjamin Hubert presented this ash chair for Italian brand Casamania at Milan Design Week. The chair, called Maritime, is constructed from ash plywood with the curves following the grain of the timber. Inspired by traditional wooden shipbuilding techniques Maritime is a solid wood range of chairs that are skinned internally with a formed plywood shell. The construction technique where the supports are visible on the outside allows for a distinctive design language that is in harmony with the material and production.

The ribs allow for a structurally robust chair with minimum use of material.

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CAPE CRAFT & DESIGN INSTITUTE

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Harness the beauty of the handmade without the hassle

The Cape Craft and Design Institute offers a one stop order facilitation service that ensures customers receive unique, personalised products on time and at the right price.

Whether you’re a retail store buyer, events organiser or brand activation specialist, you’re always on the lookout for fresh and exciting stock that will excite your customers and clients and put a smile on the faces of the recipients. This may sound easy to the uninitiated – yet sourcing the right products, at the right price and quality standard, and getting them delivered on time, can simply be a nightmare.

Well, welcome to one of the trade’s best kept secrets – an Aladdin’s Cave of handmade items, ranging from fun, inexpensive pieces to exquisitely detailed designer pieces. The Cape Craft and Design Institute (CCDI), which is now in its tenth year of operation, boasts an amazing database of

and design businesses, ready to assist through product refinement to meet specific customer needs,” says Rosemary Reddy, the CCDI’s order facilitation co-ordinator.

“We ensure that producers adhere to strict quality and packaging standards and delivery deadlines, and that you get the corporate gift or retail stock you specify, on time.”

Rose and her team have, over the years, produced everything from wire and bead helicopters (used as gifts by a leading rescue service) to goody bags stuffed with everything from kelp vuvuzelas to branded mugs for high-end delegations visiting South Africa for the soccer mega-event. A local university welcomes its overseas visitors with handpainted ceramic bowls, and even international visitors to Parliament have taken home clocks with beaded emblems.

Customers not only know that they have supplied highly individual gifts or stock of lasting value, but that they have also helped boost the economy of the Western Cape and contributed to skills development. Corporate customers have also reported that their support of small businesses, via the CCDI, has helped them to win tenders.

Décor and lifestyle product retailers, who are always on the lookout for fresh stock, have also sourced some of their most popular products via the CCDI. They know that discerning customers, such as well-heeled international tourists, eschew tacky curios and knick-knacks and are on the lookout for good design, painstaking workmanship and the sheer beauty of oneoff designer pieces that reflect their origins.

Interior decorators and designers are also turning to bespoke handmade items which add individual flair and detail to hotel and guest house interiors.

Contact the CCDI to source new products, while supporting design and innovation.

Order facilitation coordinator Rosemary Reddy: rosemary.reddy@ccdi.org.za.

The CCDI craft product showroom at 75 Harrington Street

The Cape Craft and Design Institute is now in its tenth year of operation

Sofa by Casemento

A range of screenprinted fabric by Mantis Print

craft producers and designer makers from throughout the Western Cape. The CCDI’s order facilitation service is manned by dedicated professionals who work hand in hand with the craft producers and designer makers to ensure that you get the products you need, at the right price, and on time.

These handmade items could range from conference classics such as branded conference folders and beaded key rings, to bespoke cushions, lighting and furnishings for décor shops, stylish corporate headquarters and designer hotels. If you can imagine it, the CCDI has the contacts to help you make it.

The facilitation service operates in two ways: Staff can either put you directly in touch with selected craft producers, or for a highly reasonable service fee (a mere 15% plus VAT), will fully facilitate the order for you. So no more travel expenses or chasing up last-minute deadlines – just happy clients and customers.

The order facilitation service is based on the third floor of the CCDI headquarters at 75 Harrington Street in the trendy Fringe – the eastern section of central Cape Town that is the home of numerous creative industries.

It has a central showcase of selected craft and designer products, which is updated quarterly to reflect the latest products from new and established producers.

An even wider range of items can be viewed on a large touch screen in the showroom, or on the CCDI website itself, if you are not Cape Town-based. Bespoke items can also be ordered in colours, shapes and styles that suit your particular needs – or even designed from scratch to complement a marketing mix or seasonal lifestyle range.

“We are the link between you and craft

Contact Cape Craft & Design Institute 75 Harrington Street, The Fringe, Cape Town Phone: 021 461 1488 Fax: 021 461 1228 www.capecraftanddesign.org.za Rose Reddy, Order Facilitation manager

Nicola Scott, Supply Chain co-ordinator

Fran Stewart, Market Support manager

www.corradi.eu

3

TECHNOLOGY

8

Superior design through superior technology innovation HP TOUCHPAD Making your designs memorable with the HP Z400

The computing demands of designers are significantly different to that of the average user, requiring greater processing power, more memory and most importantly the ability for the systems they use to multitask.

Answering the call from the design industry for a more cost effective and efficient computing platform specifically designed to meet the needs of the designer, HP has raised the bar with its HP Z400 Workstation.

Supported by a revolutionary new architecture and unsurpassed power aimed at redefining standards in multitasking, the Z400 will enable you to accomplish more in design hours without the need for an unwieldy tower that takes up space in your workspace.

At the heart of innovation Sporting a smart new aesthetically pleasing chassis, you will find the Z400 easy to service. In addition the optional liquid cooling innovation will allow you to work in quiet, while processing large jobs on the go. Notably you will also be able to minimise your power and cooling costs with the latest in ENERGY STAR configurations and power supplies ensuring your computer doesn’t need a break when you can least afford to take one.

Performance sets you apart The Z400 will enable you to take on bigger computing and processing challenges through the inclusion of new Intel QuickPath Technology as well as the ability for you to chose a processor that meets your exact needs from a range of the latest dual, quad- or six-core Intel Xeon processors.

Combining technology and innovation, you can now run a host of tasks, processes and applications concurrently, drawing from the power of the latest in processing, memory, graphics and storage technologies. Ensure

that what you see is what you print by taking advantage of a range of professional graphics solutions from NVIDIA and ATI and don’t get drawn into the trap of one Operating System option, select from a range of supported solutions.

We partner for your success You can now also take advantage of our long-standing relationships with a number of independent software vendors, which ensures that your Z400 is fully certified and optimised to be able to run a host of independent software applications.

In addition the HP performance advisor, standard in the Z400, will ensure that you can easily configure and update your applications as often as you require. Our quality assurance is further amplified by virtue of the fact that we constantly test, develop and research new technologies – ensuring you are productive, efficient and ahead of your game.

Manage your own destiny Ensuring you face only minimum downtime, the Z400 comes with the new HP Vision Field Diagnostics, this allows you to share your system performance with your IT department at a moment’s notice.

Still not convinced? With comprehensive lifetime HP Total Care options and easy HP financing solutions you can be using the latest in technology sooner than you think.

Couple that with an array of the latest in monitors and accessories that add to the overall performance of your system and you will be able to start producing award winning work in no time.

The Z400 provides you with the best in computing hardware innovation and technologies, supported by the efficient and effective management and operation of a myriad of software solutions. So if you need to replace aging technology, start your new design business or simply want to improve what you do – then the HP Z400 is the answer to your needs. www.hp.com

Answering the call from the design industry for a more cost effective and efficient computing platform specifically designed to meet the needs of the designer, HP has raised the bar with its HP Z400 Workstation.

HP has launched its first webOS slate, the HP TouchPad. With its vibrant 9.7inch diagonal flush capacitive multitouch display, virtual keyboard, instant-on access, support for Adobe® Flash® Player 10.1 beta in the browser and access to thousands of webOS applications, TouchPad works the way you do and is designed not just for fun but for mobile productivity. It’s ideal for anyone who wants the benefits of the amazing webOS platform on a much bigger scale.

TouchPad is one of the products HP announced today to introduce a unique experience for customers around connected mobility, offering a unified experience for the first time across a variety of devices. It’s one of the building blocks in HP’s vision to seamlessly connect all your worlds through the power of HP webOS. “Today we’re embarking on a new era of webOS with the goal of linking a wide family of HP products through the best mobile experience available,” said Jon Rubinstein, senior vice president and general manager, Palm Global Business Unit, HP. “The flexibility of the webOS platform makes it ideal for creating a range of innovative devices that work together to keep you better connected to your world.”

Designed to be used alone or as a digital companion to your webOS phone, TouchPad connects you and your devices through the elegant webOS experience. Never miss an important call or SMS message, they can be answered and viewed right on your TouchPad. Plus, HP’s exclusive new touchto-share feature will let you simply touch an enabled webOS phone to your TouchPad to share web URLs. With the HP Synergy feature, you simply have to sign in to your Facebook®, Google, Microsoft® Exchange, LinkedIn and Yahoo!® accounts and your contacts, calendar and email automatically populate your TouchPad. The TouchPad user interface is a visual representation of your workspace, so you can manage your workflow in a naturally intuitive way that’s easy and fun. The power of webOS true multitasking lets you have multiple applications running at the same time. webOS shows you your activities in the form of cards, not a sea of application icons on numerous home screens.

This helps you do all the things you want to do, all at once, so you can listen to music, update your status on Facebook, read email and chat on IM at the same time.

As you launch new activities, webOS will automatically group related cards – for example, an email and an associated web page – together in a card stack, so you can easily track all related items together.

TouchPad also features a webOS communication suite powered by HP Synergy that keeps you connected and creative, making all of your communications simpler, richer and in your control. It’s a complete solution, including email, instant messaging, contacts, calendar, videos and a front-facing camera for video calling.

Connected photo albums make it easy to share and view your pictures directly from popular services such as Facebook, Snapfish and Photobucket. It works seamlessly with TouchPad’s user interface for a natural and efficient experience.

TouchPad offers a great internet experience around the house or on the go, so you can manage your busy life, be productive wherever you are and stay connected with work, friends, family and social networks.

It keeps you connected anywhere there’s Wi-Fi for easy access to the web and entertainment.

At home, whether you’re watching TV, relaxing on the sofa, at the kitchen table or in bed, you can check in with friends, surf the web, play games or read a book, magazine or newspaper. Amazon.com announced that it will launch a free Kindle app for HP webOS tailored for TouchPad that will give you access to more than 810,000 titles from Amazon’s Kindle Store.

You also can subscribe to popular magazine titles, such as Time, Sports Illustrated, Fortune and People, and download movies and TV shows through the HP Movie Store. The TouchPad music app lets you transfer and play all your favorites from your personal music collection, with amazing sound quality by Beats Audio™.

You can start an email, create a message, update your status, search your favorite websites – all before you’ve even opened an application. Whenever you want to do something on your TouchPad, Just Type.

Minkster designer flashdrives The über cute Meitropolis Series of Minksters, designer USB flashdrives, made their debut at Design Indaba 2011. South African freelance graphic designer turned product designer, Alex Seaton, shares her story.

“Like most other creatives, I spent countless hours working for clients which left little time for other projects. Frustration levels were high and I just wanted to do something for me,” explains Alex.

The idea came while gathering her portfolio together. “I wanted something to wow clients; something personalised yet memorable,” says Alex. “I saw potential in my concept and adapted the big idea to kickstart Minky. It was a way of focusing my creative energy and passion. I now make all the decisions and have absolute freedom”.

The response has been overwhelmingly positive. “I must have been crazy,” laughs Alex. “The reality of my situation hit home the day after Minky started. I remember thinking ‘OMG! What have I done?’.

There’s a big difference between having an idea and doing something about it, especially when it involves putting things on the line. Patience and resolve are key.” When asked how she knew the time was right, Alex shrugged “I didn’t. I just grabbed the opportunity!”

The packaging is unconventional for flashdrives, and with good reason. “I wanted to create something different.

Something unique for a special product, which was not without its challenges. The backing board onto which the flashdrives are secured is one example, with its series of folds. It renewed my appreciation for costing and problem-solving!”

The Minksters are the first products to come out of the Minky studio. More will follow, but for now Alex is not saying anything further. “The focus is marketing and doodling away on some ideas to delight my customers”. Minksters are available online at Minky and at selected stores. Go check it out. www.minky.co.za

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4

DESIGN

0

Meteor Mic USB studio microphone Samson’s Meteor Mic is the universal solution for recording music on your computer. Perfect for your home studio, Meteor Mic is also ideal for Skype, iChat or voice recognition software. With Samson’s Meteor Mic, you can make incredible recordings that are out of this world.

Meteor Mic produces rich audio recording for any application.

Our largest condenser diaphragm (25mm) forms Meteor Mic’s cardioid pickup capabilities. And with its smooth, flat frequency response and CD quality 16-bit, 44.1/48kHz resolution, you get professional audio features in a durable, yet compact ultra modern design.

Its all zinc, chrome-plated body includes a patent pending fold-back leg design, so Meteor Mic can sit on your desktop in the optimal position for any recording application from acoustic guitars and vocals to speech. It also features a builtin mic stand adapter for use with boom or desktop mic stands. Meteor Mic features a stereo 1/8-inch headphone jack for no latency monitoring and headphone volume

control. In addition, a microphone mute switch grants you the luxury of immediate privacy while video conferencing.

Start recording with your Meteor Mic right out of the box. There is no need for drivers, as the mic can be directly connected to any computer and is compatible with most computerbased digital audio workstations.

To complete the package, a USB cable and protective carry pouch are included.

Features Large (25mm) diaphragm condenser for rich audio recording; Cardioid pickup pattern; Smooth, flat frequency response of 20Hz - 20kHz; CD quality, 16-bit, 44.1/48kHz resolution; Patent pending fold-back leg design; Durable zinc, chrome-plated body; Plugs directly into any computer with a USB input, no drivers required; Compatible with most computer-based digital audio workstation; Stereo 1/8-inch headphone jack for no latency monitoring; Headphone volume control with microphone mute switch; Includes USB cable and carry pouch.

Perfect for your home studio, also ideal for Skype, iChat or voice recognition software

Think GREEN. Think TANKS. JoJo Tanks, South Africa’s trusted industry leader in polyethylene storage tanks for over 30 years, offers low cost, low maintenance and high durability, high quality storage solutions for water, fertilizers, chemicals and most other liquids.

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Working to save our thirsty world

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Meet your new best friend.

Meet your new best friend.

Now available in South Africa! Thermomix is more than 10 appliances in 1 compact unit. It weighs, grates, mills, purees, grinds, blends, cooks, steams, crushes, whisks, emulsifies, kneads, chops and minces, sautees, melts, and is self cleaning.

Now available in South Africa! Thermomix is more than 10 appliances in 1 compact unit. It weighs, grates, mills, purees, grinds, blends, cooks, steams, crushes, whisks, emulsifies, kneads, chops and minces, sautees, melts, and is self cleaning.

Tel: 011 974 1171 • email: alice@sathermomix.com • web: www.sathermomix.com

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Tel: 011 974 1171 • email: alice@sathermomix.com • web: www.sathermomix.com

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Greek Rice Pudding

Ingredients 300g Water 100g Medium or Short Grain Rice 1000g Milk 100g Sugar 1 tsp Vanilla Sugar 4 tbsp Cornflour Cinnamon

Method Insert Butterfly and place water and rice into bowl.

Cook for 10 minutes at 100ºC on speed 2.

Add the milk and both sugars and cook for a further 12 minutes at 90ºC on speed 1.

Mix cornflour in a cup with 4 tbsp cold water and pour into bowl. Cook for 3 minutes at 90ºC on speed 1.

Pour mixture into small bowls and sprinkle with cinnamon. Allow to cool, then place in fridge.

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If you are looking for an exciting and rewarding business opportunity then Thermomix is for you.

For delicious recipes and product information visit www.sathermomix.co.za

By get ing a Thermomix busines co king, you can share your pas ion for fo d and health by showing others how to change their co king and eating habits.

Turn your passion for food into an income and buy precious time with your family in the process.

Join the Thermomix team and share the benefits of this revolutionary kitchen appliance with other lucky families.

Thermomix can reduce the time you spend in the kitchen as well as putting healthy, gourmet meals on your dinner table every night of the week.

Consultants enjoy the flexibility of running their own business plus the ongoing training and support from Thermomix.

• Are you looking for a career change?

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For delicious recipes and product information visit www.sathermomix.co.za

By getting a Thermomix business cooking, you can share your passion for food and health by showing others how to change their cooking and eating habits.

Helen Vogiatzakis put her passion to work in 2007 and has built an impressive business around her family, including three kids under eight.

“Thermomix has become a part of my family – it keeps me busy but the flexibility still means I have time for my kids.”

If you are ready to become a Thermomix Consultant call 011 974 1171.

DESIGN YOUR OWN FRESH FLOWER RING Fresh rings are created from a high-quality acrylic base, set with an exquisitely bold semi-precious stone set in 18ct white gold. Choose from our wide range of ready-to-wear pieces or express your individuality and customise your own design. Add extra sparkle and surround your gem with diamonds for a truly exceptional finish.

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A sample of our work?

You’re looking at it!

We’ve printed this paper from the very first issue and it’s not because we’re on a contract, it’s because we know that ‘you’re only as good as your last campaign’. The reasons we’ve kept this account is because we’re passionate about print, we’ve built and maintained a valuable relationship with our client and we’re committed to meeting their deadlines. Like the paper, we’re getting better all the time.

Driven by the latest in print technology, we produce top quality brochures, magazines, corporate folders, posters and point of sale material.

Tandym Print

Corner of Park Road and Mail Street, Western Province Park, Epping

T: 021 505 4200

F: 021 505 4280

Email: print@tandym.co.za

4

6

EXPERT SERIES: Master the Gradient Mesh tool in Adobe® Illustrator

Impress your clients with beautiful gradients in Adobe® Illustrator Gradients, when used well, can really help to boost a piece of work by adding an extra level of interest,writes Eva Csernyanszky When applied in the wrong manner, however, gradients can appear cheap or even lazy on the part of the artist. We will take a closer look at Adobe® Illustrator’s Gradient Mesh tool — one of the most amazing and confounding tools in the creative toolbox, but a tool you should master, without a doubt.

In this tutorial, you will create professional looking gradients by dividing almost any shape into a mesh with intersecting mesh points that can be controlled and coloured with a solid colour. I will step you through creating a gorgeous pair of cherries using a refence image from a stock photo library.

TUTORIAL

ADOBE ILLUSTRATOR CS5 Duration 45 minutes Level of difficulty Intermediate What you will learn • Create a gradient mesh • Select and colour mesh points • Work with mesh fields

01

Place the reference image in a new document, on its own layer and lock it. Set up the base colours for the cherries, using the Eyedropper Tool (I). In this tutorial we work with five base colours, but you can set up more if you want to include more colour detail in the mesh object.

02

Select the Pen Tool (P) and trace the outline of the cherry and fill it with a base colour. Select the Mesh Tool (U) and add a mesh by clicking on the outline shape.

03

Add more mesh lines by clicking with the Mesh Tool, working from bottom to top. Vary the distance between the lines for effect. Remove any unwanted mesh lines by Alt clicking on a line. Ensure that you add some mesh lines close to the cherry outline to set up contrast areas later. Now add vertical mesh lines as per the image. In the next steps you will select either mesh points or mesh fields, drag mesh lines or pull control handles.

04

Drag the vector shape below the cherry image and continue to work on it using the original image as a reference. Add the first highlight by selecting a mesh point, as shown, using the Direct Selection Tool (A). Use the lightest colour for highlights.

05

Select the mesh point below the first highlight and fill it with a darker colour to create a contrast. Compare to the original to makes sure it’s realistic in effect. Click on the mesh point below that and add a lighter red again.

06

Using the cherry image as reference, notice that the top right area has a shadow, so select a mesh point and fill again with a darker red. If you want to spread out the colour a little more, adjust the control handles extending from the mesh point. Pull them using the Direct Selection Tool (A) and see how that affects the colour spread.

08

07

To define the edges of the cherry perfectly, you must apply the darkest red to the outer mesh points. Do this for all edge mesh points. Also add some highlights to the outline, so add the lightest red in between some of the darker mesh points at the perimeter.

Add a lighter red to the right hand edge as shown to add a bevelled look to the cherry image. Do this at the base of the cherry too, add darker red areas wherever else you feel necessary.

Add dark red to the mesh points close to the outer most points. Add a dark red to the middle of the shape too as shown.

09

To spread colour more like a gradient, use the Direct Selection tool (A) and select mesh “fields” as shown and colour them with the darkest red.

Eva Csernyanszky, Founder of Friends of Design Academy of Digital Arts.

Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies www.friendsofdesign.net

10

Now complete the stalk starting with the outline shape, setting up colours with the Eyedropper tool (I), filling the outline in with a base colour, inserting mesh lines and colouring the mesh points as before.

CITYVARSITY

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

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