DESIGNTIMES south africa’s creative resource
www.designtimes.co.za
/03 DESIGN
ADRIAN MILLER
South African born Adrian Miller has been ranked by Media Magazine as one of the top five Executive Creative Directors in Asia-Pacific.
/06 PHOTO
Todd McLellan
Canadian photographer Todd McLellan like many image makers, has a passion for creating visuals extending beyond one discipline.
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AUGUST 2011 Issue No.37 ZAR 15 EUR €2, UK £2, US $3
/12 DESIGN
Jared Odell
We speak to Cape Town furniture designer Jared Odell about the life of a designer, his new Fulbrite range of furniture and goals for the future.
Loerie Award Winner
Windows®. Life without Walls™. Samsung recommends Windows 7.
Introducing the new Samsung Series 9 Notebook. Cast from aviation alloy and powered by a 2nd generation Intel® Core™ i5 Processor, it’s the latest innovation in fast computing performance. At only 16mm, its ultra thin, lightweight streamlined arc design make it more than just a notebook. It’s a true reflection of strength and sophistication. What defines you? TECHNICAL SPECIFICATIONS Intel® Core™ i5 Processor 2537M (1.4GHz, 3MB) • Genuine Windows® 7 Home Premium (64bit) Operating System • 4GB (DDR3) System Memory 13.3” SuperBrightPlus© Anti-Reflective HD LED Display • 128GB Solid State Drive (SSD) • Up to 7 Hours Battery Life** • Weighs only 1.31kg
www.samsung.com/notebook Copyright© 2011 SAMSUNG Electronics Co, Ltd. Screen images are simulated. Intel, the Intel logo, Intel Core and Core Inside are trademarks of Intel Corporation in the U.S. and other countries. ** Battery life based on Battery Mark test scores that will vary based on configuration. SAM_SERIES9_7374_DT
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NEWS
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We won a bronze Loerie the first and only time we entered Designtimes into the Loerie Awards. I’m not bragging, merely stating a fact. The question is does anyone really care? Do awards really matter? I guess it depends on who you ask. If you had to ask Adrian Miller he’d say they do matter. Incidentally, we did ask him and you’ll find his answers within the pages of our award worthy paper. He’ll be judging at the Loeries in September, ahem. Our cover fairly explodes with the question, much like Todd McLellan’s photography. Todd took a Pentax camera apart just to photograph it, although he hasn’t managed to put it back together again. Another poster for your office this month, this time illustrated by Radio as well as the cover. Radio is a multi-disciplinary creative studio based in Cape Town. The studio, formed by Byron Meiring, Gert Schoeman and Brad Hodgskiss, specialise in illustration, iconography and design. 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
Samsung’s Galaxy S II sells 3 million in 55 days Unless you were hanging out with the sherpas in the Himalayas you probably must have heard a lot about the Samsung Galaxy S II. To say it was well received would be an understatement as almost everyone we knew had already got one or was planning on getting one. But now we have the official figures from Samsung and we know just how well they did. The Galaxy S II went on to break Samsung’s own record and sold over three million units in the fifty five days since launch. That’s approximately fifty thousand phones a day. According to Samsung, most of these phones were consumed within the European markets. If you think these figures aren’t all that impressive, you should know that the Galaxy S II is yet to go on sale in the US.
Contributors
Cover
illustrator Radio, info@madebyradio.com
Sales Manager Wendy Scullard
Advertising
Traffic Controller
Kelly Cupido kellycupido@telkomsa.net
Accounts Executives Kelly Cupido kellycupido@telkomsa.net Laurenda Hagglund laurenda@telkomsa.net
Office Administrator
Carmen Puma beyondpublishing@telkomsa.net
Publisher
Beyond Publishing, 25 Voortrekker Road, Goodwood, Tel: 021 592 5721
Printer
Tandym Print www.tandym.co.za
Brand Union win at Apex The Brand Union Cape Town (previously Coley Porter Bell) was awarded a bronze Apex for La Capra in the launch category, and was an integral part of the Ogilvy South Africa team that won Silver for Castle at Thursday’s awards ceremony. La Capra launched in 2010 into an already crowded wine market. Mathew Weiss, Strategy Director for The Brand Union. “As a company we focus on providing clients with a perfect mix of art and science in the design process. This is perfectly embodied by the judging criteria of APEX demonstrating both strategic and creative effectiveness”.
Paarl Media launches Academy of Print
Eva Csernyanszky eva@friendsofdesign.net Quintin Schnehage quintin@conceptinteractive.net
Wendy Scullard, Malika Samuels, Thandolwethu Jevu, Linda Schady , Enricho Monsinger, Nigel Fortune, Roxy Rosenberg, Aniesah Hu, Gaynor Thompson
Political pencil heads
Olympic torch Earlier this year East London based designers Edward Barber and Jay Osgerby won the competitive tender run by LOCOG and the Design Council that set the brief to design a Torch that reflects the celebratory nature of the Olympic Torch Relay and the Olympic Games. The winning design connects the London 2012 Olympic Torch Relay to each of the 8000 Torchbearers and their community. The Torch’s triangular, gold-coloured form is perforated by 8,000 circles representing the 8000 Torchbearers and their stories of personal achievement to their local community which will be celebrated during the London 2012 Olympic Torch Relay.
With an ever dwindling pool or artisinal skills which is being felt all across the globe and coupling that reality with globalization pulling skills across the world to the highest bidder, industry has a problem. One of these industries that has been affected is the printing trade. Paarl media are tackling this problem directly. In 2008 they established their own training academy, but since then have developed the academy into an internationally recognised academy developing holistically skilled individals. Paarl Media has heeded the governments call for partnerships with industry to avail its capacity for developing the skills of our people, he said. Skills development is central to job creation and decent work as articulated by the President in his State of the Nation address with initiatives such as these the industry and future contributors to the economy benefit all and will act as a catalyst for more businesses to get involved with human capital development.
This is definitely a clever little advertising campaign by advertising agency Plan.net for a German political magazine, Cicero. An artist named Ragna Reusch Klinkenberg carved the heads of top-politicians into the tips of Cicero branded pencils creating unique sculptures. After they handed some pencils to real politicians, they targeted the media-world. Instead of mass-mails they located seven key media buyers and sent them other pencils in premium boxes. “Out of the seven people we approached,
five responded personally to the magazine, expressing their gratitude for the special gifts they received. In hard facts the inquiries for ad space increased by 24%, the bookings increased by more than 17 % and the image of Cicero within the mediaworld was sharpened and upgraded by wordof-mouth. Every pencil cost us 300€ in producing and just 20€ in shipping. So for the investment of 320€, we created a markup in media-spendings worth 56,695€ per issue.” Plan.net
Design capital Following deliberations on 9 June 2011, the International Council of Societies of Industrial Design (Icsid) has the pleasure to announce on behalf of the members of the World Design Capital® (WDC) Selection Committee that the cities of Bilbao (Spain), Cape Town (South Africa) and Dublin (Ireland) have been selected as the three shortlisted cities that will move on to the next round of evaluation in the bid to becoming the World Design Capital in 2014. In 2014 selection of World Design Capital will be the fourth appointment by Icsid of this biennial designation to a city, in recognition of its accomplishments in using design as a catalyst for development and reinvention, as well as for improving its social, cultural and economic environments. The official announcement of the 2014 World Design Capital designated city will be on 26 October during the 2011 International Design Alliance (IDA) Congress in Taipei, Taiwan (Chinese Taipei).
400 million Windows 7 licenses sold At this year’s Worldwide Partner Conference, head honcho Steve Ballmer took great pleasure in announcing that said figure has now swollen to beyond 400 million in under two years. Not surprisingly, that makes Win7 the fastest selling operating system in history. It seems that even with the ever expanding Apple, the core business of Microsoft seems undaunted. With Apples approach looking to expand by creating new markets, Microsoft look to maintain strength in their OS market.
Apple iCloud Apple recently introduced iCloud, a breakthrough set of free new cloud services that work seamlessly with applications on your iPhone®, iPad®, iPod touch®, Mac® or PC to automatically and wirelessly store your content in iCloud and automatically and wirelessly push it to all your devices. When anything changes on one of your devices, all of your devices are wirelessly updated almost instantly. “Today it is a real hassle and very frustrating to keep all your information and content up-todate across all your devices,” said Steve Jobs, Apple’s CEO. “iCloud keeps your important information and content up to date across all your devices. All of this happens automatically and wirelessly, and because it’s integrated into our apps you don’t even need to think about it—it all just works.” The free iCloud services include: The former MobileMe® services, Contacts, Calendar and Mail, all completely re-architected and rewritten to work seamlessly with iCloud. Users can share calendars with friends and family, and the ad-free push Mail account is hosted at me.com. Your inbox and mailboxes are kept up-to-date across all your iOS devices and computers. This would appear to just be the begining of a new future in computing which will migrate to professional software too. Where projects and multiple contributors work and see changes in real time.
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Adrian Miller design chair at the Loeries
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drian Miller, chief creative officer of JWT Delhi and member of the JWT world wide creative board, has been appointed to chair the Print Communication category for Loerie Awards. South African born Miller has been ranked by Media Magazine as one of the top five Executive Creative Directors in Asia-Pacific, as well as one of the top two creative directors in Asia by Campaign Brief Asia. He feels it is an honour to be a part of the Loeries this year and to see what the industry has to offer, “The work that comes out of South Africa is held in the highest regard in Asia. It’s often looked at as work to emulate, or better still, beat.” Before his move to JWT Delhi in 2010, Miller spent fourteen years yielding his talent for building strong brands and was a cornerstone in the success of bringing Saatchi & Saatchi Malaysia to the fore, within five years he grew Saatchi to be one of the top two agencies in Asia. In 2009 alone, the agency was awarded four ‘agency of the year’ titles and scooped 45 international awards across Guinness, Toyota, P&G and Amnesty International. In 2010, they were ranked as one of the world’s top 50 agencies by the Gunn report. Miller has won numerous gold, silver and bronze Lions, multiple D&AD in books, gold at Clio, One Show, London International, Adfest and Spikes. He has twice had work listed in the Gunn report top 10 and has been a judge at Cannes, Clio, D&AD, Spikes, Adfest and AWARD. We caught up with Adrian while in Cape Town and asked him about his carreer and judging at this years Loerie Awards. Where did your creative career begin? My parents rightfully kicked me out of home when I was about 19. I went to stay with a family friend who was running an agency in Singapore. He soon grew tired of having me lie around his apartment all day doing nothing, so he asked me to come into the agency and make myself useful. It has to be said, I wasn’t very useful. How do you feel about winning awards? I think having your work deemed award worthy by your peers in the industry is an important thing. Awards force our industry to constantly raise the game and try new things. I think that benefits everyone. Going to Cannes and seeing all the great work on display can be daunting, but inspiring at the same time. You walk out wanting to get drunk and slit your wrists. Then you recover and try harder. Do you think awards really matter? Yes awards matter, but it has to be the right
awards. Some awards shows hold more water than others. I feel the sheer number of award shows in the world right now dilutes the prestige of winning a bit. It probably makes (financial) sense to concentrate on three or four of the world’s top shows and the local awards. Do you think awards matter to the client? Marketing managers who green light a Cannes gold winning film will probably benefit career wise from that outcome. Reason being, most studies show that award winning work sells more products. I would think that fact alone would force clients to strive for creative excellence. The clients I’ve worked with have always been over the moon when they win, locally or internationally. I guess, like most people, they like having their name in lights too. What’s it like going from winning awards to judging who should get them? Creative people spend every hour of every working day judging work. In fact that’s all creative people really do. We think of an idea and then evaluate it. So walking into a room full of work to judge isn’t a new experience in any way. You’ve already judged the work at this years Loeries. What did you think? The work I saw at this year’s Loeries was a bit thin in my opinion. I was expecting a little more, especially in the outdoor and ambient category. Some years are like that though. Next year might be a bumper year. Often, after a lean year you’ll find more great work coming out. Was there anything that got you really excited and out of your chair? There were some good solid pieces, but nothing that I felt was ground breaking or tremendously fresh. How does our work here in South Africa compare to the rest of the world? South Africa has won its fair share of Grand Prix’s at Cannes over the last few years. The best work South Africa has to offer can compete with the best in the world. It is by no means a backwater. South African talent is well regarded, and you can find SA creative guys working in many agencies around the world. That said, South Africa still has a way to go in the integrated and digital space. We seem to concentrate more on traditional mediums like TV, radio and print. The Titanium category at Cannes should be the focus for SA agencies moving forward. Over the years of your career what campaigns stand out and make you proud to have been a part of? The work on Tiger Beer and Guinness in Asia stands out for me. It was big work that ran around the region that pushed the bar creatively. The Tiger Beer work won at the Effies and also the Viewer’s Choice Awards. It was Singapore’s favourite commercial in 2010. Have you ever thought about going it on your own, starting up your own agency? Yes, It’s something I’ve been thinking seriously about and just might follow through with in the next few months. I think the industry has changed dramatically. Clients are looking for different things and they want to spend less. Ideas need to be media agnostic. It’s a good time to be a creative and break out. by Mark Rosenberg
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o you really think you can avoid them? Sure, you can switch off your television, flip over your magazine; but unless you live fifty feet underground, it is impossible to avoid advertising. Short of shutting your eyes in defiance while walking down the street, you are guaranteed to be smacked in the face by a giant billboard that screams, “BUY ME!!!” We live in a materialistic world, with a huge number of companies jostling for our attention and pockets. Sure, I can’t ever recall seeing a print ad for Ferrari, but there are a lot of old bangers out there who do advertise. As cash-strapped consumers, we want the comfort in knowing that we are buying a good quality product which is of good value. But with plenty of decent products on the market competing with each other – making the most noise is often the only way to make us listen. Welcome to the ad agency. Despite being demonised as moneydraining “ego-machines”, good agencies can work wonders for a brand. Some could argue that these brands should focus on improving their products first, rather than creating expensive ads for them. It is only washing powder after all. Or paint. Or chewing gum. But that’s just the thing – it’s just stuff! Some we need, and some we don’t. It’s the job of an agency to create a demand for these items, and at the very least, an awareness of them. There are some fantastic and incredibly useful products out there, from your favourite chocolate to the latest ‘must-have’ gadget; but there are also some stinkers. For instance cleaning products that create an even bigger mess when you use them, or ineffective insurance policies which tangle you up in the convoluted small print. It’s no surprise that adverts follow suit. There have been some amazing campaigns produced for mediocre brands, and equally, some awful ads have been made for very popular and well-loved brands. So why the hit and miss? According to the legendary David Ogilvy, “I doubt if more than one campaign in a hundred contains a big idea”. Right now, there are hundreds of thousands of people spread across the earth, all trying to solve one problem: “How can we sell this product?” Sure, plenty of advertising is questionable, risqué, and often bordering on offensive. You’d be hard-pressed, however, to deny its power and its impact on society and our consciousness. An astounding amount of academic and social analysis has been written on media and advertising; exploring such things as representation, audience and consumption, ethics, semiotics and ideology. Walk into any tertiary media course and you will invariably find a bunch of precocious varsity students passionately disputing the position of a logo on a cereal packet. Advertising matters. As a well-oiled multimillion rand industry, solely focused on the art of persuasion – I guess it should. Regardless of the intention behind an ad – it is doubtlessly fuelled by creativity (and no doubt by some other things too). All in all, it begs the question – “Should we be rewarded for our creativity?” The organisers of the numerous award shows around the world seem to think so. But do awards really matter? Adrian Miller, Chairman of Design for the Loeries also thinks so: “Yes awards matter, but it has to be the right award. Certain awards shows hold more water than others. I feel the sheer number of award shows in the world right now dilute the prestige of winning a bit. It probably makes financial sense
to concentrate on three or four of the top shows and the local awards.” Yes, winning awards is not an automatic process. Each competition has its own entry process and cost. If you are entering multiple campaigns into multiple shows and taking multiple staff; the costs will indeed multiply. So it might make sense to focus on the key events as Adrian suggests – surely these are the benchmark for creative success anyhow? What about the client? Does that big electronics giant really care that their agency won an award – or is the effect on the bottom line more important? (Or does an award directly affect the bottom line?) Adrian goes on to say, “Marketing managers who green-light a Cannes Goldwinning film will probably benefit careerwise from the outcome. Reason being, most studies show that award-winning work sells more products. I would think that fact alone would force clients to strive for creative excellence. The clients I’ve worked with have always been over the moon when they win, locally or internationally. I guess, like most people, they like having their name in lights too.” In the long-term one could argue that the pursuit of recognition and excellence raises the standard across the board; as creative thinkers strive to be bigger and better than their last campaign. I mean, what kind of creative director wakes up in the morning and says, “My client does not need amazing work”? And does the marketing director of a successful brand ever think to themselves, “I would love second best”? No. Everyone wants to win. It is the nature of advertising, and the nature of capitalism. But is it a noble pursuit to chase fame and adoration from your peers – as judging panels are normally comprised of creative directors, copywriters and art directors – or is it an egocentric quest to attempt to notch-up the most number of awards each year? What does the small guy on the street think? Fleur Paterson and Matt Cottis from London-based design studio IYA, have never won an award. “To us at the moment, awards do not matter. Not to say that it’s the same for other studios. Respect from your peers is not a bad thing. The thing with awards is that you’ll get something in the post asking you to enter or that you’ve been selected, but then you need to fund the entire thing yourself. For us that’s not a priority – as a small studio the money can be better spent elsewhere. I think that awards do matter to big brands. When you are spending a lot of money, it’s a form of security and covering your back.” So maybe not a self-seeking indulgence after all? An award-winning campaign can get plenty of exposure on both local and international media platforms. Once thrust into the spotlight, these ads are then googled, tweeted and talked about by both industry leaders and the public. And what of the other links in the chain who were involved in the production? Copywriters, graphic designers, photographers, composers - every company that has a hand in an award-winning advert gets to have bragging rights. In an ideal world, should awards matter? Perhaps not. But they do. I will leave you with a question. Imagine you are the marketing manager of a leading telecoms company, about to give an account to one of two highly-esteemed agencies. Both have equal amounts of talent, capability and creativity. Both have done amazing work for their clients. What will be the deciding factor between the two? It might just be one. by Mark & Ruairi
“The thing with awards is that you’ll get something in the post asking you to enter, but then you need to fund the entire thing yourself” Matt Cottis “Awards matter, but it has to be the right award” Adrian Miller
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London design studio IYA IYA is a London based design studio founded by Fleur and Matt. Their small creative team, determined to stay this way, bring in specialists to help on a project by
whole load of experience, working with clients large and small and pride themselves on building ongoing relationships and, importantly having fun along the way. We ask Fluer and Matt a few questions about starting and running their own studio. What did the two of you do before IYA? Fleur had been working for a brand experience agency called Pure Sang for many years and I was at a branding agency AND. in London. After meeting, we were given the opportunity to go and run the Antwerp studio together, Fleur focussing on 3D and interior and myself helping develop the 2D, graphic and digital side of the company. We were working mostly on fashion and drink brands from Lee and Levi’s to Martini and
Being in London is great, apart from being our home town there’s so many culutres here project basis, adapting to fit the brief and the clients’ objectives in the best possible way. IYA Collaborates with like-minded clients and agencies to create innovative and well crafted ideas across the fashion, lifestyle and sport sectors. The studio has a distinct multi-disciplinary approach to their work which spans graphics, brand, web and commercial interiors. Fleur and Matt, founders of IYA, have a
Bombay Sapphire, working with a great team of people and in a fun city. Why did you decide to start ITA? We wanted to move back to London anf after two years in Antwerp we found that as well as being ‘partners’ we were also good at working together, so rather than come back and work for someone else we felt it was time to set up shop, we are very passionate about what we do and feel our skills together can help clients produce some great work. Who was your first client? Content Beauty and Wellbeing a luxury eco beauty store in central London. We created the brand and interior for this great concept, such was the clients committment to sustainability we used a whole host of different materials including sheets of recycled coffee cups for the shelving units! Tell us about your creative process?
We’re very much a hands on studio and we like to collaborate with our clients as we feel this gets the best results as oppose to being briefed and going into our own world to create something in isolation. We work around a lot of other creative people, not in graphics and interior but fashion and furniture so we’re always seeing different inuences and inspirations which keeps things fresh and exciting. Has your Studio won any awards? Nope, never entered one. Do you think awards matter? To us at the moment, no. But it’s not to say for other studios it’s the same, respect from your peers is no way a bad thing but the thing with awards is you’ll get something through the post asking you to enter or that you’ve been selected but then you need to fund the awards themselves - for us that’s not a priority - as a small studio the money
can be better spent elsewhere. Do you think awards matter to clients? Big brands, yes, when you are spending a lot of money on a project with a studio I guess it’s a form of security and covering your back. Clients, we feel, want to buiuld ongoing relationships, they’ve been recommended or you got called in for a small piece of work that went well. You need to nurture these relationships to keep doing the work and build your portfolio. What keeps you motivated and inspired? Our nine moth old daughter Riley! Being in London is great, apart from being our home town there’s so many cultures here that yo can draw inspiration from. The young guys working here are also great, now that we have the little girl we’re not out as much so they’re the ones seeing what’s happening and going to all the cool places! www.iyastudio.co.uk
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PHOTOGRAPHY
Todd McLellan
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riginally born among the golden wheat fields of Saskatchewen, Canada and raised by a carpenter and electronic technician, Todd McLellan became fond of the hands on approach. Harvesting his passion for photography in Calgary, Alberta with a Bachelor of Fine Arts in 2002 and now residing in Toronto, Todd like many image makers, has a passion for creating visuals extending beyond one discipline. We chatted to Todd about his mind blowing project, Disassembly. How did the project come about? I started collecting things that were no longer in use. They were all so beautiful but no longer appreciated. I had kept them in my office for months trying to figure out what to do with them. One day it finally came to me, I wanted to see them like an assembly diagram with all the pieces coming together in space. I tried that and hated it. It required way too much digital work. That’s when I decided to lay them out. The first project was the phone and the pieces were very minimal but much better than what I had tried previously. After a few more disassemblies it really grew on me. In the end it achieved my idea of showing how simple these objects were and the sheer beauty of their working design. How long did it take to take apart the Pentax camera? Most of the projects take three days to complete including the Pentax. There were a lot of small parts but I organized them as they came out of the camera into bins. These bins were then laid out on the set in sections. I tried to stay true to how it came out of the camera but of course, some elements needed to be moved around. Have you ever tried to reassemble any item you’ve taken apart? I haven’t tried to re-assemble any of them yet. The push lawnmower and phone would be no problem at all, the typewriter however, would be tricky. How did you manage to capture the image so it looks like it’s floating in the air? I actually had an assistant drop them from a ladder, the pieces are actually falling through the frame. I had to get two new high speed packs from Broncolor, fresh from the factory. I was then able to get enough light, fast enough to freeze the pieces mid frame. This was all shot in the dark with the camera on the bulb setting. I tried to shoot all the pieces falling at once but wasn’t able to capture the designs I had envisioned. I then organized and dropped them in different sections, foreground, mid-ground and background and placed them together in photoshop. The phone was the only one that I could get in one shot, although that wasn’t the shot I used in the final. Take a look at more of Todd’s work on www.toddmclellan.com Roxy Rosenberg
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PHOTOGRAPHY
Vincent Bousserez plastic life
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incent Bousserez was born in 1973. He lives and works in Paris. Inspired by the works of his Godfather, the painter Michel Bousserez, Vincent Bousserez was attracted at an early age to drawing and painting, which he continued to practice while in school. He acquired, through years of art workshops, a strong sense of composition, contrasts and light, while cultivating ways to capture the “decisive moment”. His studies in business school led him to advertising, then to becoming the art director at various communication companies. His passion for travel has allowed him to develop and enrich his photography. During a two-year stay in Morocco at age twentythree, he took his first photographs with an old Exakta Vectra and 50mm lens, and he returned to France with many sketchbooks and watercolours, which were exhibited in 1996 in the Broca area, in Paris.
I take them on holiday, I take them everywhere. I could be anywhere and see stuff around me and the inspiration just comes naturally. I am like a child! It is really spontaneous and natural and based on humour. Since 2010, he is an independent photographer and art director under the group Twentyonehundred that he has created. Even if he continues art direction and advertising campaigns for a few privileged customers, Vincent is more involved in searching for unexplored themes for his artistic practice of photography. Vincent has become increasingly known through his series Plastic Life, photographs of miniature characters that manipulate scale to reflect on daily life. This collection of photographs have been exhibited and collected in France, Switzerland, Great Britain and the international press. Vincent came up with the Plastic Life series following a trip to a miniature model shop four years ago. “It all started that day, that day I saw miniature trains, houses, trees and I was immediately captured by these little people. I stared at them thinking, I should choose one and shoot him in different places, in different situations. And I did.” Vincent carries the mini characters around with him at all times so he can take a shot when an idea springs to mind. “I take them on holiday, I take them everywhere. I could be anywhere and see stuff around me and the inspiration just comes naturally. I am like a child! It is really spontaneous and natural and based on humour.” Once he has an idea, Vincent spends about thirty minutes capturing it on camera. But Bousserez’s aim is not merely to be frivolous. This is his attempt at pointed visual satire. “Each photo becomes a poetic and humoristic screenplay which can be interpreted as a denunciation of our vices,” he said. www.flickr.com/photos/bousserez
Design for Print
The art of printing is not black and white…
...but rather a dynamic, technicolour environment with variables such as different types of inks, paper, presses, finishing and binding equipment. Whether it be publication gravure, heatset web offset or sheetfed printing, each one has its own advantages and challenges when putting actual ink to paper. As do the different binding techniques selected. Each of these processes, require special conversions and allowances to ensure the right results.
AVOID THE DESIGN PITFALLS…
TOOLS FOR THE TRADE…
that result in issues often picked up during the production process – incorrect colour, out of registration, inadequate bleed, poor image quality, blurred fonts, misaligned images across dps, trimming cutting into content to name but a few. These result in artwork having to be corrected, reprints, time and material wastage, cost implications plus a great deal of frustration for the printer, the clients and of course the original designer – much of which could be avoided.
In addition to a full training manual received during the training, all attendees who successfully complete the training will have access to a powerful online Toolbox. This will include useful calculators to determine spine widths, magazine weights for distribution plus additional reference guides, ongoing tips and advice.
DESIGN FOR OPTIMAL PRINT RESULTS… through understanding the impact of the production options selected, and, thereby, empowering yourself to confidently stretch the boundaries of design creativity within the context of their requirements.
PROFESSIONALS TEACHING PROFESSIONALS… to increase skills and knowledge at the Paarl Media Academy of Print. This new Academy has proactively developed a comprehensive workshop, “Design for Print”, with input from the pre-press experts across the Paarl Media Group in all the areas of print production. Between them they have a vast number of years of experience in working with preparing artwork for press, handling problems that arise in the different processes, and giving advice to clients. Their combined knowledge has been used to create a virtual goldmine of comprehensive content, which will empower designers and print production staff to fully understand the implications of their design selections in print so as to get optimal end results.
USEFUL INSIGHTS… gained through a dynamic, practical workshop of the challenges experienced and the solutions to best resolve them. This will include topics such as: • • • • • • • •
Impact of choice of paper, printing and binding method on the initial design Preparing your material for print to get the best results Management of colour including gray scale and dot gain Impact of heavy ink loadings on paper selection The challenges of using solid background colours in design: the do’s and don’ts Eliminating miss-registration issues Avoiding binding issues such as creep and poor spine quality Knockouts vs overprint: when to use which option
There will also be an opportunity to present issues you have experienced to the experts to get their insights and advice.
WHERE… The training will be held at the Paarl Media Academy of Print premises in Paarl and in Johannesburg, with presentations by some of the selfsame experts who designed the programme. It will include a trip inside the working plant to experience the production process in action.
FOR MORE INFORMATION… Please e-mail Elicia Van Schoor at elicia.vanschoor@paarlmedia.co.za for more information.
MORE ABOUT THE ACADEMY OF PRINT… Paarl Media has taken the lead within the South African print industry in terms of developing an in-house training college to provide critical skills to keep pace with the rapid advancements in technology. The Academy was established following a comprehensive study of international training programmes. It is a centre of excellence, driving the personal development and performance of each individual through a highly sophisticated learning management system. Furthermore, the Academy is an Institute of Sectoral and Occupational Excellence (ISOE) and is an accredited training provider with FP&M Seta. Training carries local as well as international accreditation from the South African Qualifications Authority (SAQA) and the City and Guilds of London Institute.
15 Jan van Riebeeck Drive Paarl PO Box 248 Paarl 7620 South Africa Tel +27 21 870 3800 E-mail academy@paarlmedia.co.za www.paarlmedia.co.za
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PHOTOGRAPHY
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Andrew Brauteseth’s Portrait of a Nation
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ndrew grew up in a small town on the Natal South Coast called Port Shepstone. For those in advertising, it’s about fifteen km north of Margate. Andrew sees himself as an artist that likes taking photos for money. How did you first get involved in photography? Completely by chance, I never intended to be a photographer. It just seemed to fit. I moved on to photography from a marketing and advertising career. It took a long time before I started calling myself a photographer and wrote ‘photographer’ on my business card.
I never intended to be a photographer. It just seemed to fit. What was your first photography job? The first job somebody actually gave me money for? It was to take a picture of a piece of steak for a menu. I’m serious. I got R500 and then I ate the steak. I knew this job was for me. Is the industry competitive? Is there enough work to go around? Well, there are a lot of cameras around. I think if you try to shoot ideas that are original and beautiful, you’ll always have work. Success is probably more a question of your love for your work, your art direction, your ideas, the way you see things, the way you work with people, rather than just knowing how to use a Hasselblad or a 5D MKII. Is it important for you to start self-initiated projects like Portrait of a Nation? These types of projects gain momentum and have longevity, however, they also take a lot of time. Between guywithcamera. co.za, portraitofanation.co.za, breestreet. co.za and lifelovelenses.com and my other shoots, I have my hands pretty full.
How did the project come about? What gave you the idea? I do a lot of travelling for shoots and on road-trips and I meet a lot of interesting and crazy people through my work. I thought it would be a great idea to start documenting the personalities to try and piece together the picture of what a modern South Africa was all about. What sort of candidates do you look at featuring in the portraits? I’m trying to get a huge cross section of South Africans, hopefully with an interesting story. Do you aim at shooting all of them in the studio or in their natural environment? Both. At first I wanted to do the project in a documentary style and shoot the portraits where I met the person, but, often a studio shoot might suit the personality a lot better. What is the end result of Portrait of a Nation. Would you possibly look at doing prints, an expo or maybe a book.? Yes, there will definitely be a book as soon as I’ve got a large enough cross section of society, but, I want to keep the project going indefinitely. Is it on hold now that you have started your liberty project? What is the liberty project about? Yes, Liberty has taken up all my time recently. It’s a huge piece, both in terms of the political themes that inspire it and the massive amount of production involved. It’s for my first exhibition work. I’ve wanted to shoot Liberty for about a year after I returned from Buenos Aires and started thinking about it. It’s my first step into the ‘fine art’ photographer space and Liberty will be the first in the series of works on the same theme I’m doing. If the world was coming to an end and you only had time for one last sandwhich, what kind of sandwhich would you make? I’d head to Jason’s bakery on Bree for their sushi sandwich and die a happy man.
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South Africa gears up for leap into digital publishing Cutting-edge software just released by Adobe will open up a brand new communications medium to South African advertisers and publishers, enabling them to publish digital content with an interactive dimension onto tablet devices such as the iPad, Blackberry Playbook and Samsung Galaxy Tab. Using Adobe’s new Digital Publishing Suite, graphic designers will now be able to add an interactive element to a client’s message to capture consumers’ attention and allow them to engage with the brand, says Eva Csernyanszky, a director of Friends of Design (FoD), currently the only design school that provides training in the new technology in South Africa. Traditionally the consumer’s experience of an advertisement would be a static image with a tag line, but digital publishing provides an opportunity to “draw the user into a product” by bringing the ad or publication to life, allowing him to navigate through the content and choose his own experience, Csernyanszky says. She explains that there are various ways in which to create “an immersive experience” for consumers and stimulate their senses. One is by integrating a game into an advertisement. In a car ad, for example, the consumer might touch the screen to start navigating the vehicle through a maze or driving it through a dangerous situation. Another way might be to ‘immerse’ him into the car via a 3D image of the interior, where he can click buttons on a virtual dashboard to turn on the radio, or open a window and hear birdsong or leaves rustling on trees. Sometimes the interactive experience can be as simple as touching the screen to hear a sound or start a video playing – for example, to show the making of the ad - or it might be as complex as enabling the consumer to rotate a product on screen to see it from all angles. The latter would involve building a model of larger products, such as cars, during the ad production process, she says. Other tools include having expandable areas of text to enable users to read more about the characteristics or benefits of products, or adding hyperlinks so that they can access more information from a company website simply by touching the screen. Ads may also be designed in such a way that users can view a different graphic when they orientate the tablet screen from horizontal to vertical. Many well-known brands, including Mercedes Benz, EMI Music and Red Bull are already actively using digital publishing as an advertising and marketing method overseas, Csernyanszky adds. “Publishing companies, too, are at the forefront of the new technology. Richard Branson’s ‘Project’ magazine, for example, is available only on the iPad, offering an
exclusivity that many consumers can’t resist.” Interactivity offers an experience that makes the user feel more connected to a brand, which in turn creates a loyalty and message involvement that is difficult to forget, she says. “Studies carried out at the University of Connecticut in Stamford, USA, have shown that those who engage with a brand in this way have a heightened awareness of that brand afterwards.” Using interactive content also has great value in that it allows publishers and advertisers to track how many users have engaged with a particular ad in a digital publication and how long they have spent reading it. “Being able to derive statistics
from the technology, using Adobe tools, to track and quantify the impact of an ad will enable advertisers to make their future messages more effective,” she says. She adds that interactive ads also offer an advertiser the chance to break through “the clutter” of advertising that today’s consumers are bombarded with, and even keep readers coming back for a fun experience. “However, not every ad should have all the bells and whistles: the designer should be the curator of the content and choose selected advertisements or articles that retain the design fidelity of the print publication.” From a publishing perspective, digital publications have the advantage of being more eco-friendly and less costly to produce as they do not use water, ink and paper, Csernyanszky says. “There is also a timeliness about them: publishers can get breaking news out faster or update an existing article online, then instantly advise consumers who have downloaded the original that the piece has been updated. Another factor that will appeal to consumers is that digital magazines remain accessible: users can easily go into a publication’s archives and purchase a back copy published a year ago.” Digital publications are likely to appeal to younger, techno-savvy consumers who are willing to buy and learn new technologies
to access information, she says. “What this means is that, as creatives, designers have got to adapt, and FoD is facilitating their migration from print to tablet.” She believes that traditionally-trained print designers, especially those who have been in the industry for 10 or 15 years and who were reluctant to go the web route because of the coding aspects, technological standards and restrictions, will find the leap to digital publishing quite easy as the tablet is a simple device and the Adobe tools automate the process. “The new technology will offer these designers and their clients another tool.” Keeping local creatives up to speed with international technology and training is what drives FoD as an organisation, says Csernyanszky, who was actively involved in testing and presenting the beta versions of the Adobe digital publishing suite. She has already run a training programme on the new technology for Tell magazine in Nigeria, and will soon return to Lagos to hold a master class for those she has trained. FoD will launch a five-week evening training course at its Cape Town premises on 4 July, offering comprehensive digital publishing training for designers, using Adobe InDesign and the Adobe Digital Publishing Suite. “This has been met with enthusiasm by the industry: we already have an entire advertising agency booked on the course.” Csernyanszky, who worked with Design Times magazine to create a sample digital edition that was shown at this year’s Design Indaba, says those on the course will be the pioneers of the industry in South Africa. “On the course we will outline what publishing is about, where it is going, and look at the technologies, giving our students a product matrix of all the available tablets and mobile devices. We will provide a thorough introduction to the Adobe Digital Publishing Suite, and best practice guidelines insofar as they have been thrashed out till now. “They will then go straight into producing static layouts in InDesign, and learn to add interactive content. They may work on test pages for their own clients as live projects in class, if they choose. Their work will be published online to the school’s mobile device, where they can see their ads in action. It’s a quick learning curve in an exciting new medium, and I believe digital publishing will hold huge appeal for creative professionals.” For more information, contact Margarita Stoffberg on info@friendsofdesign.net. Impti du Toit
Yoichi Yamamoto Japanese architect Yoichi Yamamoto has created a pop-up installation at the Tokyo Issey Miyake store, using two and threedimensional perspectives for a mindboggling effect. The display uses real chair backs fixed directly into the floor, with legs painted onto the ground. If viewers stand at a precise angle, it will appear as though the seats are real, solid 3D items. ‘I feel a sense of innovation, surprise and discovery, when I see ordinary things from a different angle,’ Yamamoto explains. ‘The larger the difference between ordinariness and angles, the more I’m inspired by them.’ Yamamoto says compared to window or interior designers, his background is in architecture and therefore he needed to
thoroughly study the materials he used in the display, despite their simplicities. ‘There was already a beautiful stage with melamine coating, so it wasn’t necessary to change that,’ Yamamoto says. ‘We specifically looked for common chairs with vertical stripes, so the chairs could be connected to the graphics, which was made with a digitally-printed, removable sheet.’ The chairs double as display pieces for a collection of hats by a milliner. Yoichi Yamamoto was born in 1975. After finishing the graduate course at Waseda University, he joined the Design Division of Shimizu Corporation. He founded Yoichi Yamamoto Architects in 2006. photography by Anthony Lee Martin
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INNOVATION
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Solar power rapidly becoming the energy source of choice for household water heating With an increasing number of ordinary South Africans seeking to introduce ways to reduce their household carbon footprint, solar power is rapidly becoming the energy source of choice for household water heating. Cobra Watertech, as part of its ongoing commitment to Going Green, has innovated a solar water heating solution that is making it affordable and uncomplicated for home-owners to make the move from electricity to solar water heating. Heating water for household needs consumes the biggest amount of electricity in the average South African home, so it
makes economic sense to take advantage of the natural energy our country has in such abundance. A Cobra solar water heating system will save on electricity bills and will also increase the value of homeowner’s properties. The first step in converting solar water heating is to get an expert to assess your needs and specify the right system for your home. If the existing hot water
geysers are still in good condition, you can retro-fit the solar panels directly to the existing geysers without interfering with
This efficient unit provides the system with protection in areas where freezing occurs. The Cobra solar power control system includes a timer which is preset to switch on the geyser element to boost the water temperature to ensure a regular and sufficient supply of hot water. During times of increased hot water consumption the control panel has a special manual booster switch which enables
Cobra Watertech, as part of its commitment to Going Green, has innovated a solar water heating solution that is making it affordable and uncomplicated for householders to make the move from electricity to solar water heating. the geyser installation or warranties. Here Cobra offers a unique solar arm which is ideal for cost-effective indirect systems.
the homeowner to switch over to geyser element heating to make up the shortfall. All Cobra solar systems are supplied with SABS certification along with guarantees and warranties according to parts, installation and special conditions. See the Eskom site for rebate information. For further information contact Cobra Watertech on 0861 212 121 or e-mail: marketing@cobrawatertech.co.za or visit www.cobra.co.za to view Cobra’s extensive product catalogue.
Enjoy safe drinking water with A Cobra filtration system Although South Africa’s tap water is declared “safe” to drink, harmful sediments can slip through and may cause health problems over time. Cobra Watertech – South Africa’s leader in plumbing technology – has developed the revolutionary Aqua-Salus domestic filtration system that removes chemicals, heavy metals, bacteria and other impurities. The Aqua-Salus range forms part of Cobra’s Water Saving Collection, designed to offer economical water usage in light of its Going Green commitment. The system offers a complete solution which is applicable to domestic households, as the technology encompasses important requirements for local conditions. Cobra is committed to implementing strategic water and energy-saving initiatives to reduce the ecological impact of its operations. A high-level team of experts continually monitor and develop cleaner, more efficient manufacturing methods. They research and develop stateof-the-art water systems, products and accessories designed to offer economical water usage and maximum energy-saving benefits. The Aqua Salus filtration system includes a point of use drinking water three-stage filter WM-POU-FILTER, tap WM-215-15, WM-970 mixer and a point of entry course filter WM-POEFILTER. It is an ultra-efficient system which can be DIY-installed, requires occasional backwashing as well as filter servicing depending on usage.
www.cobra.co.za
C REATE YO U R FUT URE The Faculty of the Arts at the Tshwane University of Technology is home to an array of programmes in design, visual and performing arts. It is designed to support the creative process - a process of making, doing, thinking and problem-solving. The Faculty of the Arts offers you 15 internationally recognised programmes to choose from. For more information Call: 012 382 6175 or E-mail: artsinfo@tut.ac.za
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Dance | Drama | Fashion Design | Film & TV Production | Fine & Applied Arts Graphic Design | Interior Design | Jewellery Design & Manufacture | Music Musical Theatre | Multimedia (Visual Arts Based) | Performing Arts Technology Photography | Textile Design & Technology | Vocal Art
Faculty of the Arts artsinfo@tut.ac.za | www.tut.ac.za
2011/06/21 8:37 AM
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ARCHITECTURE
Ron Fleisher architects, Agbaria house In a region where cultures usually clash, the house over the wadi in the village Musmus is a multicultural experience. A cooperation between clients that asked for a contemporary architecture, but didn’t want to forget the memory of the village they grew up in, and an architectural firm based in Tel Aviv created a reinterpretation of Palestinian architecture. The plan combines
between traditional spaces, as the “liwan”the entrance hall, and contemporary needs, as a TV room, and a formal dinning area. It reflects the will to keep an independent Palestinian identity within the Israeli society. The house is located on the top of a hillside overlooking “wadi ara”. The main entrance to the property is more than 17 meters down the slope. Between the
gate and main house a driveway curves in a reconstructed agricultural landscape. The slope was divided with traditional terraces made from local stone collected in the families olive grove. The driveway surrounds the white barn, a staircase climbs to the top of the building to a wide balcony viewing the valley and welcoming the visitor into the private living area. The
house is in a dialogue with the natural landscape using classical Muslim elements as well as contemporary technology. The entrance glass wall facing south is shaded with an interpretation of a “Mashrabiya”. The “liwan” is ventilated with passive suction through shutters located on top of 3 vaults 8 meters high. The hot air is sucked out and replaced by a cool breeze.
The main drawing room and the formal dining room open to a walled garden, colourfully framed by the white volumes. Established in 1996, the architectural firm has undertaken to date a wide range of projects, including residential, commercial and institutional, across the state of Israel, central Asia and Europe. www.ronfleisher.co.il
ARCHITECTURE
Nike House of Football, Soweto
Nike House of Football, Soweto
South African Embassy, Berlin: SAIA Award of Excellence, 2006
Multi Storey Parkade Interior, Cape Town International Airport
Design Indaba 10 X 10 Sandbag Homes: 2008 Curry Stone Design Prize
2009 Kids Zone: Cape Town Book Fair
Design Indaba 10 X 10 Sandbag Homes: 2008 Curry Stone Design Prize
a decade of transforming lives through creativity THE FREEDOM TO CREATE Following a 12 year track record of architectural practice, award winning Architect Luyanda Mpahlwa has launched a new Architecture&Design brand: Luyanda Mpahlwa Design Space Africa (Pty) Ltd. This Cape Town based firm provides Architecture and Design solutions for sustainable buildings, creative interiors and transformative urban spaces. DesignSpaceAfrica’s diverse team of professionals strives to create unique and cutting edge design to support and amplify the highest aspirations of our clients. Our architecture is inspired by a passionate vision for innovation and
the collective design energy of our team through a collaborative, integrated and interdisciplinary design approach. DesignSpaceAfrica’s has a wide local and international client base. A platform for dynamic design exploration, our team collaborate on developing design ideas integrating architecture, urban design, interior, and architectural graphic design. Our mission is to create sustainable environments defined by a passionate vision for architecture and technology, within a global design culture. Our design philosophy is inspired by the desire to translate African culture and traditions into a contemporary architectural
aesthetic, beyond limiting stylistic interpretations. In seeking to engage with our unique and diverse African culture and climate, the creative use of materials and our natural landscape is pursued. We strive to promote a design culture in our society, and to elevate design awareness through critical dialogue. Luyanda Mpahlwa was managing partner of the MMA Cape Town Studio for 10 years. GLOBAL DESIGN CULTURE AND LOCAL RELEVANCE We understand design to be a collective discipline, driven by individual initiative and innovation. While individual
conditions dictate the project specifics, our source of inspiration stems from comprehensive research and a rigorous design exploration that guides our response to each design challenge. The result is the product of an integrated design process set to create magical and inspiring spaces. We promote a sustainable design approach: Creation holds a purpose. We seek to create sustainable environments defined by enthusiasm for architecture, technology, integrated green building principles and sustainable design. DESIGN THAT CHANGES LIVES Our belief in an interdisciplinary approach
to projects has led to close associates in the fields of development planning and management, urban design and community facilitation. We set out our vision in the following carefully chosen words: ‘responsive, intelligent, enduring design’ – Which reflect our aspirations and our approach to the design and delivery of all aspects of our built environment. Our approach has always been to put people first – our clients, communities, end users and coordinate all stakeholders involved in the development process.
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THE FRINGE INCUBATOR HUB
View of entrance court to office/incubator and back-packer facility
DesignSpaceAfrica is proud to be associated with Cape Town’s bid to be World Design Capital 2014. Director Luyanda Mpahlwa, supports Cape Town’s bid in his capacity as a member of the bid committee, as well as through his professional practice, which is providing design services to the Cape Town Partnership for ‘The Fringe: Cape Town’s Innovation District’. The Fringe, is planned for the eastern area of the Central City bordering District 6, which already houses a number of creative and design orientated enterprises and institutions, including the CPUT City Campus, The Fugard Theatre, Cape Craft and Design Institute, and Harrington Square. The Fringe, initiated by the Cape Town Partnership and supported by local and provincial government, is an integral part of Cape Town’s bid to be World Design Capital in 2014. The precinct is envisaged as “the premier African environment for design, media and ICT innovation, creativity and entrepreneurship”. The concept of the innovation precinct is based on several highly successful international models,
such as 22@ Barcelona, and New York’s Meat Packing District, but will remain centered on local design and creativity. DesignSpaceAfrica have been involved in setting up the vision and conceptual parameters for the Fringe since the projects inception, and were approached by the Cape Town Partnership to design a temporary, business Incubation Hub within The Fringe precinct. The hub would serve as an incubator for start up small businesses, providing technical assistance, know how, and resources to entrepreneurs and designers. The incubator would provide much needed low cost commercial space suited to the space requirements of design companies. The temporary structure re-uses old shipping containers, in a captivating urban layout, creating a series of multi use, open spaces for public gathering, exhibition, and activity. The hub will house residential units, office incubation spaces with shared facilities for businesses, a high end trailer park/ back packer facility, as well as indoor and outdoor gallery and performance spaces.
The Fringe, initiated by the Cape Town Partnership and supported by local and provincial government, is an integral part of Cape Town’s bid to be World Design Capital in 2014.
View from Harrington Square into Gallery forecourt
DESMOND TUTU PEACE CENTRE
This is the concept behind the design of the Desmond Tutu Peace Centre. The Desmond Tutu Peace Trust have commissioned Associated Architects: DesignSpaceAfrica and Van der Merwe Miszewski Architects to design a peace campus inspired by the Archbishop’s legacy of social justice.
the site being designed as a public urban square and green open space in the central city. The functions and spaces of the centre at ground level have been covered over by a layer of soft landscaping which are in turn criss-crossed with pathways and routes commencing and ending at sidewalk level which present a variety of access opportunities to the public. Rising out of and above the landscaped parkland, are wings of accommodation housing the private functions of the Peace Centre and the cylindrical tower of the Contemplative Space. The wings of office accommodation consist of precast solid/glazed panels. The inclusion of this green star rated building as a key project in Cape Town’s bid to be World Design Capital 2014 was initiated by the Associated Architects and is being considered by the bid committee.
The Peace Centre will be a resource for African and global peace movements The proposed centre will be located in the Foreshore, on land owned by the City of Cape Town. The new Desmond Tutu Peace Centre will be a resource for African and global peace movements, as well as individuals interested in contributing to a more equitable world order. Accessibility and choice are key themes through which the design was explored, manifesting in
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DESIGN
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Say yes to craft and no to the throwaway culture
Designer Jared Odell We speak to Jared Odell about the life of a designer, his new range and goals for the future. When did you start designing? Growing up I wanted to be a car designer. I used to spend hours doing car concept drawings. After school I studied Industrial Design, and that’s where I refined my passion into skill and something of value. Where are you from? Well, I was born and raised in Cape Town. I’ve travelled and worked abroad, lived and worked in Durban and now find myself back in the best city in Africa, Cape Town. What are some of your favourite pieces of design work? Wow, that’s a tough question. There’s so much that I like. I love the classic mid-century modernist, Charles and Ray Eames, Le Corbusier, Joe Colombo etc. I think studying these guys and looking at their work has really given me a passion for furniture design. Who is Jared Odell? Well, I love to design. Being able to design and create something tangible, something you can sit on, touch and walk around is incredibly rewarding for me. The other
aspect in my life that drives me is the desire for adventure. I love to surf and travel, I love to go out into nature and experience God’s amazing design! But on the other hand, I also love the noise and energy of big cities. I try to live my life taking risks and living life to the full. Tell us about the Fulbrite range? Well, the whole concept for the range was being able to pick your favourite colour for the powder coated metal parts, so if you want a pink table we can make it for you! I’ve tried to keep the designs as simple as possible. I didn’t want to hide how the pieces are put together, so I’ve used stainless steel fasteners and they add to the feel of the designs. Where do you draw your inspiration from? I think, for this range, I’ve drawn my inspiration from the actual materials I’m using, especially the sheet metal. I love the concept of folding something weak and 2-dimensional into something strong and 3-dimensional. By putting a fold in the metal in the right place you can add an incredible amount of strength to a component, so I’ve just been playing around with these
possibilities, aesthetically and functionally. What is your look and feel? That’s hard to say. I just design what feels right to me, but I would definitely say I’m very influenced by mid-century Modernism. For this range I’ve tried to stick to two main materials. Birch plywood and sheet metal. My goal was to design products true to these materials, something that enhances the value of the material, not something that tries to hide what it’s made from. What is your favourite piece of furniture? I would have to say it’s the Coffee Table I designed for the Fulbrite range. When people see it, they doubt the integral strength of the design, but it is so strong you can actually stand on the table. I love the feeling of movement that is created by off-setting the legs from the corners. What are your goals as a young designer? I want to expand... and create many ranges of furniture for the local market, I want to create jobs and keep it 100% designed and manufactured in South Africa. In the future I’m aiming to show at the Milan furniture fair, one has to dream big! Andrew Williams
A phrase such as “that is perfectly on trend” is overhead many times at fashion shows and at the gathering of fashion industry members. It perfectly sums up the culture which prevails in todays fashion world and permeating through to consumer culture. Couple this to a straining creative world which before today has not seen such a insatiable desire for more product. The results of which is designers producing up to 4 collections per year, that means their needs to be a constant and never ending flow of creativity with each collection needing to outshine the last. Many credit the death of Alexander McQueen with these pressures. Is this sustainable? Is this sustainable for the environment which we need to protect? The answer would have to be a resounding No. What is the solution to this culture of never ending consuming? The answer is not is not going to the extreme and just not purchasing anything ever again. But, a new outlook is required to for a sustainable solution. Edwin Jeans have always been on the forefront of innovation while still trying their best to design a great product and ensure it is not just a “perfectly on trend” product, but rather something that has design and craft integrity. In 1947, Tsunemi Yonehachi Shoten was established as a U.S Military Surplus clothing store in the Nippori district of Tokyo. The store was a family business,
and was to be the starting point for the EDWIN brand, as we know it today. The first ever jean was the 16oz ‘359BF’ Rainbow Selvage, famously reputed to stand by itself due to the heavy, rigid selvage fabric. The rainbow selvage is still in use today, although currently produced exclusively in Japan, and no longer in the U.S as with the first jean. What Edwin have done is create a product through consideration of age old craft such as narrow loom selvedge denim and chain stitching techniques while still modernizing fits for a modern consumer. The difference is that these changes have taken place over time and far slower than the fashion trend cycle. The attention to detail and use of only the finest raw materials in the production of their denims results in a product that you don’t just own, you cultivate it. With each wash and as time passes your denim becomes a reflection of your life and your own body. This ‘relationship’ which you develop with your denims helps to change the mindset from insatiable consumption to that of cultivating the goods you own. Jeff Staple commented recently in a interview, “If I design a great jacket this year why can’t I have it in my collection next year?” That is the type of reasoning that will help to create a sustainable social environment for designers and natural environment which we all inhabit. Ryan Jared Ali
extensive range enduring style
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Designer range styled by
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www.cobra.co.za
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INTERIOR
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Birds fabric by Fabricnation
ORA, the outdoor boutique ORA, the outdoor boutique, is a brand new showroom opening on the 1st August 2011 in Kramerville, Sandton. German company “HOLiLi outdoor emotions” has been bringing high-quality outdoor furniture to customers since 2006. HOLiLi South Africa was launched at Decorex in Johannesburg in August 2009, at the time the third country for the HOLiLi brand. All these years later and emotional reactions to their wonderful designs are still running high and the brand is now truly established in over 8 countries around the globe. “My husband and I were on our honeymoon in Bali when we saw the Quadro daybed and fell in love, which is exactly what HOLiLi means” says Glyn Rudolph, Director of ORA, the outdoor boutique. “Almost 2 years down the line and what started as a hobby now has us both employed full time in the business, we’ve both left corporate employment to follow our dreams in the world of outdoor decor.” Says Niels Rudolph, Director of ORA, the outdoor boutique, of the husband
and wife team managing the business. ORA, the outdoor boutique, has now enlarged it’s South African offering to include some other top European brands. The Italian range of Nardi plastic furniture is fun for the patio and friendly on the wallet. Walk into our showroom, choose your funky colour and leave with a box in hand. Nardi also offers fantastic sun loungers and other outdoor items highly suitable to the contract market. Also from Italy is the stunning range of outdoor products from Corradi which transform outdoor areas into welcoming spaces for use all year round. Customised, made-to-measure solutions using premium materials guaranteed to withstand the harshest weather conditions, while maintaining unmistakable style and unmatchable quality. Corradi manufactures bespoke covers and pergolas as well as sail awnings. MDT-Tex from Germany and Switzerland is the latest addition to the ORA, outdoor boutique, portfolio. Creators of high-quality sun protection
systems, MDT-Tex are appreciated around the world for their unique product ‘s forms and functions. Also a husband and wife team, MDT-Tex believes that the planning of communal spaces is becoming more and more important in an urban context. Every community wants it’s own custom design. Membrane solutions are often the best way to realize large canopy systems that have an equal degree of lightness and flexibility. Glyn and Niels Rudolph are constantly looking to enlarge the ORA, outdoor boutique, offering; however all products in the range are high-quality top end of the market products for the discerning individual or for the luxury contract market. ORA, the outdoor boutique, will soon have an amazing new showroom at 3 Desmond Street, Kramerville, Sandton. Contact them on 011 023 8098 or www.oraoutdoor.com for more information or to find out where and how to see ORA, outdoor boutique, ranges near you. www.oraoutdoor.com
Veld design cushion by Fabricnation
SAE Institute Cape Town SAE Institute Cape Town brings the revered SAE curriculum and facilities to Africa. SAE Cape Town is part of the SAE Group that has 53 campuses across 27 countries. SAE Institute specialises in Higher Education qualifications within the disciplines of filmmaking, animation and visual effects and sound production. SAE Institute takes cutting edge knowledge as seriously as cutting edge technology to ensure its graduates are trained to be as intellectually astute as they are authentically employable. The SAE campus in Cape Town’s CBD provides an exquisite environment for its students in a 4-storey National Monument that was originally built as a church in 1821. The interior is an incredible juxtaposition to the classic exterior, housing the state of the art in technology and custom fitted
workspaces, lecture rooms and studios. The campus facilities include luxurious lecture rooms, a green screen film studio, numerous workstation labs and edit suites, a large format recording studio for up to a 30-piece orchestra, including dedicated areas for ADR and Foley, a dedicated mix suite for music and sound-to-picture in stereo or surround, a mastering suite, an EMP composition suite and a workshop that is home to a drawing room and a work area for stop-motion animation figure development. The Institute provides full-time qualifications and short courses in Sound Production, Digital Film Production and Animation & VFx. SAE offers two full-time intakes and three short course intakes each year. The campus utilises a very specific approach to academic posts in that it only employs credible industry
Sithabe Amawisa
professionals with extensive résumés as trainers in all departments. This approach also facilitates direct interactions between SAE students and the industry while they study. David Maclean, Director of SAE Institute South Africa, says “Our sole philosophy is to completely blur the line between education and industry, in the context of what SAE offers versus what the industry actually requires to deem an individual employable”. Maclean goes on to say that ‘we are constantly interfacing directly with the decision-makers in Government and Industry to ensure that SAE is not a part of the cynical tug-of-war that is so common between industry professionals, the public and private sectors, and education providers”. www.capetown.sae.edu
Crafting the beauty of design at Decorex
Seventeen of the Western Cape’s leading craft producers and designer makers linked to the Cape Craft and Design Institute will be showcasing their unique and beautiful products at this year’s SA Handmade Collection at Decorex, which runs in Midrand from Friday 5 August to Tuesday 9 August. The Western Cape craft products stand scooped both the gold medal for the best provincial stand, and the award for best sales, at the previous two Decorex shows, and this year’s collection promises to be equally eye-catching. The overall colour theme is turquoise, oxblood red and mustard yellow, and noted stylist Calvin van Moerkerken has advised the craft producers on displaying their products optimally at their individual stands. At last year’s Decorex a beautiful handsewn bag made in Khayelitsha, Cape Town,
won the Best Product Award at the SA Handmade Collection, and this year some stunning products will be for sale. They range from textured woven products from Barrydale Weavers to luxurious accessories made from soft natural and exotic leathers by Chimpel. Veldt Designers offers stylish accessories, clothing and homeware products inspired by indigenous fauna and flora, while Shirley’s Rustic Frames uses recycled wood to make stunning frames and mirrors. For these and many more exquisite items, visit the Western Cape Pavilion in the South African Handmade Collection Hall at Decorex or contact the Cape Craft and Design Institute. 75 Harrington Street, East City, Cape Town Phone: 021 461 1488, Email: info@ccdi. org.za, www.capecraftanddesign.org.za
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TECHNOLOGY
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Sterkinekor movie reviews
Samson Meteor USB Microphone The Samson Meteor Mic is a very goodlooking piece of kit designed to offer high quality largediaphragm condenser recording in a small and convenient package. First impressions out the box are very good – the Meteor is solidly constructed, chrome plated and very well designed, with all the controls easily accessible. The fold-out legs are stable and tweakable, and make it very easy to set the Meteor up on any flat surface. The microphone can also be mounted on a stand for more ‘traditional’ recording. Connection to the computer is via USB, and there is a headphone out for monitoring. The front panel has a power light (which doubles as a clip indicator), a mute button and a volume control for the headphones – all you need for recording on the run. Installation is trivial – for Windows 7 everything happens automatically, and XP requires a couple of mouse clicks before the automatic installation kicks off. I wanted to get a rough guitar/vocal sketch down, so I fired up Live, selected the Meteor as my input, and was ready to record. I ran a Rode Nt1a – Focusrite pre as my comparison setup – many times more expensive than the Meteor, but the sort of rig that Samson would be looking to replace. Usability is excellent, and the zero-latency monitoring through the headphones works perfectly. The recording level is set in Windows audio setup – I found this a little unusual but it works well enough. Comparing recordings between the test microphones led to a number of observations: Overall presentation is fairly neutral – with less air and sparkle than the Rode. This is great for spoken word or laying down simple ‘authentic’ rock tracks, but it would be difficult to get the vocal to cut through in busier pop mixes. For medium to high register vocals the Meteor
sounded great. This would be its breadand-butter application, and it is obviously set up accordingly. The tone is good, there is detail without harshness, and the vocals have a ‘weightiness’ that will be excellent for voice-overs. Handling of plosives and wind noise is about the same as the Nt1a (without pop-shield) – fine as long as you don’t overdo things or get too close. Low register vocals tend to get a little muddy. Proximity effect is well judged though, with no boominess or ugly resonances. Results on acoustic guitar were very serviceable – not as bright and open as the Nt1a, but fairly close to the source and with a pleasing overall tone. I would have preferred slightly more detailed transients, but for general-purpose use this sort of thicker tone is more versatile. Unfortunately for Cubase users there is a bit of a snag – the plug-and-play audio standard that makes the Meteor so easy to
Jane Eyre
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In the 19th Century-set story, Jane Eyre (played by Ms. Wasikowska) suddenly flees Thornfield Hall, the vast and isolated estate where she works as a governess for Adèle Varens, a child under the custody of Thornfield’s brooding master, Edward Rochester (Mr. Fassbender). The imposing residence – and Rochester’s own imposing nature – have sorely tested her resilience. With nowhere else to go, she is extended a helping hand by clergyman St. John Rivers (Jamie Bell of Focus Features’ (The Eagle) and his family. As she recuperates in the Rivers’ Moor House and looks back upon the tumultuous events that led to her escape, Jane wonders if the past is ever truly past...
First impressions out the box are very good – the Meteor is solidly constructed, chrome plated and very well designed, with all the controls easily accessible install does not provide ASIO functionality, so it’s not possible to use the Meteor with newer versions of Cubase (which only use ASIO). There may be a workaround for this but it didn’t work for me and a quick Google search shows I’m not the only one. So basically the Meteor does what it is designed to do extremely well – it’s very compact, looks great, is easy to install and set up, and is capable of making some very good recordings in its ‘design role’ – sitting on a table wherever you happen to be, plugged into your laptop, capturing whatever you lay down. The headphone output is an added bonus and turns it into a portable sound card. It shows some limitations when you try to get too much out of it, and won’t replace a good largediaphragm condenser/pre combo for studio pop vocals just yet, but for the price it sounds brilliant and fulfils it’s design role admirably. The Samson Meteor USB Microphone retials for R995 at Audiosure, you can give them a call on 011 790 4600. www.audiosure.co.za
Thermomix The Thermomix is an all in one kitchen appliance that replaces over 10 appliances with 1 bowl and blade set. It is known as the smallest, smartest kitchen in the world! It will cook, chop, beat, mix, whisk, grind, knead, mince, grate, juice, blend, heat, stir, steam, mill, puree, crush, emulsify, melt, sauté and weigh food. This German appliance, from Vorwerk, has been around for over 50 years, but is new to South Africa. The Thermomix is loved worldwide by home users, and chefs alike, with top chefs using them both in their commercial kitchens, and at home. The advanced technology and quality of Thermomix has it winning innovation awards in Europe.
This includes four blades at various levels, which means that the chopping and grinding is finer and all products are evenly chopped. Sauces, soups and purees emerge smooth and velvety from constant hands free stirring at a controlled temperature. The benefits of owning a Thermomix means that the Thermomix pays itself off with all the savings it makes. Time and money is saved, energy is saved as the Thermomix is energy efficient, and it assists people to eat healthier. The fact anybody can now cook nutritious, delicious meals with no fuss makes it a must have in any kitchen. As a new business in South Africa, there are business opportunities, and we are looking for entrepreneurial minded people to contact us, and join our team. www.sathermomix.co.za
For Colored Girls For Colored Girls weaves together the stories of nine different women – Joanna, Tangie, Crystal, Gilda, Kelly, Juanita, Yasmine, Nyla and Alice – as they move into and out of one another’s existences; some are well known to one another, others are as yet strangers. Crises, heartbreaks and crimes will ultimately bring these nine women fully into the same orbit where they will find commonality and understanding. Each will speak her truth as never before. And each will know that she is complete as a human being, glorious and divine in all her colors.
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.
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TUTORIAL
Explore the simple animation tools in InDesign CS5
Create engaging animated layouts with InDesign Adobe® InDesign’s Interactive tools provide us with easy tools to add interactive and fun elements to any layout,writes Eva Csernyanszky With Adobe InDesign fast becoming recognised as the electronic publishing tool of choice, and with the creative world evolving at an unprecedented rate into screen design, many of us have found our clients frequently commissioning work for screen rather than print.
01 It is possible, and fun, to create
exciting interactive layouts using Adobe InDesign’s simple and intuitive interactive tools. Choose Window > Workspace> Interactive to display all the interactive tools available to you for PDF and SWF.
09 With “Animation” selected, choose
the targeted animation from the popdown menu below and choose “Play”. Tick the “Reverse on Roll Off” option too.
02 Open your favourite layout in
InDesign CS5 or make use of the sample files provided with the tutorial. I’m working with a large headline, flowing body copy and a button that will be animated in the next steps, but let’s begin by animating the headline. Select the headline and open the Animation panel. Name the group “Headline” to simplify your work process later on.
06 Next, select the button graphic with
the Selection tool (v), open the Buttons Panel and choose “Convert to Button”. Change its rollover visual state by clicking on the rollover appearance section on the button panel appearance list below.
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View the animation once again in the Preview Panel. The headline should animate in from the right, the button will change its opacity when rolled over and the body copy text will fade in and out with the user interacting with the button on rollover.
03 Click on the Preset menu and select
“Fly in from Right”. Check that “On Page Load” is chosen on the Event(s) pop-down menu. Keep all the other settings on the default values for now.
07 Make a change to the rollover state
Adobe’s InDesign CS5 has introduced a wealth of tools for adding rich media to your layouts, which can be exported to both Flash and PDF. Furthermore, and this is the real bonus, the workflow will be intuitive to any InDesign veteran, and even newbies can master the tools quickly. Let’s take a quick look at the basics in this simple tutorial.
of the button so that the various states can be differentiated by the user. Whilst in the Rollover state of the button, change its opacity back to 100%, making the button appear darker on rollover. Check the effect using the Preview panel again.
11 Next, choose File>Export, click on the format menu and select the Flash Player (SWF) option.
DURATION 20 minutes LEVEL OF difficulty Intermediate
04 A green, dotted motion path
is added to the headline indicating the direction in which the animation is moving. At the bottom left of the Animation Panel, open the Preview Panel to preview the animation of the text.
08 Now for the animation: with the
Button selected, add a behaviour by choosing “On Roll Over” from the Event pop-down on the Button Panel. Click the “plus” sign and select Animation.
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
05 Now we will animate the button.
Select the body copy textbox and choose “Fade In” from the Preset menu on the Animation Panel. Activate “On Page Load” and change the duration to 0.75.
12 The Export SWF dialog box will
appear, choose “All Pages”, “Generate HTML file” and “View SWF after Exporting” Leave all other settings as is and view your final animation in a browser of your choice. Enjoy!
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TUTORIAL
0
Web design tutorial CSS sprite navigation
Build a stylish nav bar Learn to build a stylish navigation bar, complete with mouseover and current page states, using only HTML and CSS. If you’re anything like me when it comes to web design, you’ll probably love the Apple website’s minimalism; the clean lines, the screen-filling features on the home page, the understated advertising copy and, of course, the sleek, shiny and ever-present navigation bar at the top of every page. Apart from looking great, it’s also a very cleverly designed feature. Instead of being built out of separate images with mouse effects controlled by JavaScript, all of its buttons and their mouseover states are combined into a single image file called a “sprite”. Mouseover effects are achieved in CSS by setting this sprite as the background of the buttons and then shifting the button background’s position when the user hovers their cursor over it. Building an image-based nav this way makes it much faster to load, since there’s only one small image to download instead of several slightly smaller ones. Using proper compression, the larger image will also have a smaller file size than all the smaller images put together. You’re not limited to building cool navigation bars with sprites, either. Social media link icons are another favourite use for sprites. As a matter of fact, you can even use a CSS sprite for a website’s layout images and load one image for the entire site’s layout! DURATION 2 hours LEVEL OF difficulty Intermediate
{1}
- Design (Adobe Photoshop® / Illustrator®) First things first: design your sprite nav in the design software package of your choice. You’ll need to include all the button states (“up”, “down” and “over”) of each button in the sprite. Note down the button widths and height, on paper or using the Measurements panel in Photoshop®. We’ll need them later. Export it for web (I’d suggest using PNG-24 format if the nav’s colours aren’t too complex) and save it to your images folder.
{2}
- Mark-Up (HTML) Now for your mark-up. Type the HTML code on the right into your website’s index.html file. The nav will be contained inside an unordered list (<ul>), with each button defined as a list item (<li>). The unordered list should have a class of ”spritenav”. Each list item in the nav should contain a single anchor tag (<a>). The text inside the anchor tag should be the button’s label - the name of the page it will link to. For the current section’s button, add a “current” class to the anchor tag.
<li><a href=”page1.html” id=”nav-page1” class=”current”>Page 1</a></li> <li><a href=”page2.html” id=”nav-page2”>Page 2</a></li> <li><a href=”page3.html” id=”nav-page3”>Page 3</a></li> <li><a href=”page4.html” id=”nav-page4”>Page 4</a></li> <li><a href=”page5.html” id=”nav-page5”>Page 5</a></li> <li><a href=”page6.html” id=”nav-page6”>Page 6</a></li> </ul>
Note: The text inside the anchor tags will eventually be hidden by the CSS, and only the background image of the buttons will be visible.
{3}
- Styling (CSS) At last, it’s time to bring your sprite nav to life with CSS. First, create two CSS rules for ul.spritenav and ul.spritenav li. These two rules will take care of the basic formatting of the buttons, and will style the entire nav and the individual buttons, respectively. Next, create three rules for each of your buttons. The first two will be for the buttons’ two mouseover states - the default “up” state and the “over” state (:hover). The third rule - for .current - will highlight the button for the page that the user is currently on. Finally, test your nav in your favourite browser and revel in the awesomeness!
Quintin Schnehage (@Quintin_S) is a designer, educator and freelance digital artist living in Cape Town, South Africa. By day, Quintin is a web design lecturer at Concept Interactive School of Communication Design, where he teaches young upcoming designers about exciting web technologies.
<ul class=”spritenav”>
Note: Remember to substitute your own nav’s button widths, heights and background-position offsets, since your design will differ from mine.
ul.spritenav { list-style: none; clear: both; }
ul.spritenav li { text-indent: -9999px; display: inline-block; overflow: hidden; height: 50px; cursor: pointer; float: left; } #nav-page2 { background: url(‘images/spritemap.png’) no-repeat; background-position: -310px 0px; width: 100px; } #nav-page2:hover { background: url(‘images/spritemap.png’) no-repeat; background-position: -310px -140px; width: 100px; } #nav-page2.current { background: url(‘images/spritemap.png’) no-repeat; background-position: -310px -280px; width: 100px; cursor: default; }
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2011/07/12 11:48 AM
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Photograph by Lauren Pretorius Hand-made Ring by Zeki-Dee Noble Installation by Katharina Forster
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