Issue 40

DESIGNTIMES south africa’s creative resource

www.designtimes.co.za

/12 DESIGN

TOM DAVIES

Tom Davies didn’t even mean to get into the eyewear business, but today he’s one of the most skilled and innovative designers out there.

/20 PHOTO

2012 Issue No.40 ZAR 15 EUR €2, UK £2, US $3

Carl Kleiner

IKEA has teamed up again with photographer Carl Kleiner to bring kitchen items to life in a brilliant and visually stunning way

/28 DESIGN

WILDETECTURE

What is the purpose of the Wildetects, simply, change the landscape! To create designs that are not static, that are daring, vibrant and bold.

AND SAVE THE WORLD in cahoots with

Loerie Award Winner

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NEWS

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I think wrong, therefore I survive! If you have no idea what I’m talking about then you need to read our interview with John Bielenberg on page eight. His radical approach to anti-institutionalized thinking is both refreshing and inspiring. Survival in the design industry requires the ability to quickly evolve and most importantly, help your clients to evolve and own their identity. Andrew Burke, founder of PURE, reveals the secrets on page ten. Tom Davies helps us to see the benefits of bespoke more clearly on page twelve and we manage to get the lowdown on fashion and furniture designer, media recluse and mom, Jo Carlin, on page thirty two. Oh yeah, and it’s that time of the year again!

We’ll see you all at the Design Indaba, Friday 2 to Sunday 4 March. Look out for our stand and come say hi. Don’t forget to get your entries ready for the Loeries, entries open on the 15th of March and keep an eye out for the Annies! Be sure to follow us on twitter @designtimesmag. Hope you enjoy the issue. Mark Rosenberg

Editorial

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

Contributors

Eva Csernyanszky, Seagram Pearce Tertia van Rensburg

Cover

Marchand info@marchand.co.za

Sales Manager Wendy Scullard

Advertising

Wendy Scullard, Malika Samuels, Thandolwethu Jevu, Linda Schady, Enricho Monsinger, Roxy Rosenberg, Aniesah Hu, Nigel Fortune, Kelly Keur, Natalie Clarke

Traffic Controller

Kelly Cupido kellycupido@telkomsa.net

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

Office Administrator

Carmen Puma, Kiara Hagglund beyondpublishing@telkomsa.net

Publisher

Beyond Publishing, 25 Voortrekker Road, Goodwood, Tel: 021 592 5721

Printer

Tandym Print www.tandym.co.za

Google watches?

Google started selling branded watches in its company store in Mountain View for those who wanted to show their love for Chrome, Android and Google on their wrists, and now these timepieces are available online.

It seems a strange move for a company trying to take over the online world but nevertheless the watches, created in part with Modify Watches, seem to be a retro nod to the 1980s era Swatch Watches. They feature analog faces with interchangeable, colour bands to give you choices. Choices.

What else would you expect from a watch that pays homage to a search engine? The Google watches are made from stainless

$46 billion

Apple recently announced financial results for its fiscal 2012 first quarter which spanned 14 weeks. The Company recorded quarterly revenue of $46.33 billion and recorded quarterly net profit of $13.06 billion,. These results compare to revenue of $26.74 billion and net quarterly profit of $6 billion in the year-ago quarter.

Gross margin was 44.7 percent compared to 38.5 percent in the year-ago quarter.

International sales accounted for 58 percent of the quarter’s revenue. During the quarter, Apple sold 37 million iPhones and 15 million iPads, representing 128 and 111 percent increases over the year-ago quarter.

“We’re thrilled with our outstanding results and record-breaking sales of iPhones, iPads and Macs,” said Tim Cook, Apple’s CEO. “Apple’s momentum is incredibly strong, and we have some amazing new products in the pipeline.”

Kodak bankrupt Photography company Kodak has filed for bankruptcy. The company voluntarily filed for Chapter 11 business reorganization in the US Bankruptcy Court in New York. The business reorganization is aimed to “bolster liquidity in the US and abroad, monetize non-strategic intellectual property, fairly resolve legacy liabilities, and enable the Company to focus on its most valuable business lines”, according to Business Insider. Subsidiaries outside of the US are not part of the filings and are operating as usual. Kodak had US$5.1 billion in assets and US$6.75 billion in debt. The company also owes Nokia US$12 million.

steel and polycarbonate casing and are water resistant to three metres. They come in two sizes, large and small so even the ladies will have a chance to show off their browser preference. It may not be haute couture, but given how enthusiastically people embrace one browser or platform over the other, I have no doubt there will be a few million takers for this watch. What I did find very strange is that a search on Google for Google watches did not bring up the link to buy the watch on the Google online store, but I’m sure they are tweaking the algorithm as we speak. www.googlestore.com

The Anvil Awards, or Annies, has been created to recognize graphic design, web design, branding, illustration and photography, brought to life by South African talent, for South African clients.

The Annies couldn’t care less if you’re big or small, connected or unknown, rich, poor, or still living with your mom. We do care about jaw-dropping, pulse-racing, eyecatching, memorable and relevant design and imagery. Why? Because design is passion, and we’re passionate about design.

Equal opportunity means more motivation, more inspiration, and a better industry at the end of the day. www.theanvilawards.co.za

2012 ADOBE DESIGN ACHIEVEMENT AWARDS

THE INTERNATIONAL COMPETITION FOR STUDENTS AND FACULTY

CALL FOR ENTRIES WIN A TRIP TO LOS ANGELES, ADOBE SOFTWARE AND CASH The Awards celebrate innovative students and faculty members from all over the world for their achievements using the dynamic combination of technology and the creative arts. For this year‘s competition, students are encouraged to CREATE YOUR WINGS AND FLY. Finalists will receive Adobe software and a trip to Los Angeles, California where they will be honored in an awards ceremony during Adobe MAX, October 20-24, 2012. Category winners will also receive a cash award of US $3,000.

2012 Judging Schedule: 1) November 28, 2011 – January 27, 2012 – Semifinalists announced in February 2012 2) January 28, 2012 – April 27, 2012 – Semifinalists announced in May 2012 3) April 27, 2012 – June 22, 2012 – Semifinalists announced in July 2012

free to enter | www.adobeawards.com | www.facebook.com/adobeawards

Adobe and the Adobe logo are either registered trademarks or trademarks of Adobe Systems Incorporated, in the United States and/or other countries. All other trademarks are the property of their respective owners. © 2012 Adobe Systems Incorporated. All rights reserved.

Adobe Awards Adobe has announced the call for entries for the twelfth annual Adobe Design Achievement Awards, ADAA. The competition recognizes the best student graphic designers, photographers, illustrators, animators, digital filmmakers, developers and computer artists from higher education institutions worldwide who have created innovative projects using Adobe software. Students are invited to compete in 13 categories, including Game Design and Development, as well as Application Development and Mobile Design. For the second consecutive year, the ADAA will also recognize teaching excellence through three categories designed specifically for higher education instructors. Since the ADAA competition began in 2001, nearly 25,000 students from 73 countries have been involved; in 2011, a record 4,600 entries were submitted. ADAA is free to enter and open to students, faculty and staff of higher education institutions worldwide. www.adobeawards.com

Maynardville The Comedy of Errors, Shakespeare’s short, farcical and super-funny play, livens up Cape Town’s favourite Open-Air Theatre, Maynardville, from January 10 to February 18. The Bard meets Bruce Lee in this high-octane new production inspired by the world of classic 1970s Kung Fu cinema. Two pairs of twins, separated at birth, unwittingly find themselves in the same city, unleashing a series of uproarious misunderstandings, in this most farcical and youthful of Shakespeare’s comedies. The Comedy of Errors is presented by Artscape, supported by the National Lottery.

Dial-a-Seat 021 421 7695

Nikon D800

Nikon in South Africa has just launched the groundbreaking new 36.3 megapixel FX-format professional D-SLR, the Nikon D800. The Nikon D800 is packed with new technology that delivers unprecedented levels of depth and detail in photography, and offers all the flexibility necessary to shoot broadcast quality video. Also available is the special edition Nikon D800E with a modified optical filter.

TOFFIE POP The third Toffie Pop Culture Conference and Festival is taking place at the Cape Town City Hall from Friday 30 March to Sunday 1 April. Toffie Pop is a threeday conference-festival and will focus on contemporary popular culture, design, music, magazine publishing, art, sound design and everything else that entertains and distracts us, all in one space. A record number of more than 60 of the world’s best designers, artists, musicians, film directors, magazine editors and publishers have been confirmed as speakers and exhibitors. The conference line-up includes: Penny Martin (UK): Editor-inChief of The Gentlewoman, Roel Wouters (The Netherlands): Film director/designer, Omar Sosa (Spain): Art director, publisher and graphic designer of Apartamento magazine, The Mingarro brothers, Juan and Alejandro (Spain): Brosmind Studio in Barcelona, Malibongwe Tyilo (SA): Fashion buyer, scenester and blogger (skattiewhatareyouwearing.blogspot.com), Athi-Patra Ruga (SA): Well known performance and contemporary artist, Chris Bisset (SA): Film director. We’ll also be honouring the competitive spirit of the imminent London Olympics with a cosmopolitan creative showdown of our own, a laptop Olympics, if you like. Six teams from around the world will compete in a series of challenges.. www.pop.toffie.co.za

25th Corobrik Student Awards Pieter Jonkers from the Tshwane University of Technology is this year’s winner of the 25th Corobrik Architectural Student of the Year Awards. His winning entry is ‘The Design of a Transportation Hub and Student Centre on the Pretoria Campus of the Tshwane University of Technology.’ Allin Dangers, Corobrik Director of Sales, noted that the work of these young professionals was again of the highest calibre. Corobrik had been delighted to witness the growing maturity of architectural graduates coming out of Tshwane, with architectural graduates well able to compete with the best of the best from other institutions. He said this year’s winner, Pieter Jonkers as well as runners up, demonstrated that future architects were embracing the sustainability agenda with environmental issues achieving equal status with functionality and aesthetics.

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DESIGN INDABA

DI2012 SPEAKERS

Eddie Opara Profession Graphic Designer City New York Eddie Opara studied graphic design at the London College of Printing and Yale University, where he received his MFA in 1997. He began his career as a designer at ATG and Imaginary Forces and worked as an art director at 2x4 before establishing his own studio, The Map Office, in 2005.

He joined Pentagram’s New York office as partner in 2010. A multifaceted designer, Opara’s work encompasses strategy, design and technology. His projects have included the design of interactive installations, websites, user interfaces and software, brand identity, publications, packaging, and environments, with many of his projects ranging across multiple media. Opara has won numerous awards including a Gold Cube from the Art Directors Club.

Think wrong and save the world!

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t seems about time that all right thinking people think wrong. Or at least that’s what John Bielenberg would have us think!

Mr. Bielenberg will be in Cape Town for the design Indaba at the end of February so if you want to know how to think wrong I suggest you be there too so you can get to grips with this apparent contradiction in thinking. So, will you find that it’s right to think wrong or should we say wrong to think wrong? Right??

In a nutshell John Bielenberg is out to get young, creative minds to shake the shackles of conventional thinking and create ideas that seemingly go against the grain of conventional thinking especially when it comes to benefiting community.

Personally I think it comes down to one word – innovate! And I think he’s on the right track.

The ability to innovate is fast becoming a lost art. Why? Well there is any number of reasons but among them are things like the imposition of ‘old school’ thinking when it comes to dealing with pressing community issues. Often they’re left to government,

central and local, and let’s face it, who wants to risk a cushy job by doing something his superiors can’t understand or which might risk their cushy job.’ So the right thinking just boils down to ‘don’t rock the boat. Also it requires energy, some selfless thinking and a real desire to

the world a better place through design projects and a mix of youthful dynamism.

But it’s never going to be as easy as just that. Let’s face it urban renewal projects are not new. Save the whale, save the forests, stop global warming have all been on the agenda of many a save the planet group.

Then of course the biggest obstacle to overcome in doing something really phenomenal is the nexus of government and capital.

How do you plan to do that?

I think it’s really easy to get overwhelmed by the scale of problems in the World. My approach is mostly intended to inspire people to do something positive with their talents, rather than worrying about potentially failed outcomes or reasons why something cannot work. The equation is simple. Try to do something positive = good. Do nothing = bad.

South Africa has a huge housing backlog.

How do you suggest we reduce that?

Ha! I have no idea how to reduce the housing backlog in South Africa. But I do

I think it’s really easy to get overwhelmed by the scale of problems in the World. My approach is mostly intended to inspire people to do something positive with their talents help people. I think that’s sadly lacking in bureaucracy nowadays. So it’s up to a new generation to find new ways to deal with some age old problems. Additionally the ‘old school’ (make that ‘old university’ too) continue to impose rigid, academically based rules of thinking on each succeeding generation. Time for change don’t you think? John Biebenberg thinks he’s found the key to that change. His plan is to make

have confidence in using a Thinking Wrong process to generate a number of possible creative solutions. Here is the basic framework for Thinking Wrong: 1 Get out of your normal environment and mindset.

2 See new things and talk to new people.

3 Generate as many ideas as possible, by thinking wrong, with a group of diverse creative insurgents. 4 Rapidly prototype, or “bring to life”, the best of them. 5 Execute some of these as “little bets.” 6 See what works and do more of that.

Why do you want to solve the world’s problems and is it a realistic goal?

I think we’ve hit some sort of tipping point where the relationship between humans and the earth has reached an unsustainable mode. So, you can be pessimistic and do nothing or optimistic and use human creativity, ingenuity, invention and design to try and address some of the biggest challenges we face. I really don’t think I can solve any of these problems. But I do know that I’m happiest when I’m using what I know how to do to drive positive change in things I care about.

Kendal Brown

Piet Eek Profession Furniture Design City Eindhoven Piet Hein Eek was born in Holland in 1967. It was his 1990 Design Academy Eindhoven graduation project, Scrapwood Creations, that had the design industry first take notice of his work. Eek used the money from selling the first Scrapwood collection to open his design studio in Eindhoven in 1992. In 1993 Eek joined forces with fellow designer Nob Ruijgrok and established Eek en Ruijgrok. Eek’s Scrapwood designs have earned him a place among Europe’s most prominent green designers. His work is informed by a respect for materials and appreciation of craftsmanship. The environment in which he creates is very important to Eek, who also believes that designers should be involved in every aspect of the production process. His studio and factory space in Eindhoven also serves as a showroom, gallery and restaurant.

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STUDIO PROFILE

100% pure Andrew Burke, the creative wizard behind creative agency PURE PUBLISHING & DESIGN, speaks to DesignTimes about how brands can best take advantage of our NEW media consumption.

W

ith a career that spans 20 years, Andrew Burke has seen the design world evolve from the early days of typesetting and print plates into the digital age of new media and iPads. So who is Andrew Burke? He is an innovative and creative designer, who marries a love for typography with minimalist editorial design. But as the executive Creative Director and Founder of PURE Publishing & Design, he is also keenly passionate about creating business solutions for his clients. We caught up with Andrew to get his take on where the

industry is headed: How long have you been in the publishing and design industry?

I started out at age of 21 as Art Director for a surf/pop culture magazine called BIGBLUE in 1988. It was a dream job but after two years London called. Including a stint travelling around the world on a yacht, I ended up living abroad for almost seven years, working for various design studios and publishers, including Times Media and IPC Media. I returned to South Africa in 1995 where I took up the role of Creative Director for Associated Magazines, working on consumer titles like FEMINA and COSMOPOLITAN, then moved over to the custom publishing world with EDGARS. With this experience, I felt confident I was armed with enough knowledge to start my own agency. I founded PURE in 2007 after realizing the potential of bespoke strategic creative agencies, as opposed to large agencies.

What has been the greatest change to the design industry over your career?

Design has changed radically since the 1980’s. New technologies have dramatically increased our speed and capabilities, but the details in typography and graphic design seem to have fallen behind. In the 1980’s, design and typography were tactile. To create a layout, one used a combination of grid layouts and waxed galleys of typefaces that were cut up and positioned meticulously by hand.

It was then all sent off to the reproduction house to make bromides for print plates.

This was an incredibly slow process that taught you to appreciate the detail. I would like to see more of this brought back into colleges, as many of the young designers I meet have no concept of typography and focus on illustrative type. Their illustration

and ideas are great, but they fall flat with classic editorial typography. I recommend students return to the basics in typography, know the masters, and learn how to work with type and grids.

Do you think we’re entering a new era where we are just designing for the consumer?

We have always designed for the consumer, but the challenge designers now face is how to design for multiple media platforms. It’s no longer just print ads or magazines, we now have to design for tablets, mobile, video, etc. You cannot simply re-skin existing content to suit another media platform. A print magazine needs to be entirely recreated and redesigned if it is to be read as an online web edition. The same applies to mobile or other emerging technologies like iPads.

Some brands still pay to have ads in magazines, while other are moving towards using their own social media portals to advertise. Have you positioned PURE to be able to take advantage of either direction?

Without offending my media sales friends, brands need to OWN THEIR OWN CONTENT. The days of paying R30k for a print ad are running out. We focus on through-the-line strategies that allow brand owners/managers more bang for their buck with longer lasting ROI. For example, by creating a bespoke editorial publication that speaks to your brand in a conversational tone, versus a glossy marketing brochure or print ad, you will endear yourself to the consumer and they will listen. A custom or brand magazine then becomes the vehicle to carry the marketing message through branded editorial, product information and edutainment. Since the advent of social media, consumers have become spoilt for choice and we read what we want to read, buy what we want to buy. Readers are more inclined to read about your brand in an editorial publication than a traditional brochure or advert.

Also with the recession came further pressure on brand/marketing managers to increase their bottom-line with slashed budgets. But custom content packaged into a brand publication is cost effective.

It is easily distributed in ‘print to digital’ so a larger audience is reached, a win-win solution! www.purepublishing.co.za

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DESIGN

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Tom Davies bespoke experience

AT THE OCULUS The Tom Davies bespoke experience is exclusively offered by The Oculus in South Africa. What is a bespoke frame? It’s a frame that’s customised in collaboration with you, our optometrist Pieter & Tom Davies.

Select a frame from the Tom Davies ready to wear collection

Choose a colour scheme for your frames from the case of samples, including the front, back and hinge colour

King of bespoke, Tom Davies Tom Davies didn’t even mean to get into the eyewear business, but today he’s one of the most skilled and innovative designers out there. His highly personal approach customizes each frame to a person’s face, creating a truly unique item from a labour of love

I

t’s all about bespoke with Tom Davies.

Measurements are taken down the last millimetre, shaped and cut precisely to fit the shape of a face. Frames are then fitted by a team of designers, who build them using fine materials varying from Indian water buffalo horns to titanium. It’s an intriguing process, and a highly personal one. After all, glasses are one of the most personal things you own – they make a first impression, and what looks good on you is as subjective as choosing a hairstyle, so they should reflect your taste down to the last detail. We spoke to Tom about the art of customisation: Tom Davies offers regular frames, couture and bespoke. What’s the difference

between them? “70 percent of our business is the custom made. The origin of bespoke is olden day English for ‘spoken for’. It’s from Savile Row; you go to any tailor there and you would go in and choose the cloth, and they’d mark your name in chalk on the cloth: ‘spoken for John Smith’. So it’s an existing suit that’s remade in a material. I love doing the same thing with the eye. Use the same design, change the material and remake it to fit. We write the name on it, same as the suit. The couture concept I took from fashion designers. They would look at you and design for you specifically; in the same way our opticians take a photo, and then our team of engineers and designers redesign the frame to suit your features. We can change everything; even add details you might want such as diamonds. It’s more personal, and it’s affordable.”

Is there a history behind making bespoke frames? “Every single frame used to be made bespoke. An optician would take measurements, and would remake the glasses accordingly. Then in the 1990’s we got into the mass market, and branding became dominant. Glasses were made in volume, it made the price cheap and they used generic sizes.”

How did you get into doing bespoke designs? “When I was 21 I went to China.

My first job was in [eyewear] design. Their frames didn’t fit well, or complement the face. I got to thinking about different types of fit. Most people have badly fitted eyewear. I see it everywhere, I see it on the Tube in London, it drives me crazy.

Sometimes I stop and bend people’s frames. This is how the industry has grown up; only rimless glasses can be re-cut, but no one has been doing it in titanium and acetate. I took the concept and applied it to every type of frame.”

Do you design the glasses yourself? “I have 15 designers, but I design the templates of every single frame. The optometrist puts the redesign on the interface with Supertool – I named it that because I couldn’t think of a better name. Some want me to design the whole frame, some want it to be exactly how they want it – we produce a portfolio depending on the original. It also gives me a great trend info resource.”

Is it more difficult to design bespoke glasses? How do you know they will still look good if the style is changed with each face? “Ready to wear needs to be remade by the opticians – this has given me my signature. I don’t want the glasses to look like they came out of a factory – they have to be Tom Davies. Restrictions can make you creative. If it didn’t need to [be restricted], it would be easy. The design needs to be easy for optician to do and easy for the customer to understand.

The optician needs to know what’s going to happen when he does those changes, it can’t be a free for all.”

How would you describe the look and feel of your glasses? “My frames are inspired by my customers. I went to China to get a job in the film industry, and I ended up getting jobs in everything else. I didn’t know anything about glasses, I didn’t even

wear glasses. I had perfect vision and still do. But it was alien and exciting. I took a copy of Vogue on the first day and circled the eye shapes on the models. I went to Hong Kong and started photographing customers in the pub – I wanted to see what looked good on them. I didn’t know about glasses sizes. I made glasses that looked great on the person they were made for, but no one else. But the factory boss wanted glasses that would work on 100,000 people. We had to do batches by brands, but I’d remake the glasses for friends. If I didn’t design all the glasses myself it would be a mish-mash of styles – Tom Davies goes through it all. There are certain details that gives it its identity, and signature lines in my glasses that opticians can see – certain shapes and colours. We have 2000 opticians, and every day I can see them designing frames. The Oculus is one of these, they have our kind of profile.

They offer a customer service experience, and the presentation is bang on.”

Do you have a dream frame you’d like to make one day? What pair of glasses do you wish you could design that you haven’t designed yet? “I live my dream every day.

I do a crappy scribble and send it to the design team and in a few hours get the full proofs, and before long a batch of glasses.

It’s such a pleasure. I’d love to design a frame for the Duchess of Cambridge. Kate has to be the most important person to wear glasses today. I made one for Angelina Jolie.”

Jessica Gliddon, Pure Publishing

Choose details such as the material, specialised finishes and eye pins

Pieter then measures the size of your head, and uses fitting lenses to measure the exact fit on your nose and placement on your face

You can then make final detailed selections, adjusting the shape of the frames

Pieter takes a photograph of you and sends it to Tom Davies, along with your selections and information. Your photograph with the frames superimposed is sent back for a final check. Then your glasses are made, and you’re ready to go!

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ILLUSTRATION

Studio Muti

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tudio Muti a creative duo consisting of Clinton Campbell and Miné Jonke are two illustrators based in Cape Town.

You may recall that Studio Muti were the creators of last issues cover and poster illustration.

How did you guys get started in the illustration field?

Illustration was always an element in the design and fine art fields which we pursued.

When we joined Am I Collective it became the main focus of what we did every day, which is of course the best way to cultivate your skills in any discipline.

How did you find your style? Has it changed since you started Studio Muti?

Our style is still developing with each project we take on and I think it will always continue to evolve - that’s what makes illustration fun and exciting! As individuals we cover different creative fields, so our studio will always have quite a diverse feel. We’re passionate about Africa and being African so we try and bring some of this into our work whenever we get the opportunity.

How long did you guys work at Amicollective and did you learn alot?

We spent 4 fun-filled years with our friends at Am I and it was incredible to be part of a company which was at the forefront of the illustration boom. We got to work on some amazing international jobs alongside some of the most talented illustrators in the country. Not to mention the many hours spent perfecting the art of stokbraai...

What is your process when working with clients? Run us through a typical job.

When someone gets hold of us for a job we usually start by giving each other a high-5! We negotiate the fee according to what’s required and establish how long we’re going to spend on it. Then the job gets scheduled in and we work closely with the agency/client as the project develops, making sure we’re both happy with how it’s progressing. Once the work is complete and approved we hand over the files, invoice and then it’s another high-5!

What is your creation process?

It varies with each job, but it’s imperative to have a plan of how the final product is going to look and how to achieve it. A rough scamp and style treatment usually gets approved before getting stuck in.

How do you market your work? Do you work on personal projects?

Firstly our website, it’s something we always keep up-to-date. Creative networks such as Behance and Dribbble are a great way to promote your work, meet others and get feedback from within the creative community. Being featured on a blog is a good way to be noticed and reach a large group of people. We have a Facebook page and we’re on Twitter so you can keep your followers up-to-date with what you’re doing and when you’ve released new work.

Printed media is a great way to showcase your work, but a little harder to come by!

We’re always saying ‘yes’ to exhibitions or creative projects which allow us the freedom to show what we’re capable of.

What’s one of your favorite assignments?

Not to be biased, but creating the cover and poster for last issue’s Designtimes was a real pleasure. We were given the freedom to work without too many constraints and the knowledge that the illustrations were going to be produced in such a great format was really motivating. There’s nothing quite like seeing your work printed and sitting on the shelves of a store! www.studiomuti.co.za

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ILLUSTRATION

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CM

MY

CY

CMY

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Recycle Kai Lossgott sprout, 2011 Wood and glass lightbox, 90 x 30 cm (detail, 7.5 x 10 cm) Laser-engraving on poplar leaf

All hands on deck for barnacles creative and their aquatically cool illustrations

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orgive us for the obvious nautical references but we couldn’t help ourselves. In a sea awash with creative’s the duo of Barnacles Creatives serve up a high tide of familiar work. Their show reel reveals a surprising range of favourite TV ads and even the odd music video moment.

I counted 8ta, The Parlotones, a Coca Cola 2010 World Cup advert, Castrol’s oily blobs, Chicken Licken and MWEB all squeezed in under 2 minutes. Having racked up 245 views in the space of a week it’s safe to say that this particular showreel has gone viral. Add another hit to the count and view it yourself, it’s worth the click.

Besides the aforementioned heavy fleet, it’s also interesting to note that they have collaborated with noted Electronica DJ, Mr Sakitumi on reworked sounds for their animated short ‘Sea of Blasphemy’.

Along with the demand of current corporate assignments they are working

on another self-initiated short and growing their brand by releasing a limited edition run of Urban Vinyl-type figures based on their DOOM BOOM clip which will have a decidedly 70’s / 80’s flavour as described

by Marcelle Marais, one half of the crew. To stay abreast of all these exciting developments, we asked Marcelle Marais a few questions How did you get started in illustration?

About 8 years ago while studying 3D animation I was introduced into the digital realm of illustration. After drawing and painting since young it was natural to take it a step further and get involved in illustration and digital painting.

Describe your style?

It’s always been a very loose, very sketchy style. It’s gone through a few different phases but I think the only thing that has changed dramatically is that things get tied up a little better. It’s important to keep changing and developing a style. When that stops changing, you stop enjoying

it. It’s all about the struggle within to keep pushing the boundaries of your own creative level.

Tell us about your creative process?

It starts with mind maps and a drawing session. Often we make little comps in Photoshop, digital collages to create a loose idea of composition and colour pallete. It usually depends on what the jobs brief requires. Reference is also key for us, so taking photographs is something that has always come naturally. Our goal is to have as much fun as possible doing what we do.

What’s been your favourite assignment?

So far we have only had fun jobs coming in so we are really grateful for everyone that is giving us a chance to show them what we’ve got, but if I had to choose a favourite it would a personal project we have in the pipeline, called “The Killing Moon”.

What is the best part about what you do?

The fact that it feels natural and there is

always going to be more to learn whether its learning new software or mediums or within our own creative abilities.

Do you ever have creative slumps? What do you do then?

We haven’t had any creative slumps so far.

I am sure it will come but we try keeping a good balance between work and fun. If we do get a bit of the fuzz (self-titled syndrome for feeling a little burnt out) we get messy with spray cans and paint. We usually feel refreshed after a little expression session.

What has been inspiring you lately?

Music always is number one on the list, anything from 80’s hip hip and indie elctronica to deep organic Techno.

Anthony Francisco Schepperd is also a massive hero to us. Also love the old school artists like Boris Vallejo and the late Frank Frazetta. These guys pushed the boundaries of today and their work speaks for itself. They will always be amongst the favourites. www.barnaclescrative.com Scott Williams

Antalis South Africa, the largest Forest Stewardship Council certified paper distributor in Southern Africa, believes that the mark we leave should be our legacy.

Being environmentally responsible drives the organisation and Antalis proudly boast a range of papers that are not only beautiful but also certified by various organisations.

Their FSC certification (awarded in 2010) places the company at the forefront of environmental commitment that the paper production and distributing industry are leading. Antalis believes it’s all about thinking green as well as thinking how, through the use of their extensive range of papers, designs can be brought to life – a life that leaves the appropriate mark.

Although paper is still one of the easiest and most readily recycled item, you can still take it a step further by choosing from the comprehensive range of Antalis’ FSC certified papers which are available in Virgin and Recycled options; making them an excellent choice for your print requirements. The Forest Stewardship Council (FSC) is an independent, nongovernmental non-profit organisation that brings people together to find slutions to promote responsible stewardship of the world’s forests. The FSC product label allows you to recognise products that support the growth of responsible forest management – ultimately ensuring that the mark you leave is a positive one. Choosing a FSC certified product means that designers and printers know that the item was produced in a manner that supports environmentally appropriate forest management through the Chain of Custody system. (COC). The chain of custody refers to the path taken by paper from the planting and harvesting of the raw materials through all its production processes to the final product and distribution. This means that a COC certification is a guarantee that the product adheres to the principles of environmental, social and financial sustainability. Operations that have been independently verified for FSC chainof-custody certification are eligible to label their products with the FSC logo.

Antalis holds a FSC COC multi-site certificate (FSC C100415). Ecologically friendly papers are diverse and include: FSC certified papers, Virgin Papers from responsibly managed forest, Recycled papers, Acid-free paper, Wood-free paper, Totally Chlorine-free paper, Elemental Chlorine Free paper, Processed Chlorine Free. Antalis have an ‘Easy to Use... Easy to Choose’ range of Office papers that offer a wide range of recycled and FSC certified papers as well as a FSC certified range of Coated, Text and Cover and speciality papers to suit all design and printing requirements. By choosing and insisting on Antalis FSC certified papers you and your designs become part of the green solution.

Did you know that the amount of wood and paper we, as human beings, throw away on an annual basis is enough to heat 50 million homes for 20 years? So are you re-cycling? www.antalis.co.za

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PHOTOGRAPHY

Jarod McCabe

J

arod McCabe lives in a small New England town with a lake in the backyard and a library within walking distance. Cities are great Jarod says, but he soon realized he spent too much time driving out of them so hes settled in a more rural setting for now.

Did you study photography?

After a fledgling attempt at studying Biology at a major University, I took a few years off and got a job at a photo lab.

About two years in I thought to myself ‘I work here and can process film for free, maybe I should go take some pictures.’ I probably shot 20 rolls of film between a borrowed 35mm camera and a Holga I bought when I decided I should go to college for photography. It’s probably one of the braver things I’ve done. I found this school - Brooks Institute of Photography in California and just went for it. Mostly because i wanted to get off the east coast for a while. I’m not one of those people that had a camera since they were crawling, photography somehow found me.

Describe your photography style?

I really can’t. I actually wish someone would do that for me so I would know what to say. All I can say is I know what I like.

The work you do is it commercial for clients or is it all private for exhibitions? How do you make money form photography?

I shoot primarily editorial work. Only a small portion of my income is stock sales, commercial clients and fine art commissions.

Tell us about shooting a portrait the process behind it? What makes that great portrait shot? What do you look for?

Shooting editorially you have to be quick on your feet. Generally there’s no scouting.

I go in with lots of ideas and sometimes those ideas have props. Once we find good locations and get good light it’s just playing from there. Talking to subjects, directing them, trying crazy things and within that I look for what feels most authentic. A feeling of authenticity is very important to me.

You seem to like traveling and photographing your travels, is that inspiration for what you do?

Travelling comes first. I have a mild obsession with the American road trip. every trip I take, whether it be in America or elsewhere, is always inspiring, but I find inspiration everywhere. I’ll be out getting ice cream on a Tuesday and get some crazy idea for a portrait.

What camera and lenses do you use and do you shoot on film ever?

Most of the commissioned work is done with a digital canon due to deadlines and budgets. I also shoot a mamiya RZ, Chamonix 4x5, Nikonos V’s, Holgas and a crappy Kodak 35mm point and shoot film camera I found on the side of the road. Film is great.

After you’ve got the shot you want is there alot of correction and work in photoshop to get the final product?

Hopefully there’s not a lot of correction, but there’s always honing. Photoshop just lets me make stuff look better.

Where is your next project taking you?

I’m flying down to Cape Canaveral in Florida on Monday for an editorial feature, super excited and we’re staying an extra day to check out the springs where the manatees swim in winter. Hopefully we’ll find some folks and get some good personal work. www.jarrodmccabe.com Mark Rosenberg

ORA promises to continually bring the finest European brands to your home outdoors. We welcome you to our new showroom in Kramerville to view our ever-expanding outdoor furniture range where you will find the perfect match for these lazy summer days.

Why not make your home your holiday?

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0

PHOTOGRAPHY

Carl Kleiner

D

IKEA has teamed up again with photographer Carl Kleiner to bring kitchen items to life in a brilliant and visually stunning way.

The result another wonderful project by Carl Kleiner. We ask Carl a few questions about his work.

Your style of photography is quite unique how do you describe it?

Stiff compositions in soft colors with some humor added in.

Has your style evolved over a few years or did it happen from the moment you picked up a camera? In the beginning I was experimenting a lot with different styles and techniques. I still am. The way I think when I light my images has developed from the time I did more graphic design and needed to reproduce the art to photography.

The light suddenly became important to recreate right textures, and make the colors and contrasts right to the original.

There’s a strong graphic element in your work do you think the lines are narrowing between photographer and graphic designer? Yes, it is sometimes hard to tell what profession I have. It depends on the project. If it is a documentary shot the camera is the only tool being used, but when set is created in a controlled environment the design is as important as the photography, and I like being a part of everything. Often in collaboration with my wife, Evelina Kleiner.

Do you have a background in graphics?

I studied arts and craft for one year, and graphic design for one year. My intention was originally to become an art director but I love to get my hands in to the physical part of the creative so I realized that photography was the right way to go.

What else besides still life do you like to photograph? Everything! Love to travel and see new places, and meet new people, trees and animals.

What are the few most important lessons you can share with us about photography?

Try all ideas that pops up. Don’t be lazy.

Good images don’t knock on the door.

You do a lot of work for IKEA how did you get the client did they approach you?

Almost all the work Evelina and I do with Ikea is together with their advertising agency Forsman & Bodenfors. The first thing we did together was the cook-book.

Are self initiated projects important?

Absolutely, whenever I have free time I focus on personal projects.

What’s the next project youre working on?

A Sony campaign, the cover of Creative Review annual, a new Ikea project and last but not least to become a father. www.carlkleiner.com

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Principal Sound

Photography

Art Michelle Young Neil Leachman

Barbara Wildenboer Barbara completed a BA (Ed) with majors in English Literature, Psychology and Pedagogics at the University of Pretoria in 1996. In 2003 she obtained a Bachelor of Visual Arts from UNISA followed by a Masters in Fine Art (which she obtained with distinction) from the Michaelis School of Art at the University of Cape Town in 2007.

She has been awarded several international residencies such as the Unesco-Aschberg residency (Jordan, 2006), the Al Mahatta residency (Palestine, 2009) and the Red De Residencias Artísticas Local (Colombia, 2011).

Barabara has also participated in several group exhibitions both nationally and internationally. Her 5th solo exhibition entitled Library of the Infinitesimally Small and Unimaginably Large at Erdmann Contemporary was received with much critical praise.

Neil graduated with B.Mus (Performance & Technology) from NMMU. After touring America in 2004 he joined Damelin's Sound Department as Senior Lecturer where he lectured software, practical and theoretical subjects for the past 8 years.

Neil is a live sound engineer with experience in stage management and has worked with Berlinda Carlisle and Ronan Keating. He has also done FOH for a number of festivals including the Durban One World Festival and Kenton New Year's Music Festival.

He also writes and records music ranging from alternative industrial rock to orchestral compositions. His most recent orchestral work was commissioned by the Eastern Cape Philharmonic Orchestra for performance at the Eastern Cape Youth Orchestral experience.

He has been an active member of this orchestra for the past 20 years holding the position of section leader for the lower brass for the last 10 years and serving on the executive committee for the past 8 years.

Hansie Visagie Hansie received his BA Honours Degree in Information Design from the University of Pretoria in 1981.

He was responsible for the designing and manufacturing of numerous sets, props, costumes, make-up and masks, for major productions for the SABC, M-Net, Rand Afrikaans University, The State Theatre, Klein Karoo National Arts Festival, Artscape etc.

His unique skill set has allowed him to travel extensively to Europe and the USA (especially with The Little Marionette Company for which he served as Artistic Director for 30 years). He has received national and international acclaim for his involvement with puppetry and the arts.

He was appointed Head of CityVarsity's Art Department in 2004 after spending 30 years as an Art Director in Television, Film, Theatre, and Advertising.

For more than a decade CityVarsity has played a pivotal role in providing top quality, industry relevant, hands-on education to the media and creative arts sector.

In the context of higher education frameworks, CityVarsity has successfully aligned student learning with the needs of industry. We do this by utilising lecturers who are active and sought-after commodities in their respective fields.

The passion and dedication of our academic team provides an immensely rich source of inspiration and opportunity for students.

The eclectic mix of talented lecturing staff includes award-winning actors, editors, producers and directors; animation staff who have worked at the world’s most recognised companies; nationally and internationally recognised experienced art directors and designers; exhibited photographers; multidisciplined sound engineers and published journalists.

Throughout their journey with us, students are challenged and guided along a learning path that enables them to travel seamlessly into their chosen career.

Our industry professionals ensure the best in hands on education At CityVarsity we ensure that you get the best real world experience allowing you to enter into your chosen field with confidence!

In the current fast pace world of media there is no time to be scratching your head trying to figure out what to do next and that’s why we make sure that you are ready to hit the ground running.

Here is a showcase of our Heads of Department who will ensure that you get a full understanding of what is needed from you in the industry.

Enrol now for the 2012 academic year For more details on each course go to www.cityvarsity.co.za.

Alternatively contact us on: 021 466 6800/1, 021 488 2042 or 084 206 0620 Mail us at: info@cityvarsity.co.za Full-time courses available: Multimedia Design & Production | Animation & New Media Production | Professional Photography | Motion Picture Production Design Film and Television Production Techniques | Animation | Professional Acting for Camera | Motion Picture Make-up | Journalism for Print and Digital Media New Media Development | Bachelor of Arts in Acting | Bachelor of Arts in Film and Television | Sound Engineering.

Multimedia

New Media Development Film

Acting

Animation Journalism Lesley Caplan Jacques Roux Jacques completed a BA (Hons) in Labour Law at the University of Stellenbosh as well as an MA (Social Sciences Clinical) at the University of Johannesburg. In addition to this, Jacques has a Diploma in Personnel Management as well as a Diploma in Public Relations.

Discovering his natural aptitude for both logics as well as the complexities of computer languages, both his career and interest evolved away from the human sciences to that of the Internet and computer languages.

One Saturday morning 10 years ago while attending a computer fair in Cape Town the head of a computer training college approached him and offered him a lecturing position. Jacques soon realised that he had found his passion in life and decided to dedicate his professional career to the training of computer languages.

Riaz Solker Rosalind Burr Rosalind started her education in Fine Art (drawing, advanced anatomy study, painting & sculpture) and theatre (acting & design), and moved on to complete an Honours Degree in animation (traditional 2D drawn & 3D stop frame).

Rosalind then completed an Advanced Diploma in Character Animation (with advanced Maya) from Central St Martin's London with distinction.

She believes her background in acting gives her an edge in character animation, story creation and ultimately cinematography. Maya is her preferred animation tool.

Rosalind has worked both nationally and internationally on television productions, blockbuster films and with SONY PlayStation.

Lucinda Jolly Lucinda started her career in 1982 as a freelance journalist for the Argus & Cape Times newspapers and teaching art.

She then worked as a Copywriter for a number of advertising agencies before joining the Groote Schuur Hospital as a medical illustrator until mid-1994.

She has been involved in producing and presenting a weekly magazine radio programme on Bush Radio and served on the Film and Publications Board as an examiner.

Lucinda is a graduate of Michaelis School of Fine Art (UCT) with a BA Fine Art majoring in Printmaking and an HED (UCT).

Riaz (BSc Hons; HDE) has vast experience in both film and video editing. He has a Higher Diploma in Education, and has taught at UCT, AFDA, Cape Tech, high schools as well as in the UK. His knowledge ranges across all aspects of filmmaking, both behind and in front of the camera. As an actor Riaz has appeared in local films, TV dramas, sitcoms and commercials. As a crew member has worked behind the camera on numerous local and international features and commercials.

“CityVarsity Film students are given total creative freedom,” he says “yes, they are obliged to pitch their ideas to their lecturers, who will make suggestions and recommendations, but their vision is theirs to realize.”

Lesley's origins are in Great Britain where she qualified with a BA (Hons) in Graphic Design in London. She has worked for the BBC and Independent TV in the UK as well as Computer Animation companies as a Graphic Designer.

Among others, Lesley designed the iconic M-Net logo which has been in use for 23 years. Her experience ranges from TV, film, animation, graphic design & photography, to lecturing and management in the educational sector. She has a passion for design and imagery and continues to draw, paint and illustrate her own work.

Lesley has been with CityVarsity since its inception, as a lecturer in Graphic Design and as a Head of Department. She recently returned to CityVarsity having worked for TSiBA Education for 3 years and is now enjoying being involved with her primary passion of design in all its wondrous forms.

Nic van Rensburg Nic has vast experience in lecturing, Film & TV directing and producing, radio, TV news reading and radio anchor work.

His numerous awards include the International Energy 'Best Film' Award (Light Journey), the Star Tonight 'Best Director' Award as well as the Rapport 'Best Actor' Award (Weerskant Die Nag).

His producing and directing theatrical credits include The Return of a Soldier (State Theatre), Chekov's The Marriage Proposal (Civic Theatre) and Die Haasvanger (Nico Malan Theatre) He also participated in several TV productions as an actor: Valley of the Vines, Harmony, Geknelde Land, The Queen and the Rebels, Koöperasie Stories and Danie Theron.

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4

DESIGN

Bob Peak

B

ob Peak came into the advertising art scene in the mid 1950’s. His artistic vision represented a bridge between an era of Norman Rockwell and Coby Whitmore, with its emphasis on technique, to a more direct way of making pictures with a heavier use of line, design, and a more startling, bolder palette. Bob quickly established a name for himself in the New York advertising scene. His electrifying illustrations for major advertising campaigns including Old Hickory Bourbon Liquor, Pepsi-Cola, Dobbs Hat, TWA Airlines, 7-Up, Puritan Sportswear, The Ford Motor Corporation, along with illustrations for countless periodicals such as Cosmopolitan Magazine, and Redbook Magazine earned him the 1961 prestigious “Artist of the Year” Award by The Artist Guild of New York.

It was this same year that Bob Peak would receive a phone call from United Artist Pictures, clear across the country in Los Angeles, California. His unique style and growing reputation had caught the eye of the movie industry. Bob was flown out to Los Angeles and given the assignment to produce artwork for a new movie version of the Broadway hit musical “West Side Story.” After returning to New York and his studio, Bob illustrated images of Natalie Wood, Richard Beymer, Rita Moreno, and George Chikiris, then incorporated them into a variety of settings from the film into a single painting. It was with this work for “West Side Story” that Bob Peak changed the conventional philosophy towards movie advertising. The film was a complete success and the name Bob Peak had made its mark in the movie industry.

Bob would continue his movie illustrations with work for the Hollywood films “Birdman of Alcatraz.” The Manchurian Candidate,” and “Lord Jim.” It was in 1964 when he was called in by Warner Brothers Pictures to product artwork for the film version of the 1956 Broadway hit musical “My Fair Lady” that his reputation in the film industry would skyrocket. Originally developed to be a Rex Harrison Film with Audrey Hepburn (as Eliza Doolittle) taking a supporting role in the films advertising campaign. Bob made a bold decision to develop his ideas centered on the always beautiful Audrey Hepburn. Warner Brothers Pictures fell in love with his idea sketches and gave him the green light to bring his illustrations to finish artwork.

He completed a finish painting with an emphasis on Audrey Hepburn holding an opened umbrella with Rex Harrison seen over her left shoulder. Various scenes from the movie were intertwined around both figures in a beautifully colored designed montage. His work had captured the charm, magic, and romantic feel of the film in one memorable painting.

In 1967, Bob would be handed an assignment by Warner Brothers Pictures to produce artwork for the film Camelot, original a Broadway hit musical about the tale of King Arthur, Guinevere, and Sr. Lancelot. Though the silver screen musical would never turn into the hit expected, Bob would receive a hand written letter from the films director Joshua Logan expressing his gratitude for the magnificent artwork for his film. The Camelot poster would be the first movie illustration to receive the prestigious Gold Metal Award from the Society of Illustrators in New York City. Over the years, Camelot would be recognized by the Hollywood establishment as one of the most memorable film posters of all time. Bob would continue his work throughout the 60’s, 70’s, and 80’s with unique key-art movie posters for such films as Our Man Flint, In Like Flint, Modesty Blaise, Funny Girl, Thoroughly Modern Millie, Superman The Movie, The Missouri Breaks, Excalibur, and the Star Trek series.

His key art movie poster for Star Trek I would grow to iconic proportions.

It would be in 1979 that Bob Peak would receive a film assignment of a lifetime.

Francis Ford Coppola and his Zoetrope Studio would bring Bob in to produce a series of finished paintings for his film “Apocalypse Now.” Bob would spend several months developing both black and white and color comps for the advertising campaign. Three of his finished paintings would be used as advertising for the film.

The painting pictured is this article was used for the films primary advertising. Bob Peak would later say; “Of all my movie work, it is my work on Apocalypse Now I am most proud of.” His Apocalypse Now finished key-art movie poster is arguably the most recognizable move image of his career. In 1992, Bob Peak would be present the “Key Art Lifetime Achievement Award” from the Hollywood Reporter for his enormous contribution to the film industry. A fitting achieve for the man who gave the world a lifetime of unforgettable movie images.

Thomas Peak

HemelhVijs interiors | home ware | food | restaurant design & consulting 71 waterkant street |cape town | south Africa info@hemelhuijs.co.za

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6

ARCHITECTURE & INTERIORS

LEGO PMD by Rosan Bosch

L

EGO’s designers are the luckiest in the world, they get to play with LEGO all day long! Now, the designers of LEGO’s development department, LEGO PMD, has a physical working environment that corresponds to its playful content – a working environment where fun, play and creativity are paramount and where the physical design gives the adults a chance to

be part of children’s play. With the values ’fun’, ’unity’, ’creativity & innovation’, ’imagination’ and ’sustainability’ as basis for the design, LEGO PMD has become a unique development department where the designers can become part of the children’s fantasy world. LEGO doesn’t just create fun for others – at LEGO PMD working is fun!

In order to create a design that corresponds to the focus on play, innovation and creativity, imagination has been given free rein. Across the room, an existing walkway has been transformed into an oversized sitting environment, where a light-blue padding turns the walkway into a light and soft cloud. The cloud unfolds and expands into sofas, sitting space and a slide that connects the two floors in a fun and playful way. The idea of scale is challenged with design elements such as huge grass wall

graphics and a giant LEGO man and tables with built-in bonsai gardens, thus playing with perception and scale – who is big and who is small? Where does work stop and imagination start? Through the physical design, the children’s fantasy worlds become part of the everyday, creating the setting for the creation of new design for new games and play. Furthermore, the design of LEGO PMD makes it possible for the designers to work closer together.

At ground floor, the open space at the centre of the room creates a dynamic flow where informal meeting places create a setting for social interaction and exchange of information. Towards the sides, there is room for concentrated work, and specially designed means of exhibition such as the show-off podiums and the model towers give the designers a chance to display

their work to each other, facilitating the sharing of knowledge and ideas across the department. On the first floor, an expansion of the balcony has made room for five small and three large meeting rooms in each their own colour with glass facades and a view of the large, open space. A Fun Zone with a yellow table bar creates room for relaxation and social interaction, where a number of building tables for children make it possible for LEGO’s youngest employees to test the newest models and products. The new LEGO PMD is the children’s universe where imagination reins free – for children and designer alike!

Behind the studio stands the artist Rosan Bosch who has worked professionally with art, design and architecture for more than 20 years. As an artist, Rosan Bosch is driven by an inclination to use her artistic

professionalism to defeat the great problems and challenges of society – in her view, art, design and architecture can improve schools and educational institutions, create a greater value for businesses and organisations and make the world a better place to be! As a Dutch-born artist, Rosan Bosch has had an international launch pad for her professional work. She is partly educated at Hogeschool voor de Kunsten, Utrecht, Holland, and partly at Universitat de Bellas Artes, Barcelona, Spain, and has for many years lived in Spain and Belgium, among other places. She now lives at the centre of Copenhagen with her husband and two boys. From 2001-2010, Rosan Bosch was cofounder and partner of the art and design company Bosch & Fjord, which was a professional cooperation between Rosan Bosch and Rune Fjord.

8

ARCHITECTURE

Images by Teane Maseko

2

Chancellor House

African fauvistic designers between the art and the technical.

Quinton has been advocating and exploring the ideals of Wildetecture for 10 years.

Researching design trends from Africa helped formulate the Wildetecture ideals.

Concepts like earth branded architecture,

What is the purpose of the Wildetects, simply, change the landscape!

I

s design today boring, has the endless streams of media we consume turned us into curators instead of creators? Designing without a web browser open in the background, is that possible? An endless stream of inspiration or is it a endless stream of boundaries which we are creating in our minds? Not the Wildetect’s. They have realized that what we have when we look outside is buildings which are the static architecture all around us.

When you look at art from greats such as Van Gogh or Carvaggio it is immediately apparent, a dynamic energy is bound in the art. So today we are faced with decision

made by bottom-lines and profit margins instead of the imagination.

What is the purpose of the Wildetects, simply, change the landscape! To create designs that are not static, that are daring, vibrant and bold. So who are some of the the members that make up this team? They are Quinton J Damstra, Dean Hoffman, and Warren Hoffman.

Quinton J Damstra who was recently featured in Designtimes is a passionate advocate of the concept of multi disciplinary draughting / design and CAD skill sets. Communicating using pictures from technical illustration to graphic design to art. He doesn’t believe in the boundary

architectural shadow projection, the Erxell concept, human driven architectural mechanisms, disintegration of perspective, perceived kinetic architecture. Not new ideas? just re-explored and re-designed to fit into a contemporary African setting.

He has been running his own architectural design studio for 11 years. QJD Design Studio? Designing new homes and alterations and additions. He has also designed numerous furniture commissions and creative art pieces.

Dean Hoffman is an innovative thinker, he studied multi-disciplinary draughting at the academy IDT where he was introduced to the ideals of Wildetecture, which fitted into his perspective thinking. 3 years prior he was involved in his family business working as a steel fabricating designer?

Through his younger years he has and still enjoys art which resulted in filling his family home with rich poignant landscapes, with a specific interest in tree forms. He

now practices as a draughtsman for a structural firm specializing in marine and mining industry, providing him with the technical backup in all his futurist ideas.

Warren Hoffman is a wildetect, he is an aspiring designer / draughtsperson who is very passionate about architecture, Warren studied computer assisted engineering graphics. Warren is currently furthering his design education and working part time for QJD Design Studio as head of CAD and architectural draughting within the firm.

When Warren has spare time he enjoys drawing/ designing possible concepts and occasionally reads inspiring books and enjoys the occasional surf along the west coast.

So what can we expect to see from the team? The team aims to pick up and push the boundaries to a kinetic future where design is dynamic and challenging to the mind. “Perceived KINETIC ISM, Movement or the expression of movement within the static is what sets average sculpture apart from great. And this concept is what will make great architecture magnificent. Cities that are a coat of arms or a human fingerprint? bonding the inhabitants by something far more than just an on the ground architectural style.”

Exciting collectives such as these are going to change the momentum of today’s design direction we hope to see it follow them. www.wildetecture.com Ryan Jared Ali

“I am fully supportive of the project.

I would like to see it not merely as a historical monument but used by our young people as a library and training centre for candidate attorneys.” These were the words of Nelson Mandela in 1998, speaking of Chancellor House, the first black law offices of the world-renowned struggle leader and his partner Oliver Tambo. Now, one of Madiba’s dreams has been realized as this derelict building at 25 Fox Street in Ferreira Dorp in central Johannesburg once the focal point of the political arena of the fifties - has been brought back to life by Gandhi Maseko Architects, GMA. Bauhaus-trained Gandhi Maseko adhered to the legendary concept of this progressive creative and design institution’s director Mies van der Rohe: “less is more”.

“The architectural approach, which embodies the spirit of both renewal and memory, was to restore the structure to its original form and not to integrate new features or modern elements, except for new lift for mobility impaired persons,” explains Maseko. After years of neglect, near-demolition and its illegal occupation by 70 homeless, the City of Johannesburg expropriated the structure in 2010 and started revamping it for approximately R8 million. The “Geist des Ortes”, or Sense of Place, is memorialized by retaining Mandela and Tambo’s offices on the second floor whilst the remaining office space will be leased to the legal fraternity.

The original wooden door at the main entrance with signage of gold lettering that graced the building in the 1950s have also been restored. The restored building is in sync with the its national heritage status (acquired in 1999) and pays homage to Chancellor House as an important symbol of hope, honoring black lawyers in their struggle against apartheid.

Instead of the rows of people who called on Chancellor House seeking legal advise for their political activities, visitors are now welcomed by an exhibition space and the sociable Sosi’s coffee shop at street level.

The whole area is also being developed as part of an urban renewal initiative. Neverbefore-seen, life-size photos also grace the windows for passers-by to engage with Madiba and OR. Here they can also glimpse the history of Ferreia Dorp, then a predominantly Indian residential area, where black tenants could rent office space.

Other important characteristics are the building’s scale, height, materials and texture that communicate soundly with the neighbouring Johannesburg Magistrate’s Court, creating a balance in the urbanity.

‘We must preserve our architectural heritage through accurate, modern and minimalistic interventions, so that historically significant resources remain in context and are tangible,’ emphasizes Maseko. I. Lichtenberg

3

ARCHITECTURE

0

Art of Design

Quinton Damstra’s mantis chair

Q

uinton J Damstra of QJD Design Studio / Wildetecture Mantis Chair is really quite something to behold. I feel like I’ve gone back a couple of decades presented with a lifesize completed construction of

having conceptualized custom furniture for homes he’d designed, Quinton wanted to experiment with creating objects that could be produced within a shorter time period - things he could tweek here and there according to his findings during the process. He says people can often be more harsh in their criticism about a chair than they are about a building, putting it down to the probability that people generally feel more at home in their knowledge about chairs than they do about buildings.

One of his kids sat in the Mantis chair at one stage and said, quite frankly, that it was terrible in terms of comfort which illustrates his point and also shows that at times those closest to you can be your harshest critics.

Quinton came up with the idea of ‘Wildetecture’ whilst in the Kalahari Gemsbok where observing lions eyeing

I feel like I’ve gone back a couple of decades presented with a life-size completed construction of a glow-inthe-dark dinosaur skeleton I used to get with those dinosaur magazines a glow-in-the-dark dinosaur skeleton I used to get with those dinosaur magazines. Ok, those were plastic and really quite cheap and nasty in comparison. The Mantis Chair which is so much better than that of course.

It is the result of a madly vivid imagination teamed with highly skillful creativity and a keen desire to experiment. During his 20 years as an architectural designer and

their Wildebeest lunch brought home the fact that Africa is untamable and without limits. In villages like Luwanda, for instance, it struck him how things take place in seemingly disorderly yet very naturally organized ways. It’s just wild.

And this is what the ‘Wildetects’ wish to achieve – pieces that are multi-faceted, multi-functional, alive, dynamic and at times literally mobile, ready to pounce on unsuspecting passers-by. Experimenting with different viewpoints and perspectives, their aim is for each side of the chair/ artwork to appear as if it is something else entirely, even the shadow it casts revealing unexpected messages or images.

The ‘Wildetects’ are made up of Quinton and two ex students from his days of teaching at Academy IDT. He raves about their freakish creativity and puts this down to them having been given the confidence to believe in themselves and not having been stifled by too many nay-sayers.

Creativity for Quinton is a “perpetual motion process where you just touch

someone lightly and they gather speed on their own in whatever direction they’re going to go in” and finds that design schools can often hem people in and not encourage them to express their unique vision or step out of the proverbial “box” they inevitably find themselves in. Quinton himself has reached the stage where he has gotten through the criticism and is now doing something purely for himself, for the enjoyment of experimenting and creating – to “push his own envelope”. The furniture they design is a means of getting from the concept to the end product speedily without having any time in between to be steered or influenced by others. “Wildetecture”African Fauvistic Architecture - is earthbranded architecture. Their philosophy is that there is no formula out there for African design so they’re venturing out to create those African ideals, ready for any scrutiny. Creatives who aren’t afraid to go out there and do something off-the-wall just for the hell of it, now that’s inspiring.

Kerrythe Mahaffey

Art of Design, which recognises design excellence and aims to inspire original thinking, big ideas, paper usage and beautiful presentation, was launched by Antalis nationally during June 2011 to a record number of guests. David James, marketing and purchasing Director of Antalis, opened the evening. On welcoming the guests he reminded them that this is the 13th Art of Design, which is held every two years, dating back to 1986, whilst acknowledging and thanking the design industry for their support over the years.

Caroline Coughlan, marketing manager of Antalis South Africa and whom David referred to as the matriarch and passion behind AOD, introduced the guest speaker Richard Johnson, sales manager of Neenah Paper Inc. His presentation, with a bit of Jamaican humor, revolved around technology in the paper industry. Delighted audiences were downloading the free apps created for iPhone and Apple Mac namely the Environ Calculator and Colours Unleashed from the Neenah Paper website.

“These awards were launched over 24 years ago and they aim to convince designers countrywide to love paper as much as Antalis does,” said Caroline Coughlan, when she officially launched the Art of Design 2012 showcasing the entry kit ‘Paper loves Design’. “Antalis is a major distributor of materials that inspire and enable your greatest design. Paper can be inspirational for ideas that excite, inspire, intrigue and create impact,” said Caroline.

Antalis hopes to build on their past successes and surpasses 2010 entries when the competition received a record 750 entries over the seven commercial categories and 80 entries in the student category. These were judged by nine of South Africa’s leading names in design.

The entry kit consists of a beautiful black presentation box ‘made with love’ (additional employment was created because of the handwork), containing the ‘Paper Loves You’ brochure and three of the 12 ‘Posters of Design’. Each guest received their own entry kit at the end of the presentation. The remaining 9 posters will be hand delivered to the design industry over the next 12 months to ensure inspiration to enter remains high.

The presentation box, beautifully crafted, allowing the sensuality of Skin Curious black to give the even matt surface silky smooth to the touch and has a de-boss and gloss varnish to create a contrast. Including are a handfull of beatifully crafted entry forms and info plus three posters.

To entice the entrants, the 2012 Grand Prix prize includes a trip to New York worth R50 000, as well as the opportunity to design the new Art of Design theme.

For more information and to receive you own personal Art of Design entry kit contact your Antalis Paper consultant or go to www.antalis.co.za.

A sample of our work?

You’re looking at it!

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

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

Tandym Print

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

T: 021 505 4200

F: 021 505 4280

Email: print@tandym.co.za

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DESIGN

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Launch your creative career at TUT’s Faculty of the Arts!

ORA the outdoor boutique

W

hen decorating your home outdoors, ORA the outdoor boutique is the new chic destination not to miss out on. If you can imagine it outside, ORA the outdoor boutique has it! From designing the space, to the layout to the furniture, lighting, plants, umbrellas and accessories that you will need, ORA has it all. The team of exterior decorators

is always on hand to assist you in achieving the home outdoors of your dreams. The team will come out and measure the space and taking your budget into consideration a full plan can be put together with 3D drawings of everything you want and need. We will visualize your dream home outdoors with you and then make it happen.

2012 is a very exciting year for ORA the outdoor boutique, with numerous new brands in the portfolio, this outdoor

Bridging the gap between students and professionals

Usisi Designs

Concept Interactive is set in the heart of Cape Town and has been a provider of high quality training in digital design for over 20 years. In addition to providing a three year National Diploma in Interactive Graphics and National Certificates in Interactive Media, Design Techniques and Advertising, Concept is also one of the few institutions to offer specialized part-time short courses to professionals in various creative industries wishing to update and improve their skills. Tailormade training programs are also available to small groups and organizations enabling companies to better equip their staff with the latest industry knowledge and skills, and addressing their own unique needs. For free needs assessment call Concept on the numbers below. Accredited as a Department of Education Private FET College and a Private Higher Education Institution, Concept’s courses are continually updated to ensure that students get comprehensive, diverse and industry relevant knowledge in the fields of Web Design, Print Media, New Media and Programming for Design.

To ensure that a sound understanding of design fundamentals are supplemented by quality technical knowledge of the latest design software, all of Concept’s lecturers are ACEs (Adobe Certified Experts) and ACIs (Adobe Certified Instructors) in their areas of expertise, and continually update their qualifications.

Concept prides itself on providing students with individual attention and guidance, helping them to build strong portfolios and equipping them with industry experience through internships in all of the registered qualifications. www.conceptinteractive.net

Usisi Designs has recently embarked on an adventure into the world of recycled glass.

Using glass bottles that are so abundantly available from bins street corners and landfills, we began to make beautiful, innovative, functional and decorative pieces for interior decoration.

We cut bottles into rings and melt or fuse them together in a kiln. The melted components are then strung together to create chandeliers, lights and beautiful window decorations. Working with this new medium has opened a unique door in the manufacturing and design process and

Everybody thinks that recycled products must be cheap, but on the contrary, recycling is surprisingly expensive we are eagerly testing the boundaries of what can be done with glass and heat.

Despite popular beliefs, recycling has proven to be very challenging. Collecting the glass bottles from various locations, all over Pietermaritzburg, having to clean them and only then being able to start the creative process is a very lengthy and expensive way to manufacture crafts. It might be seen as “cool “ to recycle, but collecting dirty smelly bottles from dirtier and smellier bins, is no fun. Everybody thinks that recycled or up-cycled products must be cheap, but on the contrary, recycling is surprisingly expensive.

However, recycling is an amazing way of protecting our environment and glass can be recycled again and again without compromising its quality. We are passionate about creating a healthy future for our children and we believe that this project will help preserve our beautiful world. www.usisicraft.co.za

boutique is a must go to destination. The hottest product from Europe, winner of a Red Dot design award, is foam furniture from Germany. No cushions to rush inside in the rain, the colour doesn’t fade and you can mix and match the colours to really make a statement! ORA the outdoor boutique in Kramerville is the place to go for your home outdoors. www.oraoutdoor.com

Reflections of style Décor is one simple way in which people can express their individuality and their own unique sense of style. But in an age of mass production and commercialisation, it’s not always easy to find distinctive décor items that answer a particular need.

But Lesley Kelly Ullrich, acclaimed graphic designer and the creative force behind Mettle Mirrors, has a solution. She creates distinctive frames that turn ordinary mirrors into bespoke works of art, each one slightly different from the next. Using recycled aluminium and indigenous woods, and featuring hand painted, coloured metal as an embellishment, Ullrich crafts frames that have a unique artisan character and sense of authenticity. They are the answer to the current trend towards honest, simple, handmade design that’s as interesting as it is enduring as it is functional. “Geometric patterns, shapes and patterns are seen throughout Africa and are used in many instances as a form of communication, sharing an identity and providing a sense of belonging. This has been my inspiration.

Reinterpreting these patterns gives each frame its own story and a special signature,” says Ullrich. Mettle Mirrors will be showcased at this year’s Design Indaba Expo, from March 2nd to the 4th, in Cape Town.

The Tshwane University of Technology’s (TUT’s) Faculty of the Arts is a historic and unique institution that was established by the famous artist JH Pierneef in 1928.

From this humble but exciting beginnings, the first diplomas were conferred in 1953. By the mid-seventies, most of the programmes offered today had been established. Approximately 37 years ago the first courses in Performing Arts were offered, with the last performing arts department, the Dance Department, being formed in 1982. A major step in performing arts training was taken in 1983 with the acquisition of the Breytenbach Theatre in Sunnyside, Pretoria, named after the well-known Dr PPB Breytenbach. Today, the Faculty is also home to the Rostrum Theatre situated on the Arts Campus.

The Faculty of the Arts moved to the Arts Campus in 1992. This campus is a vibrant, creative modern centre for training young artists – and it is constantly developing and changing to keep up with the times.

Highly motivated staff members subscribe to quality education and well-developed work ethics, and ensure that graduates are fully equipped to survive and flourish in the world of work.

Since the Faculty started operating at the Arts Campus, it has seen a significant growth in student numbers, and an even more impressive growth in achievements.

In 1994, Jewellery Design was added to the already impressive mix of programmes offered. The course has experienced tremendous growth and its students have won almost all major competitions in this discipline. A first in Africa was the introduction of a glass forming course in 1995. From 2000, all programmes offer degrees. The Tshwane University of Technology was established on 1 January 2004, with the merging of the former Technikon Northern-Gauteng, Technikon North-West and Technikon Pretoria into a new mega-institution.

The merger had a direct impact on the Department of Fashion Design. In 2009, a new 1 500 m2 building housing the merged Department was officially handed over.

The Music Programme of the Department of Performing Arts also moved to the Arts Campus in 2010 after the completion of the Jazz and Popular Music Building. It made it possible for all the disciplines of the Department of Performing Arts – Dance, Musical Theatre, Music and Vocal Art – to come together on one learning site for the first time. The principal educational goal of the Faculty is to provide students with an opportunity to gain an understanding of and proficiency in the visual, design and performing arts through both study and practice. The Faculty aims to achieve and sustain excellence in every area of its teaching and research, maintaining and developing its historical position as a world-class university faculty, and enriching the international, national and regional communities through the fruits of its research and the skills of its graduates.

For admission to the Faculty, a high degree of capability and commitment is required. The Faculty attracts energetic and passionate students with enquiring minds.

Its students come from all over Africa and this contributes to the rich mix of interests, backgrounds and talents.

Prospective students should apply well in advance. Visit us during our Open Day on 12 May 2012 from 08:00 – 14:00.

We invite you to have a closer look at the

programmes we offer: Dance Graduates are found in dance companies around the world and in all spheres of the profession. This programme promotes and encourages young South African choreographers and provides them with a platform for their work, both locally and internationally.

Drama The course focuses on the practical implementation of knowledge, aesthetics and technical skills of the dramatic art.

The programme prepares skilled actors, directors, teachers, administrators and writers.

Fashion We train versatile, careerorientated entrepreneurs who can successfully fill their place in the highly competitive and challenging world of the clothing design industry.

Film and Television Production The oldest training institute for filmmakers in South Africa. Alumni have won major awards in South Africa and internationally.

Fine Arts Fully equipped studios for glassmaking, ceramics, sculpture, painting, drawing and printed image (which includes photography and printmaking).

Graphic Design Alumni contribute to the world of communication design both nationally and internationally.

Interior Design This programme has been producing fine work and outstanding students for the industry.

Jewellery Design and Manufacture We will teach you to design, develop and carefully craft striking concepts in jewellery.

Multimedia (Visual Arts-based) This course is specifically designed to enable artists to enter the interactive and animated digital world.

Music Regarded as one of the best of its kind in South Africa.

Musical Theatre With an increasing demand for performers who can act, dance and sing, our graduates can be seen in many professional productions nationally and internationally.

Performing Arts Technology Lighting, sound, properties, make-up, décor, painting, costumes and stage technology are taught in this course.

Photography The programme recognizes that photography is an art as well as a business.

Textile Design and Technology Designing for household and corporate interiors, clothing, surface designing, weaving for domestic and industrial applications, knitting, appliqué, embroidery and silkscreening.

Vocal Art Train and equip vocal performers, pedagogues and conductors to meet national and international demands for their respective careers professionally, creatively and innovatively. www.tut.ac.za

YOUR WORLD

The WOWZULU product range features the “small seven” - domestic animals that have been part of life in rural ZULU homsteads and villages for centuries.

The WOWZULU EARTH-FRIENDLY GREEN RHINO range supports rural families and helps protect our wildlife and our earth.

Africa!Ignite markets contemporary craft products handmade by more than 700 rural women across KwaZuluNatal, South Africa. Based in Durban, we collaborate with rural craftswomen to develop and showcase innovative craft products which tell the stories of the rural homes where they are made.

Africa!Ignite wholesales and markets the IGNITE craft range in South Africa and internationally. We assist local craft entrepreneurs in the establishment of a rural network of WOWZULU Marketplaces across the province, where a range of retail craft products is sold. These products are also available at wholesales prices from Africa!Ignite. In addition, we partner with Dutch social entrepreneurs The Rainbow Collection to produce and sell fair trade, socially responsible products for merchandising and campaigns in Europe and South Africa.

For sales and further information, please contact Margaret Gribble margaret@africaignite.co.za tel (031) 303 5482

Made with love by rural women across KwaZulu-Natal South Africa

Africa!Ignite is a non-profit, fair trade development agency.

Welcome to the pad

Meteor Mic meets iPad meets GarageBand.

imported by

Unlike other USB mics that require a powered USB hub, Meteor Mic plugs right into your iPad with Apple’s USB connector. It’s never been easier to start recording… © 2011 Samson | facebook.com/samson | iPad, GarageBand and Apple are registered trademarks of Apple Inc.

www.audiosure.co.za

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Going nuts over new ecofrendly wall cladding

JO CARLIN

Not to follow trends. It’s not about the trend. It’s about designing that which makes you excited and your excitement will automatically rub off onto your consumers.

And, that, is what starts a trend.

What is your view on online shopping?

There are heaps of people who like to shop that way and really don’t actually even like going to the shops. People who buy my clothes are often foreign holidaymakers, who, often want to purchase again once they have returned home. Online Shopping is a window for them to do just that.

Word on the street is that you are a bold risk-taker. Where does this bravery come from?

Fear. It’s facing the fear. There’s a huge part of me that has fear of success, and if I don’t face it and go forward, by the time I’m 60, I’ll look back and realise I only accomplished a quarter of what I could have. It’s all done on a wing and prayer.

(She said earnestly) What’s the difference between a calculated risk versus a chance based on gut instinct, to you?

In business there are a many different constant risks. Generally, for me, the first decisions are based on my gut instinct and the follow-ups are more calculated.

Tell us about your pay off line, ‘Seduce Your Alter Ego’?

It mostly came about when I thought about myself and what it was like when I was running a household, two businesses and three children. My mind would often wander to the proverbial “desert island.”

Seduce Your Alter Ego is about escaping the norm. Making it about you and how you feel. It’s that bit of time that every woman needs amongst the chores of today.

Seduce Your Alter Ego is selfishly about you, because as women we generally don’t know how to be selfish.

Ok, last one... what do you do for fun?

Have you ever seen a picture of me without a glass of champagne in my hand? I’m starting to get a complex! My friends are my fun... every woman should have a great ring of girlfriends to keep them sane which is something I’m very blessed with.

Niki Jackson

Anomali

Anomali is a jewellery design brand brought to life by moniek van zyl and marlet strauss who met whilst studying BA jewellery design at the university of stellembosch. By combine their different strong suits, the dynamic duo have come up with a line of jewellery that the likes of which have never been seen before by the South African Public.

True to its meaning, Anomali has certainly become the “exception to the rule”, and it is this philosophy that has inspired a drive for non-stop experimentation. By thinking outside the box, the create one of a kind, spectacular artworks from bits and bobs that have lost their meaning in everyday life. “Why recycle when you can upcycle?”

Is their motto. This is the art of reusing the unwanted items that surround us and converting them into something even more valuable. By reworking objects that already have their own, unique character, their pieces become unavoidably unique, and a feast for the eyes for anyone with a sense of adventure.

They believe jewellery to be a concept highly loaded with depth and meaning, and enjoy the interesting way in which people react differently to each piece. Design wise, they are fascinated by the realm of play, and the possibility og ‘grown-up toys’.

They reject the idea of ‘status jewellery’, and just have a desire for people to have fun. Handling of the pieces are highly encouraged, as moniek and marlet believe you have to create a bond with the piece you choose. Jewellery has no meaning behind a glass case, and it is only when you start enjoying it that you can come to attach your own personal meaning and value.

You can see them adapting age old techniques to a modern worls of design in the breathtaking setting of Delvera farm, just outside of stellenbosch. Come take in the beautiful scenery of table mountain over the winelands whilst enjoying their collection of jaZz records playing on their vintage record player, and feeding ‘Beauty’, the rescue pony an aplle through their studio window. ww.anomali.co.za

employment and generating an income for hundreds of people in Indonesia. In fact, Cocomosaic has won presidential awards in Indonesia for job creation and export.

Panda Bamboo was one of the first companies to introduce bamboo flooring, boards and panels in South Africa some 6 years ago, and is still a leader in this field. Keeping with the company ethos of supplying environmentally responsible and visually appealing natural interior décor products, Panda Bamboo is proud to announce the launch of CocoMosaic tiles in South Africa. CocoMosiac tiles are richly textured and give an exotic, elegant ambience. Different looks are obtained by using either the inside or the outside of the shells, and by making use of polishing techniques and paint effects.

The tiles can be attached to any firm surface using silicone glue or other tile adhesives, and the tiles are easily cut to size and shape using a small angle grinder or even a jigsaw. The CocoMosaic tiles have an interesting texture and a warm, natural but sophisticated look, making them ideal for accenting a feature wall. Although primarily used for wall cladding, the tiles also have applications in ceilings, furniture and even flooring. Panda Bamboo Products is the appointed South African agent and distributor for the complete range of CocoMosaic interior cladding tiles. www.cocomosaic.co.za

www.hasselblad.com

After much begging and pleading we convinced a very media-shy clothing and furniture designer Jo Carlin to agree to an interview that marks her first 10 years in the business of design. Here is a snapshot of her opinions, philosophies, personal life and business ideas.

2012 marks ten years in business, how does that feel?

I can’t believe it’s been 10 years. I feel like I am only starting now because kids are older and I’ve come into my own.

When you are in mommy-mode, you are in mommy-mode no matter if you are in your own business.

You gave up clothing for three years, was that hard?

At the time, no, I had too much on my plate.

Two businesses and a family.

What top character traits do you look for when choosing suppliers, artists for the furniture business partners and suppliers?

Talent with humility.

You love art. What common denominator does the art that you choose to sell or have at home, share?

Colour, depth, being slightly off the wall (insert cheeky look) and it must touch me.

I don’t sell art that I think other people will love; I sell art that I love. In fact, everything that I do, with regards to the furniture and clothing, I do for me. I’m quite selfish in that way – I’m just lucky enough that people like it!

If you were any fictitious book or movie character – who would you be?

Betty Boop! I love her attitude and her sultriness If you could impart only one very important thing to your children what would it be?

That’s a hard question because I feel strongly about two aspects.

One is independence. Independence comes from security. If you feel secure within yourself you have freedom in your independence and are not looking for other people to fulfil you. The other is that I want them to be true to themselves. To do what they want to do and not what they think they should do.

What do you think is the mark of a successful fashion designer?

Coconuts are synonymous with exotic tropical holiday destinations, but thanks to an innovative job creation project in Indonesia, coconut shells are now being made into stylish, upmarket wall cladding tiles. The products are exported to America, Europe and many other destinations, and are now available in South Africa. Cocomosaic tiles are hand-made by cutting the coconut shells into small, perfectly sized squares, and then bonding the squares into larger tiles. Various colours and finish effects are available, and only water-based adhesives and paints are used in the manufacture of the tiles. The end effect is a stylish, richly textured, warm and interesting cladding, and it’s all natural and eco-friendly.

The coconut shells used are either collected by local people, or are obtained as the waste products from the processing of coconut flesh and coconut milk. The products are eco-friendly, being made from natural materials that would otherwise be discarded. Only water-based, low emission glues, lacquers and paints are used in manufacturing the Cocomosaic products.

In addition to the coconut shell mosaic tiles, the company also produces mosaic tiles from mahogany tree bark (a waste product from the timber industry), and tiles from reclaimed timber such as pallets and crates. This innovative beneficiation of former waste products into desirable décor items has been highly successful in creating

Incredible Colour, Clarity & Quality Everytime

For more information

Contact Michael on 021 461 0595 michael@sunshinecompany.co.za

Virginia Jewellery School is situated in the heart of the Freestate in the land of gold.

Our mission is to train students form underprivileged backgrounds in the area, not only to empower themselves, their families but the whole of the Freestate.

Qualified goldmsiths on maufacturing.

Virginia Jewellery school manufacture and design handmade jewellery and will mass produce according to your needs.

We can turn your designs into a reality.

Virginia Jewelley School Telephone 057 904-4364 Sandy Crewe 082 443 1005 Velile Jonas 073 481 1051 sandra.crewe@harmony.co.za Isaac.jonas@harmony.co.za

4

0

TUTORIAL

Create Live Captions in InDesign CS5

Enjoy the ease of flexible workflows between Adobe’s Bridge & InDesign Set up an image’s metadata in Adobe Bridge, then feed it into live caption textboxes in an InDesign layout, writes Eva Csernyanszky Create captions for images in Adobe® InDesign that link “live” to the file’s metadata. Even update or edit the metadata in Bridge. Enjoy complete flexibility when intersecting captions with any image to display its file description or copyright information.

In this tutorial you will learn how to edit a file’s metadata and feed it into a textbox, thereby creating a live caption that displays selected information.

01 Adobe Bridge’s Metadata Editor is

a useful tool to personalise your files, so let’s start with embedding some metadata within an image file, such as a file description and copyright. Open Bridge and right click on an image of your choice.

08 Now carefully reselect the image

frame, not the image itself. Either control or right click, choose Captions > Generate Live Caption.

02 Go to “File info” and add a description and the copyright detail to your image.

09 A new textbox, the live caption, 05 Place the image and click on it twice

to select the image itself, inside the frame. Right click or control click choose Captions > Caption Setup dialog box.

You can also access this through Object > Captions > Caption Setup.

06 This dialog box will allow you to set 03 Exit Bridge and open an InDesign

file. Open the Mini Bridge Panel by shiftclicking on the Bridge Icon in the left hand area of the Application Bar.

DURATION 20 minutes LEVEL OF difficulty Intermediate

the information which will be displayed in the live caption. Choose from the Metadata popdown to select the type of info you wish to have displayed.

Choose Description and Copyright for this example. Any option can be selected provided that you have filled that area of information out in Bridge beforehand.

07 Position the caption under the

Alignment & Style area and set its offset to 3mm. Select an appropriate Paragraph style if you have one, and even choose the Layer that the caption should reside on, if necessary. Click Ok to apply the settings.

will appear below or above the image, reflecting the metadata you selected in the Captions Set up dialog box.

10 Let’s see how the Captions behave

around frames and how they are anchored. Select your caption text frame and drag it away from the the image it is attached to. The caption disappears when moved away and the warning <no intersecting link> appears. If you take the same caption and move it below a different image, it will pick up the metadata from this image frame. The caption always needs to be touching an image in order to stay “live”.

Should you require that a caption box must reflect an images details but not touch that image, enable the “Group Caption with Image” option from the Caption Setup dialog box in step 6.

Have fun!

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

04 Navigate to the edited image file, select it and drag it on your layout.

hand crafted jewellery

www.anomali.co.za

Where tecnology and eyecare meet (021) 421 0023 We donâ&#x20AC;&#x2122;t just sell specs We Frame People....

Telephone 033 345 5783 Facsimile 033 345 6471

www.usisicraft.co.za

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TUTORIAL

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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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4

4

TUTORIAL

Beginners guide to photography tutorial three

Basic Photoshop retouching Seagram Pearce takes a look at some methods used to improve & refine our photos in the digital darkroom Living in a digital age, almost everything we deal with is in digital form. In film days, one would shoot on film & then step into the darkroom to develop the film, then use various chemicals to achieve a certain effect -even dodging & burning the film before finally doing the print. Today it is no different. Our medium has just changed. With the development of digital, one now just has more control over the post-photography stage. We step away from photography this issue to delve into the methods & techniques used after one has pressed the shutter. Let us take a look at some methods we have to improve & refine our photos in the digital darkroom.

01 Begin by opening up Photoshop.

There are many other options such as GIMP, Adobe Elements, Paint Shop Pro. All of these graphic packages are free & downloadable from freeware websites.

All of them contain the basic tools to do retouching. Because I shoot in RAW, when I open an image in Photoshop, the RAW Dialog box comes up. Here I can do my first bit of tweaking to exposure, brightness, contrast, white balance, etc.

I’m going to just go ahead & open up my image with minimal tweaks. If you are opening a JPG file, you won’t see the RAW Dialog box.

02 Your image is now open. Before we DURATION 1 hour LEVEL OF difficulty Beginner

go any further, it is a good workflow habit to not work on the original layer. So go up to your menu bar at the top, LAYER > DUPLICATE LAYER. If you’re using another program, there will some kind of layer menu allowing you to duplicate/copy the original layer.

03 We are going to look at using the

CLONE TOOL. The icon is an old fashion stamp. The principle of the clone tool is exactly as it’s name describes: clones areas of an image from one part to another.

When dealing with retouching (in our example today, skin) the clone tool allows us to clone areas of good skin over areas of ‘bad’ skin -blemishes, wrinkles, etc.

Now Photoshop needs to know what you want to clone, so you have to specify an area to clone from. You want to set your clone properties to 100% opacity & only 50% flow. Think of the flow as how ‘fast’ the tool works. This is done by holding the ALT key (both PC & Mac) to define the clone area. ALT+CLICK on a good skin area. Make sure you’re working as close to the problem area as possible to ensure the similarity in skin pores & texture matching. Now click on a area of skin that has a blemish. Immediately you’ll notice the blemish starts disappearing, being cloned over with ‘good’ skin texture.

05 Cloning is not limited to just skin &

people of course. Here is a silly example of how the clone tool can be used to both remove completely & duplicate an element in an image! This tool & technique can be applied to any kind of photo that needs something removed.

How often does a photo have a pesky telephone pole ruining the background?

Or even stray person walking in the background of your great shot of the Arc du Triomphe? The clone tool is one of the most commonly used tool in any retouchers arsenal.

This will undoubtedly help you in future when dealing with an image that might have some foreign object/spot/mark that can be removed easily enough. If you have any further questions or even suggestions for what you would like to see in Design Times tutorials, please drop me a line at: info@seagrampearce.com

Seagram Pearce Seagram Pearce works as a freelance photographer throughout South Africa and Internationally. Honored to be awarded both local & international photographic awards such as Hasselblad Masters. Specialising in automotive & people in editorial & advertising sectors. www.seagrampearce.com

04 The process of cloning is not a quick method. It takes time to work on an image at

100% zoom level and slowly remove small blemishes. After enough cloning has been done, you will see a major improvement of the image. How long you spend retouching an image is always in relation to your brief, given time frame & budget.

Faculty of the Arts e

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