Issue 43

DESIGNTIMES south africa’s creative resource

www.designtimes.co.za

/08 DESIGN

LO SIENTO

Borja Martinez founded Lo Siento, a graphic design studio in Barcelona. He has worked for clients such as Martin Berasategui and El Bulli.

/12 DESIGN

2012 Issue No.43 ZAR 15 EUR €2, UK £2, US $3

ALEX SCHILL

Behind the great success of German advertising agnecy The Serviceplan Group is Alex Schill who will be judging at this years Loerie Awards.

in cahoots with 9 77199 9 24 8001

08012

/22 DESIGN

OLYMPIC STAMPS

Hat-trick is a design company in the UK which recently won the commission from the Royal Mail to design four stamps for the 2012 Olympic Games.

Loerie Award Winner

TJDR53147

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NEWS

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Eskom eta Awards

Welcome to Issue forty three of Designtimes! We have a jam packed issue for all our readers this month.

The issue is packed full of interviews, profiles and features with creatives from around the world as well as South Africa. We start with studio Lo Siento in Barcelona who are responsible for our awesome cover and poster this issue. If you are a little confused as to what it’s all about then you read all about it on page eight. We also chat to Alex Schill a German creative who heads up a advertising agency called Serviceplan. He happens to be judging at this years Loerie Awards. We chat to him about his huge success and making Serviceplan one of the top agencies in the world. Then coming home we feature South African art director Roberto Adamo as well as South African photographers Anthony Bila and Bryan Traylor who show off some amazing photography. There’s loads more including the in’s and out’s of succesfull logo. We hope you enjoy!

See you at the Loeries.

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 Kerrythe Mahaffey kerrythe@designtimes.co.za Zachariah King zac@designtimes.co.za

Contributors

Eva Csernyanszky, Seagram Pearce, editors illustration by Chris Valentine

Cover

Nike’s Olympic gear

In Ancient time Olympic athletes participated in the nude. Nostalgia aside this is not an option that exists today. Can you imagine? In today’s Olympics, every participant is branded. Their entire outfits are almost a flag representing their home country. Each athlete represents both themselves and their individual talents but also their home state. Interestingly at this Olympics out of the nearly 10,500 competitors , there are four participants who aren’t playing toward a national medal count for their homelands. This is because their countries don’t have recognized National Olympic Committees. Instead, they compete by qualifying as something called Independent Olympic Athletes . Instead of their National flags being displayed on their outfits they wear the Olympic flag. Essentially it is the official Olympic uniform. You may well wonder then: who designs this uniform? This year Nike created custom uniforms for the three athletes from Netherlands Antilles that were worn during the opening ceremony and other events. These Independent Olympic Athletes are competing in the sailing, 400m, and judo events. The outfits consisted of a custom M65 jacket as well as a pair of Flyknit running shoes and scarf, which share a color scheme with the Olympic flag featuring it’s distinctive rings. The fourth Independent Olympic Athlete marathon runner Guor Marial, who was born in what is now South Sudan, also had the cost of all of his competition gear covered by Nike.

MacBook Pro Retina Display Apple launched the new MacBook Pro featuring Retina Display. “With a gorgeous Retina display, all flash architecture and a radically thin and light design, the new MacBook Pro is the most advanced Mac we have ever built” said Tim Cook. It’s display features over 5 million pixels, 3 million more pixels than a HD tv. The display’s pixel density is so high that the human eye cannot distinguish individual pixels from a normal viewing distance, meaning that text and graphics look incredibly sharp... but does it? While the graphics on the D isplay are incredible, Apple conveniently leaves out an important piece of information.

The graphics on the Retina Display is

beautiful while working in the OS and Apple created programmes however third party software does not benefit from the display. In fact often looks worse than before. Take for example Adobe CS6. It was not designed with Retina Display in mind. While working in the various programmes the graphics look so pixelated that you might be excused for mistakenly thinking you were looking at your old 800 x 600 monitor. While software producers should all eventually catch up to this giant leap forward in display quality this has not happened yet. Don’t be surprised if your Apple salesperson neglects to mention this issue to you when making their pitch.

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Studio Lo Siento

Sales Manager Wendy Scullard

Advertising

Wendy Scullard, Malika Noordien, Thando Jevu, Ehrin Manuel, Roxy Rosenberg, Linda Schady, Kelly Keur, Natalie Clarke, Chantel Williams, Aniesah Hu

Traffic Controller

Kelly Keur kellycupido@telkomsa.net

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

Office Administrator

Kiara Hagglund beyondpublishing@telkomsa.net

Publisher

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

Printer

Tandym Print www.tandym.co.za

On-camera tutorials

Canon Offers on-camera tutorials that users Can Watch From Their Cameras.

Canon On-Camera Tutorial Videos explore a specific feature or technology of the EOS-1D X. These instructional videos are designed to be viewed at your convenience: Watch them online, on the go, or even on your camera’s rear LCD screen, so you can follow along, every step of the way!

To help its customers learn more about their DSLRs, Canon has created a range of ‘on-camera tutorials’ that users can watch off their camera’s LCD screen. The videos range from simple tips to advanced features, such as AF modes and multipleexposure shooting, though they don’t cover Canon’s entire product range. Users can download the .MOV videos from Canon to store on their computers or their memory cards to view the vidoes on-the-go.

Guangzhou Opera House Guangzhou Opera House has won the best cultural building at the 2011 RIBA International Awards. The RIBA judging team, led by many of the UK’s top architects had the following comments: “Zaha Hadid’s characteristic shape-making does not always lead to intimate interiors, but here, as we saw in MAXXI, is a building that is as much about its internal places as its external forms. At the Opera House

This month the 49M, South Africa’s biggest energy saving movement, announced that it will be sponsoring two categories of the eta Awards namely the Energy Savings in Households and Energy Efficiency Awareness categories. The eta Awards reward exceptional, innovative and outstanding efforts by individuals, students, companies and other institutions in the efficient use of energy. The winner in each category receives a cash amount of R30000, and R5000 could go to each of the runners up in each category. The household category rewards those who have implemented creative and effective energy efficiency applications at home thereby dramatically reducing their energy consumption and costs. The awareness category rewards those who have made a significant and visible impact in spreading the word on the importance of relieving the growing pressure on the electricity grid. Entries for the eta Awards close on Thursday, 3 August 2012. South Africans who would like to participate can visit the website or email murraya@eskom.co.za for an entry form. Winners will be announced at a gala dinner on 15 November 2012. www.eta-awards.co.za

the inside and out are linked by artfully placed windows. For all the auditorium’s asymmetry the acoustics are perfect. This is the realisation of Hadid’s 1994 dream of bringing a touch of continental magic to Cardiff Bay - the UK’s loss is finally China’s gain. There is no doubt that practice has made perfect; this is surely a better building than Cardiff was ever going to be” says RIBA’s judges.

Strategic brand and communication design consultancy, HKLM, picked up seven Silver Graphis Awards for a selection of annual reports designed between 2010 and 2011 in the prestigious 2012 Graphis Awards programme. Graphis is a New York-based, international journal of visual communications that celebrates outstanding examples of global design, advertising, photography and illustration through an annual awards initiative. Although HKLM has featured in the awards programme for the past four years, this was the first year that the agency walked away with such an impressive number of accolades. “We’re very pleased with our recent wins!” says Paul Kirsten, COO and one of the founders at HKLM. “We’re very proud of our achievements, especially the fact that our annual report for non-profit organisation Cotlands has once again been recognised in this way. These awards really bear testament to the strength of the HKLM design team and the commitment of each and every staff member to consistently produce work of an international standard.”

The following HKLM annual reports were awarded Silver Graphis Awards in the 2012 Graphis 100 Best Annual Reports programme: AECI Annual Report 2010; Anglo American Kumba Iron Ore Annual Report 2011; BankservAfrica Business Review 2010: Dedicated to Simplicity and Innovation; Cotlands Annual Report 2010; Netcare Limited Annual Report 2010: Participate with Passion; SA Express Annual Report 2010/2011; and WBHO Annual Report 2010. HKLM has designed and produced the Cotlands annual report since 2004 as part of its corporate social responsibility programme. It has won a number of awards since then for this pro bono account, including a Gold Graphis in the 2009 Graphis 100 Best Annual Reports programme and a Silver Graphis in the same category in 2010. HKLM is a strategic brand and communication design consultancy specialising in emerging markets that conceptualises and delivers media neutral, business focused solutions to client challenges. www.hklm.co.za

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0

DESIGN

8

Studio Losiento

fter starting his career in Industrial Design in Barcelona, Borja Martínez moved to London in 1999 to study Graphic Design at the London College of Printing. In 2006, Borja Martinez founded Lo Siento, a graphic design studio. On his own he has worked for clients such as Martin Berasategui and El Bulli. In 2010, Lo Siento was awarded with the Grand Laus award, the most important award in Spain for graphic design. Today, LoSiento consists of a team of five and works on design projects in the fields of corporate, packaging, editorial and self-initiated projects as well. Designtimes commisioned

reciprocal because the value of the genuine craft makes a special project that ends up being a great experience for both parties.

What were you doing before Lo Siento?

I was a musician or atleast I tried to be, it did not work, that is why I embarked on the world of industrial design first, and then I studied graphic design.

You have an impressive and diverse portfolio, typography seems to tie all your work together. Is that intentional?

It’s true, there is a typographic trend in everything we do. This is because my typographic and experimental training at the London College of Printing.

There is a constant mixture of the threedimensionality of paper and typography as a means of expressing emotions and language of each project. This perhaps the language of our studio.

What got you so interested in typography?

When completing my BA in London I specialized in experimental typography, the typography volume and mix is reflected in our work constantly but we also try to be humorous in many of our projects. For example a number or piece of copy that accompanies a design often have an ironic or somewhat comical twist. I have always been amazed by the works of Joseph Muller Brockamn, Max Huber, Paul Rand, Saul Bass, Vince Frost, Mark Farrow and the Graphic Thought Facility, but basically I was strongly influenced by many english designers who concentrate strongly on the refinement and beauty of their typography.

Tell us about the 4D typography project?

We often discover new solutions in the process of different briefings, this is how we designed this typeface, Gerard found that we could create a new three-dimensional alphabet that could be read from either side.When this idea was born we were working on a commission for the architecture Institute in Catalonia, the result was a direct blend of architecture and typography. Essentially 4D models with architectural identity that were converted into elements of reading, communication and type.

How will you develop the project further?

Since we designed 4D we have been commissioned for several projects like the window of an art gallery and design for a street art event, also for an exhibition held by the association of graphic designers.

We see a clear function for 4D as furniture or signage primarily in urban spaces or interiors. We are open to requests for future applications of this lettering.

Does living in Spain contributes or influences the work you do?

I think so, but we also have global connections and strong influence coming from amazing design artists and designers from all over the world. Obviously part of our influence comes from the surroundings, the lifestyle and the people in our city.

What keeps you inspired and creative?

The work itself… the new clients, new goals, new challenges, new visions of our design era, new discovering, all these things encourages us to keep growing and learning.

What makes your studio successful?

We do not consider what we do work but rather a hobby, or a mixture of both since we have fun doing our work. We feel fortunate to work in an industry we love.

We have fun, this is important as it ensures better results.

If you didn’t enjoy reading about Borja Martínez and Lo Siento well: ‘lo siento’.

Mark Rosenberg

I was looking for something to be passionate about, and I think that finally I found it!

Lo Siento to create the cover for this isuue.

The cover describes their philosophy which is to work on every project slowly, letting it stew over a low heat, to give it more flavor, more consistency, more soul. Designtimes chatted to Borja Martínez and asked him a few questions to give us more insight into the studios philosophy.

Why the name Lo Siento?

It’s about passion, Lo Siento means ‘I am passionate’ and also ‘I am sorry’. When I founded Lo Siento, I was looking for something to be passionate about, and I think that finally I found it! Also if the client it is not really happy about the results or for any reason of our work, we just say lo siento ‘I am sorry’.

Tell us about some of the work you do?

We work on graphic identity projects, packaging, publishing, restaurants and ephemeral installations. Our approach to work is almost always touch, manual and craft. We believe that jobs and briefings have to be cooked over low heat, like grandmas recipes, turning to the craftsmanship of the past but with the tools of the present. We know it’s difficult to have lots of time to take advantage of the briefing, we still strive to work within the time alloted for best results. It is important to feel that every project belongs to you.

Who are some of your clients?

Most of our clients come from the field of food, but also we work for musicians, filmmakers, institutions and gallerist.

What projects stand out for you and why?

Perhaps those who are attuned to the pace of work that we propose. Craftsmen who pamper their creations come to Lo Siento for imaginative solutions and packaging design for their products. The connection is

designer furniture

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LOERIES

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Alex Schill

T

he Serviceplan Group is the largest owner-managed agency in Europe. Founded in 1970 as a straightforward advertising agency, Serviceplan has evolved into an agency group that is unique in combining all modern communication disciplines under one roof.

By the mid-90s, Serviceplan had become the first agency to venture into the growing online market and had also adjusted to the requirements of the future in the area of media. Today the additional companies within the Group, Plan.Net and Mediaplus, rank among the market leaders in their immediate competitive markets. This precise interaction of creation, technology and media makes Serviceplan an agency group for innovative communication. Theit numerous clients profit from this, clients such as HiPP, Miele, Lego, Kentucky Fried Chicken, Sony Ericsson, MINI, Lufthansa and BMW. Serviceplan has offices around the world and currently have more than 1,400 employees whose work regularly wins awards at national and international creative competitions. In this years Cannes Festival Serviceplan was ranked No.1 creative agency in Germany and No.2 independent agency worldwide. Behind the success of Serviceplan is Alex Schill who will be judging at this years Loeries.

For those of us who don’t you very well please tell us a little about yourself?

My mother was born in Ecuador but grew up in Toronto, Canada. My father is a true German fellow who worked for VW in Toronto in the 60’s. They fell in love, went to Germany together, married and have lived in a small town ever since. I was born 1969 with a Canadian passport due to my mother’s heritage. While I grew up in a quiet cozy surroundings I was bound to leave for Berlin in 1989 after the wall came down to look for some adventures. Those I truly found in probably the craziest years in German history in an amazing city that reinvented itself to become a metropole again.

In 1990 I started to study at the Academy

of Fine Arts in Berlin. After 4 years I was hired from the most creative No.1 hot shop in those days, Springer&Jacoby. I started as a copywriter for Mercedes-Benz in October 1994. 1998 I became the youngest creative director ever within the agency and in 2004 I was asked to ‘rule’ the agency as CCO. 2005 was the most successful year for Springer&Jacoby since its foundation in 1978. 2006 I was fired due to differences with the founder Konstantin Jacoby and hired by Serviceplan, Munich. I founded the first office outside of Munich in Hamburg and became worldwide CCO and associate partner of the Serviceplan Group in 2008. In 2006 the agency was not listed in any creative ranking around the world.

Today we are the No.2 creative agency in Germany. Since 2006 the agency won 37 lions in total at Cannes festival.

You started working at Springer & Jacoby in 1994 as a junior copywriter, 9 years later you were Chief Creative Officer. Is that something you would of imagined?

Somehow everything worked out like clockwork. I never thought much about the future. Half a year before I finished my studies in Berlin I signed a contract with Springer&Jacoby. I never imagined staying there longer than 2 years. During those days it was the hottest place to be.

We worked 7 days a week for 365 days a year. Working for Springer&Jacoby was a push for your career no matter how long you could stand the pain. But somehow it happened, that always when I wanted to move on, something interesting came up that made me stay. Even the best decision in my life (besides marrying my dear wife) was not my decision, to get fired at S&J and move on to Serviceplan.

Besides being an amazing creative you are now the global chief creative officer of Serviceplan with over 1400 employers. Do you still get to be creative or is it a more of a leadership role and quality control?

I would describe my work today more as an enabler of creativity than as I would describe myself as a creative.

Still sometimes you definitely need to be creative to make things happen. I try to take creatives on my shoulders and help them to overcome the barriers that they face on the way to execute their ideas. These barriers can be clients, their own doubts, fear.

Sometimes they are just satisfied too early in the creative process. I love to be there when things get rough. Sometimes I think I am kind of masochist. The worse it gets, the more fun I have.

Within five years you managed to push Serviceplan from nowhere to number two in the German creative rankings and number nine worldwide. Was it all you?

This wasn`t a one man show, definitely.

That`s just not possible. But I strongly believe in leadership. I hate democracy.

Nothing great in history came out of a committee. The problem about leadership is, that many leaders misunderstand the basic meaning of leading. Leading means to give the path, deciding on the direction, being the first to enter the battlefield, being the last to leave the sinking boat, taking responsibilities for the overall results, not deciding every detail on ones own or always being the one coming up with the best idea.

Tell us about your job now and how you think its changed since 1994?

The culture of Springer&Jacoby was built on fighting. It was the spirit of the Eighties, a case of dog eat dog. Only the strongest survived. Being loud, being aggressive, being selfish. Today it is completely different. Life changed and so did working in advertising. We are much more dependant on a great team nowadays.

Things have become pretty complex and big ideas, that have the potential to change worldwide perception, cannot be implemented by a single person. It is not about deciding the best headline anymore.

It is all about forming the right team for the right challenge.

Is there a client you still want to work for?

I would love to work for a big telecommunications client.

Change happening globally is based on improved communication conditions. Young people today do not need to protest on the street and scream out loud their beliefs. They just post a comment on Facebook or Twitter.

Today the telecommunication companies supply the technical base for one of the biggest changes in society since the begining of mankind. I would love to be part of it.

You’ve been awarded over 30 Cannes Lions and listed as the third most awarded chief creative officer worldwide. Were do you go from here?

I strongly believe in and work for the internationalization of our agency. We want to become the first global working, independent agency group with German roots.

Do you work on any self-initiated projects?

I am working on being a good father to my three children and on being a good husband to my wife, who is with me now for 22 years. This is sometimes not that easy and takes at least as much ‘management attention’ as leading an agency. The best part of travelling around the world is the possibility of coming home again.

Are awards important? I am not working to win awards. But when they come it’s always nice and a good reason to celebrate.

There is no creative who is not vain.

Have you visited South Africa before?

What do you know about the creative work being done in South Africa?

I have been to South Africa a couple of times before on business but never for a holiday yet. I think South Africa’s advertising is quite special due to the different cultural backgrounds but honestly I would not call myself a specialist for this region yet. I am looking forward to the experience of judging the Loeries for the first time and learning how advertising works in this region.

Mark Rosenberg

True Colours

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DESIGN

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rise

Digital technology to ignite marketing Marketing directors and chief marketing officers (CMOs) need to become more immersed in digital technology and its role in customer engagement and conversion if they are to help their organisations grow and prosper over the next five years.

So says Richard Mullins, director at Acceleration, commenting on one of the major themes of the Acceleration Digital Ignition Symposium that took place on 12 and 13 June in Franschhoek. The conference featured Liz Miller, Vice President for Global Programs & Operations at the CMO Council, speaking about the future of marketing in a digital world. Speakers from Acceleration Media, Google, Acceleration, Sky and Adobe also presented at this event.

Information technology (IT) is taking centre stage in marketing, demanding that marketers sharpen their technical understanding and start working closely with IT departments in true partnerships, says Mullins.

Gartner predicts that that the CMO will outspend the chief information officer (CIO) on IT by 2017 as control of technology budgets shift towards the marketing department. This trend is being driven by the fact that marketing is becoming increasingly technology dependent as digital channels proliferate and huge volumes of customer data are collected. Says Mullins: “Marketers are under enormous pressure to use technology to automate operations and increase efficiency by using digital channels.

They are also expected to use analytics to understand customer data better so that they can personalise communications and target more effectively. And marketing departments must also show that they have the metrics to demonstrate return on investment to line of business management and the board of directors. This all means that better data, better systems integration and better automation platforms are absolutely central in any senior marketing manager’s life.”

Yet most marketers are not yet ready for this massive sea change, he adds. A CMO survey conducted by Acceleration and the CMO Council revealed that onethird of respondents felt that their digital marketing portfolio was little more than a random collection of point solutions that were poorly integrated. For example, marketing processes and technologies such as Web analytics, customer relationship management, ad-serving, email, search and electronic commerce don’t fit together in most organisations. The challenge the marketers face, therefore, is to start integrating the many databases and systems they run into a single view of the customer says Mullins. Yet the CMO survey shows that marketers are not making use of the very people and resources which could help them to address their integration headaches.

Only 32% are working with IT to specify needs and requirements and even fewer (26%) are developing multidisciplinary task forces to lead the assessment process.

This will empower them to start understanding customer behaviour across channels better and to start targeting their customers much more effectively. With integrated systems underpinned by a robust enterprise architecture, marketers can connect marketing silos for improved collaboration, integration, workflow and use of critical data. www.acceleration.biz

of the

Self Service

Manager

Olympic stamps by Hat Trick Design

E

stablished in 2001, hat-trick is a multi-disciplinary design company working for a wide variety of clients. They are a small studio of ten people run by Gareth Howat and Jim Sutherland. They are currently ranked number one in the Design Week creative survey.

They won the commission for the Olympic stamps in a pitch, Royal Mail selects a small number of design companies to submit designs which are then selected by an advisory committee.

The pictured athletes are all elite members of the Great Britian teams so they are all due to compete. They had to make sure that they were not recognisible individually as it was important that these are not just Great Britian specific, but rather about the sports themselves. However they wanted to make sure that the sports were represented properly by shooting real athletes in action.

“One of the trickiest was the fencing and Tower Bridge stamp.” says Gareth Howat. ”To get the precise angle for both shots was very difficult to work out. We had to shoot the athletes first, and we had to make sure that we listened carefully to their advice about making sure the technical side of the sport was represented correctly - the right

You have to keep your enthusiasm going. angle of attack for the lunge was shot over and over to make sure we had the right angle and exact form of the fencer and her arm. Once we had got that it was a case of briefing the architectural photographer to shoot Tower Bridge from the correct angle so they “joined”. The photographers did a great job and were very patient.

“The idea of fusing london landmarks and the sports was an idea we had from the very

start - we looked at lots of ways of doing this - but this one was the most successful its simple and works at a small scale, which is crucial with such a small space to design for. We came up with lots and lots of ideas and variations, and its a case of working with the team at Royal Mail to narrow those down and edit. Overall its a long process, so you have to keep your enthusiasm going and keep a clear idea in your head of what you want the outcome to be.”

The lead times for creating stamps are very long, in total the project took around fifteen months from start to finish. The amount of work and detailing that goes into each stamp is remarkable.

“Obviously as a London based design agency winning this project was a once in a lifetime opportunity and hugely exciting.

The main thing that struck me was how great the athletes were to work with, they were all really down to earth and helpful.”

South African companies are increasingly embracing Self-Service as a key strategy for the years ahead. One sign of the growing sophistication of their approach to Self-Service is the way that many of them are creating dedicated management roles and teams to focus on creating and implementing their Self-Service strategies.

Just two years ago, banks and telecommunications companies delegated responsibility for Self-Service to the teams looking after their mobile or electronic channels. Today, we are starting to see them look at channels such as kiosks, mobile devices and the Web as part of an overarching Self-Service strategy.

Take the example of a South African telecommunications company that has created a dedicated Self-Service team led by a full-time Self-Service Manager.

This multidisciplinary team draws on a range of skills, from technical to business process engineering to user experience to marketing, to create Self-Service experiences that delight customers while reducing costs for the company.

This is a positive trend and reflects the way that South African companies are tackling the problem of servicing a growing volume of customers in a manner that is efficient and convenient. Many companies look at just how expensive it is to outsource customer service to a contact centre firm and ask whether there isn’t a way to serve customers that is both more cost-effective as well as more pleasurable for the consumer.

Companies look at the postal service and wonder how they can cut postage costs and delays in bills getting to their customers.

They question whether it should really be necessary for someone to step into a branch to change their address details or query an invoice.

Companies are also realising that SelfService strategies need to be integrated and consistent across all channels. Companies can no longer build Web, mobile, kiosk and other Self-Service channels in isolation from each other, but as an interconnected fabric of services that address different customer needs and deliver appropriate services through the selected channel.

For example, in the financial services industry, channels might include ATMs, online banking, mobile apps, cellphone banking, in-branch Self-Service kiosks and IVR services. Some of them serve the needs of different customer bases, while some customers might use different services at different times or for different purposes.

The role of the Self-Service team is to understand how all these different channels may be used to automate business processes that once required the customer to speak to someone on the phone or at a branch outlet.

They are expected to look at how SelfService across these channels can grow revenues and profitability while increasing customer satisfaction.

The rise of Self-Service Managers and their teams also marks a shift towards greater customer-centricity among South African companies. Self-Service is no longer just about saving money, but an important way of retaining customers and keeping them happy. These are among the most important benchmarks against which the performance of the Self-Service team should be measured.

Kevin Meltzer, co-founder of Consology

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DESIGN

4

Design VS

Advert

ising

South Africa’s advertising industry is world class. The annual Loerie Awards help showcase and celebrate this thriving industry and the successful players in it. The work done by South African advertisers and the associated design disciplines is on par and often better than anywhere else in the world. However, as an industrial designer, it typically fills me with mixed feelings.

Yes, our advertising industry does great work and yes, that is certainly a good thing.

I can’t help but wonder about the mammoth budgets to create fantastic adverts that often advertise somewhat average products.

In 2011, South Africa spent approx R32 billion on advertising, but only approx R22 billion on research & development. Almost half of that spending on R&D is spent by government.

Art Director Roberto Adamo

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oberto Adamo from Johannesburg started his creative career by graduating from Vega in 2008 with a BA in brand communications specializing in Art Direction.

Roberto currently works as an Art Director at Euro RSCG South Africa.

Straight out of College, Roberto was taken under the wing of James Daniels, now the

What drew you to the creative industry?

What drew me to the creative industry?

Cue the Violin, I think it was the idea that, someone could create something from nothing, the idea that people turn to people like my self and other creative to help solve a problem, its extremely gratifying when you step back after a project, after all the hours of yourself being put into it and you know in some way you will have an effect on someone, whether that means they buy a product or simply get a smile on their face, you feel a great sense of pride, win or lose. It’s truly a great feeling breathing life into an idea, something I look forward to doing each day. I’m very lucky, even when I have a *#@t day; it’s still up there compared to a life in a suit, no disrespect.

Tell us about some of the brands you have worked on?

Steers, Volvo, Eskom, Emirates, PPS, Dulux, Durex and the barrage of brands that RBK offers to mention a few.

What is the difference between a graphic designer and art director?

The difference between an Art Director and

As a creative these days, so much is asked of you, in any given moment you may move from designer to Art Director in a matter of job bags.

Regional ECD of Singapore Ogilvy, as an intern. Soon after that, he was offered a freelance position at Mesh for 6 months, where he first experienced digital design.

Is the title Art Director fitting?

I think it’s quite hard to label oneself, as creative these days, so much is asked of you, in any given moment you may move from designer to Art Director in a matter of job bags, and it gets even more complicated when you throw digital into the mix. So I do consider myself an Art Director, but above that, I am a creative.

a designer, I’ve been asking myself that question since my first year at Vega. I’m not so sure there is one in my opinion; the lines are certainly crossing. As designers and Art directors both create, and that’s it, our job is to solve a problem with a creative solution, provide a full stop to each question mark, weather you’re designing a logo or art directing a print ad. Now whether you’re good at it... well, that’s a whole other question.

Tell us about a project that stands out for you and why?

A project that stands out to me? Well it has to be the print campaign I worked on for Target Mortein Easy Reach. I think it has everything an Art Director wants in their work, a great simple idea and a wellexecuted crafted piece.

Do you work on any self initiated projects?

If yes can you tell us about one?

Quite embarrassingly I don’t have any self initiated projects, always say I haven’t found mine yet, but Euro RSCG has something called One Young World, an amazing global project. Something I’m only now getting involved with, and a lot of that has to do with my copywriter Lisa Bayliss, she really is passionate about change and some of that is rubbing off on me, thanks Lisa.

Have you entered any of your work into this years Loerie Awards?

I have entered into this year’s Loerie Awards, and like every other creative I am excited to see the outcome.

Do you think awards are important?

I think awards are a big part of creatives life’s, but are certainly not everything. A great ECD is not only awarded they also inspire through leadership, and no award will make you a great leader. A proud moment, in my short career: this year I was lucky enough to represent South Africa at the Cannes Young Lions print competition, with Willie Struwig. We didn’t win, and that sucked, but I learned a lot and I am grateful for the experience and the trip... and the drinks... and the great French food... and wine... and the beaches... and the ugly French women. They are basically disfigured... well, that’s what I told my girlfriend. I don’t think you should create work for the sake of winning, you should create it cause you love it and would be proud to put your name under it, and well if it wins, awesome, and if it doesn’t, you shouldn’t get discouraged by it, at the end of the day it’s just opinions. Don’t get me wrong, winning feels great, I think that’s why we chase it so hard, no one like to lose.

In 2011, South Africa spent approx R32 billion on advertising, but only approx R22 billion on research & development.

Almost half of that spending on R&D is spent by government. If companies spent as much effort in designing great products as they spend on advertising them, we could not only be a world class leader in advertising, but also a world class player in design and manufacture. According to the department of Science and Technology, there is a clear connection between R&D intensity and global competitiveness. In 2011 - 2012, South Africa ranked 50 out of 142 on the World Economic Forum’s Global Competitiveness Index. Although this is not terrible, there is plenty of room for improvement. There has been no clear trend over the last 5 years in our ranking.

Similarly, South Africa’s manufacture industry has been languishing in the doldrums for decades. Great advertising, although important, is not going to change that trend. A radically improved national emphasis on designing and developing great products will. Cape Town will be the World Design Capital in 2014. I hope that this will serve as a catalyst to radically improve the importance of design in our economy for everyone in South Africa’s benefit. Marc Ruwiel Marc is the founder of Ideso, a leading South African industrial design company founded in 1998. He qualified with a degree in industrial engineering from the University of Stellenbosch in 1988 and a NHD in industrial design from the CPUT in 2006. Ideso designs for many local and international companies and has successfully taken over 400 products from concept to market. Marc and his team at Ideso have won numerous awards, the most recent being an International Red Dot award for their Powerpac concept. www.ideso.co.za

© 2012 The Body Shop International Plc. All rights reserved Absolutely no reproduction without the permission of the owners ® Registered trademark of The Body Shop International Plc. ™ A trademark of The Body Shop International Plc. INTTPWP020

POWER UP WITH NATURE’S FINEST ACTIVI ST

NEW

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PHOTOGRAPHY

Anthony Bila THE EXPRESSIONIST

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nthony Bila also known as the expressionist was born and raised in Tembisa, a township on the east rand of Johannesburg. He studied radio and advertising at the University of Johannesburg and did a short stint at Vega School of

Advertising when he received a bursary to study there. Anthony is an approachable person who loves to create and collaborate.

What was your first paying creative job?

Technically, I was about nine or ten years old and in primary school. I used to redraw Marvel Comic characters and sell them to other kids.

You are a blogger, artist, photographer and writer what else?

I’d like to think of myself as a creator, period. That, for me, encapsulates everything and anything I do. That’s how I’d like to keep it. I feel passionately about all the forms of expression I use. Sure, it varies at different stages of my life which one dominates but I love them all equally.

It’s like anyone one of them could comes first at any time. That’s a bit of an unfair question; it’s like asking a parent which of their children come first. All the various disciplines I dabble in feed off of each other though and allow me to collaborate with some really talented people, so I love them all.

As a creative how do you make money?

With regards to photography, I work with brands and shoot commissioned work

for them. I recently did a campaign with Religion for example, an indie/grunge/ punk clothing brand from the United Kingdom. I also contribute to a blog called It’s What I’m Into. I basically make money by working or collaborating with brands and in the case of some brands I really like, they have the opportunity to sponsor a feature or campaign series on my blog.

Another avenue of income is commissioned illustrations and painting for companies and individuals. The most stable income comes from being a copywriter at the agency I work at though.

What got you started in photography?

It all started when I created my blog www. anthonybila.tumblr.com towards the end of 2011, I curated photographs that I loved from around the world and overtime just collecting and posting the photographs wasn’t enough. I then borrowed a good friend’s camera and started shooting anything and everything. The process evolved when I bought my first Nikon and started shooting with that. What really inspired me though was the idea of capturing a moment in time for the world to enjoy that would have otherwise gone by

unnoticed and unnoted.

You go by the name the Expressionist why did you choose that name?

I chose that name for a few reasons, mainly because I used my talents to express myself and to express the feelings of others, whether it’s through photographs, paintings or words. My favourite art movement or period was that of Expressionism too.

Expressionism was a style of painting, music, or drama in which the artist or writer sought to express emotional experience rather than impressions of the external world. Expressionists characteristically rejected traditional ideas of beauty or harmony and use distortion, exaggeration, and other nonnaturalistic devices in order to emphasize and express the inner world of emotion. That’s always my goal.

Your photography is very much focused on fashion is that of significance?

I see clothing and the way people dress themselves or put garments together as a form of art in itself. What I mean by that is this; we are all blank canvases when we are born. Naked. Clean slates. The way we dress is a form of expression, it’s like we’re living, breathing canvases and clothes are

paintings. Every single day we get to paint a new composition through our clothes and express how we’re feeling and how we are unique. That for me is why I’m always drawn to the street style photography I do. I’m a great appreciator of fashion but I also believe that clothes don’t make the man, it is the man (or woman) that makes the clothes. I am interested in exploring the world of fashion more as my journey progresses, whether it’s more collaboration with fashion brands or something even more in-depth like a collaborative clothing collection with my input in it as a creative director/consultant.

Tell us about how you approach while photographing?

I always want the photograph to be as natural as possible. So my approach is to get to know the subject, get them comfortable and relaxed. When I shoot, I want to capture a moment in time and immortalise it as well as the emotion that it contains. That makes a great shot for me.

The photo should tell a story if the adage of a picture being worth a thousand words is to be considered true. www.jakobwagner.eu

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

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PHOTOGRAPHY

Bryan Traylor

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ryan Traylor was born, grew up and graduated high school in the top two percent of his class. He was offered two scholarships, which he turned down to pursue a degree in Medicine. Three colleges later and four years, he decided the medical profession was not for him. He then started on what turned out to be a career path in the film industry. He convinced the Dean of his college to let him do tutorial courses and he graduated the four year program in only two years. He had a perfect grade average and was given an advanced scholarship to study Set Design at Cambridge University.

After turning the offer down Bryan moved to Los Angeles and began his training and working in the film industry.

In 1994 Bryan started working on independent movie sets as set designer and lighting tech. Through the years he worked his way up to grip and gaffer, camera second and first assistant and finally director of photography. It was a very rewarding time as he worked with many talented people who he learnt from.

“The most important thing I learned was that this was not enough for me. I wanted more and to learn more. I was given the opportunity to work with some still photographers one weekend and it changed my life. The gentleman I ended up working with is one of the top car photographers in the states. His name is Rick Rusing.

He asked me to come and work full time with him and offered me a price I could not refuse. So Rick took a keen interest in me and taught me everything. I soon began working with his studio photographer as well. Bryan Treblecock is his name and what a perfectionist he is... Bryan taught me studio lighting like no one else could.

After three years non stop with Rick and Bryan, I decided to go freelance and learn more.” says Bryan.

Bryans success was rewarded with becoming the top associate shooter and first asstistant on the west coast of the United States. His career has seen him work with Bob Stevens, Bill Cash, Vic Huber, Paul Taylor, Shawn Machienze, Anne Lebovitz, Mark Laitta, John Clement and many, many others. “These people became my regular clients and through their experiences I began to become fascinated with the world of stills photography.”

In 2001 he was offered an opportunity to direct his very own TV series in Africa, so he moved to Cape Town. The funding fell through due to 9/11 and the fact that he could not get insurance coverage in Africa to shoot due to the terrorist threat on United States citizens. After reevaluating his situation he decided to pick up the camera again and show Africa what he knew and loved to do. Bryan opened Locker 14 six years ago and the client list grows by the day. Locker 14 shoots for some of the most prestigious brands in the world. www.locker14.co.za

CityVarsity offers Short Courses for part-time students in the following: -

Video Production

-

TV Presenting

-

Feature Writing

-

Music Production

-

Desktop Publishing

-

Animation Maya®

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Acting for Camera

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Camerawork and Lighting

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Basic Scriptwriting for Film and TV

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Web Application Development

-

Graphic Design

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Photo Editing

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Sound Engineering

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Web Design

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Digital Video Editing

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Basic Photography

CityVarsity offers accredited full-time programmes in: •

Film & TV Production

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Journalism

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Acting for Camera

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Multimedia & Graphic Design

-

Photography

-

Special Effects Make-up

-

Animation

-

Sound Engineering

•

Production Design

Tomorrow Begins Today!

For more information visit our website www.cityvarsity.co.za or find us on www.facebook.com/cityvarsity We can also be contacted on 021 466 6800 or 011 634 9840 or email us at info@cityvarsity.co.za CityVarsity is registered with the Department of Education. Reg cert no. 2001/HE07/004. Reg no.: 1998/21806/07

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PHOTOGRAPHY

WELCOME

IMAGE AWARDS

2012 A

vibrant false-coloured magnification of a caffeine crystal, a hypnotising image of dividing cancer cells and a hair-raising close-up of a hopping fly are just some of the winners amongst the Wellcome Image Awards 2012. Featuring electron micrographs that take us deep into worlds on a nanoscale and clinical photographs revealing the precision of cutting-edge surgical techniques, the Awards celebrate the best images acquired by the Wellcome Images picture library over the last eighteen months. Sixteen winning images were selected by a judging panel, based not

As a creative these days, so much is asked of you, in any given moment you may move from designer to Art Director in a matte only on their visual appeal but also their technical excellence and ability to convey the fascination of science. For the first time this year, a single overall winner was announced at the prize-giving ceremony at Wellcome Collection, London on 20th June. This year’s awards were presented by the BBC’s Medical Correspondent Fergus Walsh, who was a member of the judging panel. He said: “This was another year of diverse, fascinating and beautiful images.

In what other field can you celebrate the hidden beauty of a diatom frustule or caffeine crystals?”

The winning images are on display at Wellcome Collection from 21st June, as well as on the Wellcome Image Awards website, where you can find more information on the remarkable scientific stories behind the stunning images.

Wellcome Images is one of the world’s richest and most unique collections, with themes ranging from medical and social history to contemporary healthcare and over 40 000 high-quality images from the clinical and biomedical sciences. Whether it’s medicine or magic, the sacred or the profane, science or satire - you’ll find more than you expect.

Now in their fifteenth year, the Wellcome Image Awards were established to reward contributors to the collection for their outstanding work.

Catherine Draycott, Head of Wellcome Images and a member of the judging panel, said: “The Wellcome Image Awards are unique in that the winners are chosen for their scientific and technical merit as much as for their aesthetic appeal. They offer people a chance to get closer to science and research and see it in a different way, as a source of beauty as well as providing important information about ourselves and the world around us.” www.wellcomeimageawards.org

Designed by

Cobra has broken rules and changed trends to bring you its stylish designer range. A triumph of contemporary design, the range redefines plumware with minimalist simplicity, intelligent practicality and subtle sophistication, ensuring you of the most creatively contemporary taps and fittings

Visit our showrooms in Bryanston, 18 Ealing Crescent (cnr Main Road & Bryanston Drive), Bryanston, Tel: 011 875 7400, or Cape Town, M5 Business Park, 2A Camp Road, Maitland, Tel: 021 510 0970, or Port Elizabeth, 220 Circular Drive, Lorraine, Tel: 041 367 4730 or Durban, 892 Umgeni Road, Morningside, Berea, Tel: 031 303 8400 South Africa.

For your nearest Cobra stockist call 0861 21 21 21 e-mail: marketing@cobrawatertech.co.za Member of the Dawn Group

www.cobra.co.za

LOGO DESIGN

Duro

reinforcing a solid brand presence

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inear thinking and dogged consistency are now no longer enough when consumers are hungry for brands that are able to evolve and adapt in real-time.

A brand’s defined vision, its real purpose, and the emphasis on solid client service has become ever more paramount. Company employees and stakeholders need to deliver the requisite service that resonates with the brand vision.

In an industry such as the building sector, not traditionally lauded for its innovative brand thinking, the cost of materials and ever-increasing competition are now helping to shift corporate focus towards greater adaptability and brand presence.

Leading the trend in the construction sector is building supply juggernaut Duro, one of the leading manufacturers of steel, aluminium and building products in Southern Africa.

The company has recently taken a bold step forward– embarking on a largescale rebranding process that has seen, amongst other things, the company’s 10 facilities all successfully rebranded in a supersonic 14-day sweep.

With a majority share of the company having been acquired by alternative asset management company Capitalworks recently, Duro is looking forward to renewed success with a new perspective and fresh inspiration, building on the foundations that forged the estimable brand that it is today.

Cape-based creative consultancy, Adhesion were enlisted to guide a process of repositioning and re-branding for Duro that has included developing a new visual identity as well as marketing collateral, a website make-over and a revised through the line and digital communication strategy.

Greg Morris, CEO of Duro, believes “both consumers and those in the building trade are really demanding more than just a good product”. Indeed, through its extensive rebranding process the company also seems to have addressed the philosophical question of “what are we here for?” emphasising not just the profit principle but also highlighting customer satisfaction and stakeholder engagement. “Building with Pride” is the tagline Duro have settled on – and proudly conveys its philosophy in all areas of engagement.

Design played an integral role in creating this context and a new logo – and whilst design may not be the be-all and end-all of branding, in this instance it certainly

appears the flag bearer of great things to come to come.

The design team, headed by Brian Bainbridge and supported by Duro inhouse designer Cezaan Boshoff and National Marketing Co-ordinator Mercia van Schalkwyk set out to create a symbol of the new Duro philosophy, whilst acknowledging the heritage of the company and simultaneously projecting it’s new culture, product ranges and approach.

Historically, the core business was Pressed Steel – as conveyed through the company name Duro Pressings, yet the company had diversified over the years such that Duro’s vast product offering includes quality steel and aluminium products that are sold under recognised brand names, as well as structural steel and innovative modular building solutions, DIY products, sanitary ware and low income housing systems and solutions.

The final resolve was to drop the word ‘pressings’ from the logo and to entrench durability and strength with the typographic treatment. The ‘P’ of pressings is still present and, true to it’s roots, has been ‘pressed’ out of the ‘D’. At the centre of the D - it’s heart, is a deep red, which acknowledges the red oxide colour of their core products – and symbolises that people are at the centre of their world.

A further requirement of the brief was to include the brand product offering categories with logo when required in certain cases, for example Duro Doors, Duro Windows, etc. The same design cues need to be carried through in a consistent manner. To resolve this the Adhesion team established a system whereby each category could simply be ‘tagged on’ to the DURO logo, differentiated by an ultra light version of the bold DURO name font for each category name. The lightweight font mimics the thin ‘P’ in the centre of the mark, balancing the letterforms across the logo.

Says Chief Sales and Marketing Officer John Lamb, “we wanted our new identity to consolidate the brand –although Duro’s product range is vastly diverse, pride – fierce pride - is a common unifying factor.

The same can be said of our company; even though we are different, each with our own unique qualities and skills, our shared sense of purpose and pride in our work has been our collective strength”.

Given the success and rapid-fire approach of the re-branding exercise and the resulting strength and presence of Duro’s renewed corporate image, the brand’s future success appears firmly cemented.

Cape based Creative Brand Consultancy, Adhesion were enlisted to guide a process of repositioning and re-branding for Duro that has included developing a new visual identity as well as marketing collateral, a website make-over and a revised through the line and digital communication strategy.

Designing the Duro Logo The Challenge The brief was to establish Duro as a core brand so that it stood apart from its sub-brands and competitors. We needed to create a logo that would give Duro a ‘single voice’ so that it would be recognised as the provider and leader in its field. As with any logo development, apart from the usual challenge of ‘how much can you say or include with how little’, there were several additional issues that needed to be resolved; the logo needed to somehow be adaptable to accommodate the Product Offering Categories (eg, Duro Doors, Duro Windows, etc). All things considered, the basic principles of good logo design could not be ignored either; timeless simplicity, memorability, relevance, strength, ersonality, application and functionality, etc.

The Solution With pressed steel being Duro’s main focus, it was vital to demonstrate their strength and durability as the primary visual take out. This covered their purpose. They are also a company that takes pride in what they do and in their close relationships with their clients.

With this in mind, we worked towards a two-tiered solution, striving to capture a visual balance between ‘what we do’ (purpose) and ‘how we do it’ (value), which would ultimately demonstrate both a functional and an emotional side of Duro, a subtle tangible and intangible equilibrium. The final resolve was realized by creating a bold uppercase D to form a mark of strength and solidity, representing Duro’s authority in the pressed steel industry.

Working with the letterforms, the concept arose from the opportunity to incorporate Duro’s core value; ‘pride at the centre of everything we do’, by introducing and crafting the letter P into the core of the D. A vibrant red was used against the black D to add contrast and a sense of intention at the center of the symbol. The symbiotic relationship of the letterforms further demonstrates the significance of their personal relationships with their clients. The stem of the P extends into the surrounding space below, playing on the positive and negative forms of the letters, adding to the pressed feel, highlighting the circular curve of the bold D. The claim, ‘Building with Pride’, is positioned subtly under the logo in a lighter weight, clarifying the Duro positioning. The further requirement to communicate the brand product offering categories, for example Duro Doors, Windows, etc, was resolved by establishing a system whereby each category could simply be ‘tagged on’ by butting it up to the Duro word mark, differentiated by crafting an ultra light version of the Duro word mark for each name. The lightweight font also mimics the thin P in the centre of the symbol, balancing the letter forms across the logo. The result is a identity that is distinctive and recognisable, whether it lives in the form of either a symbol or a complete logo, uniting two of the most important aspects of the company, both bold and sensitive, into a single solution that just seems to stick.

initial ideas

workings

COLOUr palette

PRIMARY

SECONDARY

DIVISIONAL

WORKINGS & LOCK-UPS

CREATING A SUCCESSFUL LOGO

THE LETTERS ‘D’ AND ‘P’ EXTRACTED

LETTERS ‘P’ TRUE LETTERFORM

LETTERS ‘D’ INSET PATH TO MAINTAIN ACCURACY IN FORM & REMAIN TRUE TO THE ‘D’

RESOLVE LOGO

RESOLVE LOCK-UPS

LETTERS ‘P’ CRAFTED FROM THE LETTER ‘D’

‘D’ AND ‘P’ Relationship ‘d’ extended to form letter ‘p’

LETTERS ‘P’ OVERLAPPED TO SEE THE DIFFERENCE

RESOLVE UNIFIED ‘D’ AND ‘P’ SOLUTION WITH EVEN FORM

WHAT IS A LOGO? A logo is a visual symbol of who a company is and what they stand for. Creating a logo requires the ability to capture the essence of a company in one symbol. It requires commitment, time, coffee, and a relentless will to get it right.

THE BRIEF The first step in creating a logo is going through the brief.

The brief should tell you, in the most comprehensive way possible, what needs to be achieved. It should inform you about the company, but most importantly, their values, purpose and vision, their goals, their personality and how they wish to be perceived.

THE BLANK PAGE Starting is often the most difficult part. After reading through the brief, getting stuck into a layout pad is often the best way to scamp through ideas, allowing you the freedom to play, brainstorm, find lateral or related symbols, associations, thoughts or words... and just generally get a feel for the personality of the logo. This stage is vital, as it will lead you down abstract ways of thinking, and it’s fine to get carried away, but the end result will need to be a logo that is relevent.

THE WORKING STAGE While working through ideas on paper, you start to get a feel for what stands out as a visual symbol, what is conceptually strong, and what starts to communicate the tone of the company. Single out the strong ones and work with these.

Design the hell out of these selected directions and really put them to the test. Colour choice and colour theory also have an important role to play in defining and securing the right emotional connection with the brand. Certain colours evoke certain emotional connections; it’s worth researching this topic to make sure you make the right decisions. I find that a good solution is to present no more than three solid solutions in most cases, as this allows you to find the best suited territory for representing a client’s business, and also gives you leverage to motivate the best of the three.

A GREAT LOGO A successful logo is memorable, appropriate to the brand, and is often simple so that it can go everywhere. It sometimes demonstrates what a company does, sometimes it only communicates how a company behaves. Many of the great logo‘s capture both aspects in one symbol, covering ‘what we do’ and ‘how we do it’. These are the key aspects you want to communicate to consumers. For me it’s almost always about how much you can say with how little. Emotive qualities in logo’s demonstrate the personality of a brand. Some of the greatest logo’s only capture the spirit or an emotive quality, which I think gives them a really long lifespan. They have the ability to be timeless, like the Nike swoosh and the Coca-Cola ribbon that don’t say ‘shoes’ or ‘soft drink’; they simply communicate the spirit or emotion associated with the product. So in summary, a great logo should either capture what a company does (purpose), what it believes in (values), or how it would like to be perceived (vision), in the most simple and interesting way. If it’s simple, interesting and appropriate, it’s cracked. Brian Bainbridge

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ARCHITECTURE

3DBoard interior wall decor

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Innhouse wins Hotel of the Year

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AN is pleased to announce that the winner of the 2012 WAN Hotel of the Year Award is the Oval Partnershipdesigned Innhouse in Kunming, China. This stunning eco-guesthouse is designed to act as a self-contained community for travellers and offers 17 luxury suites in a series of L-shaped forms, cupped by leafy natural foliage and intimate courtyards.

For our 2012 Hotel of the Year judges, Gregoir Chikaher, Director and Global Hotels & Leisure Sector Leader at Arup, Luis Zapiain, Head of Hospitality at HKS, and Miguel Ruano, Vice President of Design & Engineering at InterContinental Group, found that the winning submission ticked all of their boxes. Zapiain explains

that The Oval Partnership’s Innhouse project ‘covered all the bases of what we were looking for: innovation, experience for the guest, use of material, the way it sits on the land, and the image it gives for

architecture of late. They enjoyed the fact that a project of this modest nature could still flourish when spiralling structures dominate much of the architectural media that comes out of China. Great attention has been paid to every detail of this sustainable hotel project, its timber clad walls complimented by reconstituted bamboo decking and the specific choice of building materials deliberately selected to reference the local setting.

Zapiain continues: “The architectural expression is fantastic; I mean the use of proportions and materials is great.” The Oval Partnership has formed each building

The Innhouse project covered all the bases of what we were looking for: innovation, experience for the guest, use of material, the way it sits on the land and the image it gives for China.

China as an emerging country in the travel market’.

One thing that struck all of our judges was the contrast between the Innhouse scheme and the scores of glittering tall towers that have become associated with Chinese

unit from three masses linked by a viewing bridge, with each guest suite incorporating a cantilevered balcony.

For Gregoir Chikaher, the green aspects of the entry won his vote: “I think there were some excellent entries and I was also very pleased that a number of entries had sustainable attributes which is very important nowadays.”

The Innhouse relies heavily on natural ventilation and daylighting to reduce its energy demands, with rainwater recycling and greywater reuse employed throughout.

The material choice was also a winner, with reconstituted bamboo having low embodied energy with habitat preservation and the highly insulated envelope further reducing energy dependencies.

Congratulations to The Oval Partnership! www.worldarchitecturenews.com

he simple but highly successful décor concept of a feature wall takes on a whole new meaning in South Africa with the launch of the new range of interior wall decoration from 3DBoard.

No longer restricted to creating feature walls with a splash of colour, this cost effective product creates an atmosphere that you can practically feel.

At a time when the environmental impact of a product is as much a focus as design, this distinctive green product is setting a new trend in wall furnishings and taking interior design to a new level.

As the exclusive importer and distributor of 3d board in South Africa, we have introduced a high quality, artistic and durable three-dimensional wall finish that is not only eye catching but environmentally friendly. At a time when the environmental impact of a product is as much a focus as design, this distinctive green product is setting a new trend in wall furnishings and taking interior design to a new level The design applications of 3DBoard are limited only by your imagination and can be utilised to create stand alone feature walls or a more subtle and subdued atmosphere of elegance and refinement throughout the home or business.

Constructed primarily from plant fibres and using environmentally friendly technology, 3DBoard are clearly dedicated to ensuring that their exceptional product enhances your home with minimal environmental impact.

Our unique 3DBoard provides an ecofriendly alternative to standard wall cladding. Additionally the board is lightweight and easy to install DIY or by one of their professional installation teams.

The versatility of the product makes it suitable for commercial areas such as hotels, night clubs, offices, board rooms, hospital and airline lounges and many more creating a high impact interior feature that will help to make any business stand out from the crowd.

Stepping out from the generic feature wall to create an impressive and unique feature with 3d board, homeowners can select from a choice of designs that fit the atmosphere of the room with a choice of elegant, luxurious, modern or funky wall decorations for home theatres, lounge rooms, hallways, ceilings, bedrooms, etc. ”Our aim is to combine aesthetically appealing materials with superior quality and functionality.” says MD, Ryan Siebert.

With a firm understanding of the dynamics behind visual merchandising, combined with an extensive product variety, 3DBoard designs are able to meet almost all visual merchandising requirements of architects and designers, in an ever-changing market.

3DBoard offers comprehensive support with technical installation training, online installation instructions at www.3dboard. co.za, as well as a fully trained installation crew that are able to provide a quick and professional service.

3DBoard will be exhibiting this month at the 2012 Cape Town Homemakers Expo at Stand E2, please come and visit the team and see all the designs on display!

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6

JEWELLERY

OH DEAR MEGAN

O

h Dear Megan is the progeny of Knysna bred and Cape Town educated and based jewellery designer Megan Fogarty.

Choosing to prefix her name with the term “Oh Dear” is a quirky reference to Megan’s clumsy and experimental nature. However this bold and unabashed approach to life has led to her great success in jewellery design, resulting in the refreshing adaptation of “Oh Dear Megan” to “Oh Dear Megan”!

In a short time-frame Oh Dear Megan has

Creating uniquely South African designs that will fit every one of your pretty little fingers.” grown in leaps and bounds as a small and exclusive jewellery design studio. Since the launch of the ODM label in 2010, the brand has progressed from nationwide to worldwide and is now piquing shoppers’ interest in Milan and Amsterdam. Megan and her jewellery pieces have been featured in numerous publications ranging from fashion magazines Elle, Marie Claire and Glamour to lifestyle publications including Visi, the Oprah Magazine and House & Leisure. ODM creations have had their runway debuts adorning the slender necks, willowy wrists, well- manicured fingers and eerie lobes of South African fashion walkers. The ODM range features mainly South African antiques - coins, buttons and badges. Old and forgotten bits and bobs are given new life in creating individual and unique jewellery, with a distinctly South African flair.

Megan has more recently diverged to the high end of the Jewellery spectrum with a range of Tourmaline featured adornments.

ODM is now also focusing on personal consultations for special occasions which will take you through the process of designing your own unique piece, from conception to culmination. Whether it is a simple necklace with a signature element or a diamond encrusted credit infused engagement ring, Oh Dear Megan will ensure an unequalled encounter with Jewellery excellence. www.ohdearmegan.com

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FASHION

8

ROOD by rENs

T

he Dutch design duo rENs consists of Renee Mennen & Stefanie van Keijsteren, they have worked together since 2008. Integral to us working together successfully is our friendship in which our pertness, impulsiveness, and passion come together.

Being a duo, we keep on searching for new challenges, this keeps the collaboration sharp, but foremost a great deal of fun.

In our working methods as designers, we give space to spontaneity. Everyday we are inspired by measures, forms and proportions. rENs ask “can a narrative, a design in which the function has almost

disappeared, still have the appearance of a logical design, an industrial product?

What would happen if we make a cabinet that would not fit into any building? Could it still function as a cabinet, when one cannot use it as such? Or will the cabinet’s exaggerated size give the possibility to appreciate the piece of furniture in a different way?”

Working as alchemists with the magic of dyeing, balancing, dipping the clothes in a tub of liquid dye, tint, water, salt, and pigment results in a clothing collection that is connected by the colour red. Cadmium red, carmine red, apple red, oxblood red, alizarin red, vermilion red, mahogany

red, red ocher, english red, bordeaux red, spanish red, red violet, persian red, cherry red, iron oxide red, orange red, blood red, signal red. Different shades of red, from dark to light and variable in intensity and saturation, form a beautiful pallet which is ultimately determined by the combination of the raw materials from which the garments are made and by the original colour of every piece. These different shades form a beautiful pallet; the ROOD by rENs Collection. Each and every garment is unique and characterized by a code. Track and trace the garment on www. roodbyrens.nl and find out the entire story of every single piece. www.madebyrens.nl

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DESIGN

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Gallery Art Cobra’s Latis & Dura ranges When it comes to variety, quality and affordability, Cobra Watertech is still unrivalled in its position as South Africa’s market leader. It has more ranges of taps and mixers to choose from than any other supplier, including its sophisticated Dura and Latis collections, which add a touch of internationally-inspired design to kitchens and bathrooms without breaking the bank.

The Dura range of bath, shower, basin, sink and bidet mixers draws specifically on contemporary minimalistic global design trends for inspiration. It is characterised by strong angular lines, clean styling and an inherent simplicity that puts it at home in modern residential and commercial environments. The sink and basin mixers incorporate Cobra’s innovative oblong aerators which, combined with a characteristic rectangular outlet, produces an interesting cascading waterfall flow of water that mirrors the sharp square form of the tap. The Latis range too is

beautifully styled along minimalistic lines, although features a very distinctive lever-style handle that is suited to both classic and contemporary bathroom and kitchen designs. The handle responds to the lightest touch to facilitate increased functionality, such as improved flow and temperature control. All Cobra mixers are manufactured from hard-wearing and durable dezincification resistant brass, and finished in top quality chrome that adds a stylish, sleek appeal. The bath and shower mixers are supplied with sliding wall flanges; the bidet mixers with overthe-rim swivel outlets, flexible inlet tubes, pop-up wastes and mounting kits; and the basin and sink mixers with flexible, kinkresistant inlet tubes and mounting kits for quick and easy installation. The Latis and Dura mixers come with a 10-year guarantee and full service back-up from Cobra, and are SABS tested and JASWIC listed. www.cobrataps.co.za

Timber fans Ceiling fans have countless benefits over floor standing fans or air-conditioning units. As well as bringing energy saving benefits to your home or office they are a happy meeting of the economical and aesthetic. Timber Fans are South Africa’s finest handcrafted paddle fans and each is made to the customer’s own specifications.

Our Classic Range ceiling fans use less power than an 80 watt light bulb. In order to reap the optimal energy saving benefits from your ceiling fan, it is important to install several fans throughout your home or office in key locations. For optimal performance, your ceiling fan should sit between 2.3 and 2.5m off the floor. In the summer months, ceiling fans offer the greatest energy saving benefits lowering the ambient temperature in a room and in turn reducing energy bills. Timber Fans is comprised of a dedicated team,

and all products are certified by a master craftsman specialised in ventilation and air conditioning, with over 50 years of experience. Timber Fans have pioneered the self ventilating motor hub, and by creating a suction gap between the motor and the hub, the fan motors run at temperatures considerably lower than other comparable makes; thus ensuring the lifespan of the motors are greatly extended. All testing is done electronically and dynamically to extremely close tolerances resulting in the unrivalled and perfectly balanced run of the Timber Fan. Having become the choice of leading architects, interior designers and decorators, Timber Fans have found their way into homes, businesses, resorts and lodges throughout South Africa, Australia, Europe, North America and the Indian Ocean islands. Our attention to detail and quality is unrivalled.www.timberfans.co.za

From 6 to 9 September 2012 GALLERY AOP participates in the fifth FNB Joburg Art Fair to be held at the Sandton Convention Centre. We are proud to feature two prominent young South African artists at the fair: Terry Kurgan and Jonah Sack.

Terry Kurgan’s work emerges in the space between visual art and an engagement in the public sphere. Working across a broad range of media from drawing, printmaking and photography to enlisting public participation in an art practice that produces human interaction and social experiences, her work explores the tension between politics and poetics. She says: “I’m interested in how people curate and create their own self image, but it is the afterlife of these images that preoccupies me most – their relationship to temporality, memory and the meaning we make of our lives, and the fact that these photographs exist at the very threshold between private and public space”. She shows work from her famous Joubert Park Photographers series, as well as from her latest project, a multi-platform collaborative public sphere project, called, Hotel Yeoville, which has sparked international attention.

Jonah Sack works primarily in drawing and

artist’s publications. “Apart from drawings, I make prints, artist’s books, maps and comics, and occasionally, installations and videos” he says. “The publications are often displayed as installations together with sculptural or architectural elements.

These installations create immersive environments in which to experience the images and narratives in the books.”

These environments echo and extend the ubiquitous landscapes depicted in his books. The drawn landscapes are ‘active’, threatening to dissolve the figures which populate them. This reflects his broader interest in states of absorption, isolation and getting lost. In collaboration with Francis Burger, Sack has also initiated “The Independent Publishing Project” (blank projects in Cape Town, 2011, and Goethe Institute, Johannesburg, 2012) focusing attention on independent publishing in the South African context by assembling selfpublished artist’s magazines, pamphlets and publications.

Other artists on show at the GALLERY AOP booth include Bonita Alice, Gunther Herbst, Neil le Roux, Marcus Neustetter, Colin Richards and Wilhelm Saayman.

The lawyers and the Loeries For the second consecutive year, Adams & Adams, intellectual property specialists, have partnered with the Loeries as an associate sponsor as well as to sponsor the Adams & Adams Young Creatives Award, a special award for emerging creative talent.

As a law firm specialising in the protection of brands, copyright, designs and patents, Adams & Adams wants to encourage and promote the protection of creativity, particularly in the broader field of brand communication, ranging from television, radio and print communication, design, architecture, interior design, package and publication design to motion graphic design, direct marketing, PR communication, nonbroadcast video, live events, sponsorship and digital media. The most incredible designs won Loeries last year, including the interior design for the British Airways’ Slow Lounge and a chalk duster bench designed by Porky Hefer for Joe Public.

“We are delighted to continue to grow our affiliation with the Loeries in 2012,”

says Mariette du Plessis, partner at Adams & Adams. “The Adams&Adams Young Creatives Award gives young exceptional talent across all disciplines in the creative industry an opportunity to win a Loerie!

We found the interaction with last year’s winners, Sophia Strydom and Kenneth van Reenen, very rewarding and it is clear that this award provides a springboard for recognition and career development.”

The partners of Adams & Adams are passionate about the protection of creative works. It offers the full spectrum of intellectual property law protection (including brands, designs, copyright, patents, advertising law), as well as commercial services, commercial and general litigation.

The synergy between a law firm specialising in the protection of creative fruits and the Loeries is a natural one. Adams & Adams supports the Loerie Awards Company and is responsible for all its legal matters. The firm is committed to and supports the local advertising and design industry.

Adams & Adams are passionate about the protection of creative works.

Fursys Experience how the innovative technologies and intelligent designs of Fursys can create space, and awaken inspirations. Make efficient use of space and increase work productivity. Feel comfortable all around, even behind the desk, in our ergonomic design. Customize the look and style with different colours, finishes and materials.

It’s your private sanctuary. Cherish it.

Awaken your hidden talent and passion through well-designed spaces. In designing interactive offices, Fursys recreates spaces, stirring fresh perspective and stimulating creativity and motivation.

The Environment is the Starting Point When We Manufacture Products We make ‘caring for the environment’ our top business priority. To help create ‘harmony’ in society, we believe it’s our responsibility to work to keep the environment clean.

Our responsibility to customer and society is to manufacture products with excellent durability, with a minimal effect on the environment.

Management for Environment Fursys management achieved ISO 14001 in all its business locations, and our products are developed based on the DfE (Design for Environment) process. Fursys has received numerous awards and acclaims for our green and innovative ergonomic designs, including the Ergonomic Design Award Gold Prize in 2006, Korean Good Design and Global Eco-labeling in 2005 & 2006 respectively.

Materials & Design for the Environment We strictly follow IAQ (Indoor Air Quality) standards and only use materials with minimal harmful ingredients. Further, we use environment- friendly and recyclable materials for packaging. Our engineers have developed creative products that use the very best materials. Our quality control procedures are strict and our clients have complete trust in the excellence of our products and services. Fursys delivers much more than furniture to clients; they receive a complete service package. www.globalfursys.com

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The Jamaica Olympic Association and PUMA launched the Jamaican Team uniforms for the London Olympic Games, including podium and ceremony wear with the help of Jamaican Track Athlete and World’s Fastest man Usain Bolt. Fashion designer Cedella Marley, daughter of Reggae icon the late Bob Marley, unveiled her designs alongside Usain Bolt at the launch in London today. The designs will be worn by the entire team (men and women), including three-time Jamaican Olympic gold medallist, fastest man in the world and PUMA athlete, Usain Bolt.

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TUTORIAL TUTORIAL

0

Create a quick tattoo design in Adobe Illustrator

Use the width tool in Adobe Illustrator to add life to line art and streamline workflow Adobe Illustrator’s Width tool is the quickest way to create complex stroke widths, writes Eva Csernyanszky.

01 It all starts with a plan. Pencil or

pen on paper is a very quick way to plan where you want to go or what you want to design. Don’t underestimate the timesaving power of forward planning.

06 To create

blade-like shapes, hold ALT to add anchors only to the one side. As with the arrow-like shapes, you need to have two variable width anchors close to each other.

13 Repeat steps 10 to 12 until you are happy with the design.

14 Extra details can be added by creating smaller strokes and applying variable widths to them.

08

02 In Illustrator create

the basic outline of the shape you would need, using the Pen tool, Pencil tool or any other method you prefer to create the most important elements you need for your design.

03 Select one or more

of the strokes you want to edit. Change the stroke width in the Stroke Panel. Then select a Variable Width Profile* from the drop-down list (all these settings are also available from the Control Panel).

There are various ways to create the “knotted look” that is so typical of tribal tattoo designs — in this tutorial we will use the Pathfinder. Before creating this step, make a duplicate copy of the design you are working with, because you are going to expand the appearance. With all the elements of your design selected, go Object > Expand Appearance. The strokes will be converted to shapes.

09 Ungroup the objects (Object > Ungroup).

10 Decide where you want to remove

parts from the lines. Make a duplicate copy of the object you will use, much like a cookie cutter. Bring it to the front (Right click the item, Arrange > Bring To Front).

11 Select the item you want to cut as

well as the item you will use as a “cutter”.

In Pathfinder, click the Minus Front button.

DURATION 30 to 60 minutes LEVEL OF DIFFICULTy Easy

04 You can make custom variable

widths by using the Variable Width Tool from the toolbox (SHIFT+W). Click and drag anywhere on the stroke to change the width (See Figure a). If you only want to change one side of the stroke, hold ALT while clicking the selected side you want to edit (See Figure b).

www.friendsofdesign.net

Ungroup).

widths for all the relevant items.

In this tutorial you will learn how to use the width tool and variable width profiles in Adobe Illustrator to create variable widths to strokes in a very quick and easy way.

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.

12 Ungroup the object (Object >

07 Take some time to create the variable

Creating variable stroke widths are easy when illustrating manually with a pencil or pen on paper, but a common hurdle in digital illustration is to recreate this free from look and feel, especially if you do not have a stylus and tablet.

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

05

To create arrow-like shapes you will need to place two variable width anchors close to each other.

(a)

(b)

15 Add any other cool design elements to create an awesome tattoo design.

* To remove a Variable Width from a stroke, select UNIFORM from the Variable Width Profile drop-down list in the Stroke Panel or in the Control Panel. This is particularly useful if you want to start over or if you don’t want a variable stroke anymore.

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TUTORIAL

Explore one of the new features in Photoshop CS6

Master the ContentAware Move Tool in Photoshop CS6 Adobe Photoshop ‘s latest and greatest intelligent tool makes editing and customizing photos a breeze, writes Daine Mawer

01 Drag an image into Photoshop

CS6 so it resides in its own document.

Hit CMD+J to duplicate the image background so it becomes its own editable layer, and rename the layer to “Reconstruct”.

Before

09 You will notice that the flower is

out of focus in this image, use the Clone Stamp Tool to hide it away from the composition.

02 Make sure you are on the

“Reconstruct” layer, and that it is rasterized. Any means of selection will work for this next step: Magic Wand, Quick Selection, Pen Tool etc.

For this example, I have plotted a very rough path around the girl, making sure that there are bits of the background (sky/ flowers) included in the path that will become the selection.

06 Hold down the SHIFT key and with

the “Content-Aware Move Tool” click on the selection and drag across the canvas to where you want to place the subject.

10

Last but not least, you will notice a slight “aura” around the girl, this happens for a few reasons, either the sky was lighter where she originally was, or the Content Aware engine in Photoshop didn’t get it quite right.

Photography has come a long way in the past decade. No longer do photographers have to shoot and hope for the best shots once their film has been processed.

Digital photography has made some gigantic leaps in the past few years, and as usual, Adobe has been at the fore front of providing experts and beginners alike with the best possible editing and photo manipulation tools ever seen in the industry.

Today we will explore Photoshop CS6’s new Content-Aware Move Tool, which allows users to have some pretty powerful control over thier photographs and compositions.

After

03 After completing the path, right-click

with the pen tool anywhere on the canvas and select “Make Selection” the selection will then be committed.

07 Using the the Content Aware engine

To solve this, duplicate your background image again and rename it “Background_ duplicate” . Go back to your “Reconstruct” layer and use a very soft eraser brush with an opacity of 60%, this will erase any discrepency and will subtly bring out the “Background_duplicate” layer’s natural looking sky.

in CS6, Photoshop will intelligently fill in the area where the subject used to be placed.

Depending on your settings and defaults, you might notice a few discrepencies in the edited area...Follow the next few steps to solve them.

DURATION 20 minutes LEVEL OF DIFFICULTY Beginner

11 The Content-Aware Move Tool is still

04 If you want your selection’s edges to be more subtle push the Feather Radius up by a few pixels (1-2px) and select “Ok”.

Daine Mawer Multimedia Lecturer - Concept Interactive Daine has more than 8 years experience in Adobe CS, he lectures part-time at Concept Interactive while maintaining a steady and successful freelance career. www.conceptinteractive.net

05 With your selection live, move over

to your toolbar and click and hold on the “Spot Healing Brush Tool” so that the extended menu pops out. Scroll 3/4’s of the way down and select the “ContentAware Move Tool”.

08 You will notice that there is a slight

discrepency where the girls white dress used to be. To fix this problem, simply use the “Clone Stamp Tool” with a very small brush.

in its infancy and Adobe will be releasing updates to improve its performance but it certainly makes major editing of digital photographs a lot easier and smoother!

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TUTORIAL

Beginners guide to photography tutorial five

05 The last & best method for consistent

Exposure In photography, exposure of your image is the first start to making sure you have a good image to begin with, Seagram Pearce shows us how Without correct exposure, your image is worthless & will never make a good image. Exposure is subjective however.

Sometimes an intentional under or over exposure is desired. For the most part however, a good balanced exposure is key.

DURATION 1 hour LEVEL OF difficulty Beginner

02 To avoid these extremes there are

01 Firstly if we look at either extremes, a very underexposed image is mostly black with almost no detail of anything.

Inversely an over exposed image is majority blown highlights where everything is white.

several ways to change our camera settings. Now as always there are never 2 circumstances that are the same in photography. So knowing how to compensate is crucial. Sometimes we need to override the cameras built in metering of a scene. There are 3 metering modes (scene analysis methods) a digital camera has: spot, centre weighted & matrix/evaluative. This is how the camera “sees” a scene & decides on a good exposure.

03 Spot Metering: The small spot dead

centre of your frame is used as the area to measure brightness/darkness & an exposure is measured from there. This can be useful, however probably causes more exposure frustration because any bright/ dark area dead centre of your frame will throw the entire scene exposure out.

Useful however if you were taking photos at a concert where the stage is well illuminated & that is all you want exposed.

Centre Weighted Metering: The same as spot metering, however the measured area is slightly larger & is about 2/3 of the centre frame. Probably much more useful for general exposure situations as the smallest changes won’t drastically throw your exposure out.

Matrix/Evaluative Metering: Definitely the coolest sounding one of the lot (red or blue pill anyone?). Matrix metering takes the entire frame into consideration, finding middle ground between the darkest & lightest areas to be as even as possible. Probably the safest metering mode for general shooting. You will struggle however when you have very bright & very dark areas in one scene (concert stage for example). Your camera will probably err on the side of wanting to expose for the dark areas, resulting in an overexposed stage area.

04 With a better understanding of the

different metering modes, that will help you chose the correct one based on your shooting environment. Another way to adjust exposure is by overriding the cameras chosen exposure by a certain value, measured in 1/3 or 1/2 stop increments (+1EV for eg). This is different for every camera, however this override is useful for quick adjustments. Keep in mind that this is not a fool proof method of correct exposure because your camera is still deciding on the ‘base’ exposure. If that ‘base’ is incorrect, well, one cannot expect correct results.

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

& accurate exposure is still shooting manually. It does require a basic understanding of light & reading your environment. However you can always be sure of getting the best exposure this way. There is absolutely no guesswork, no need for praying your exposure is correct -it will be. By changing either your aperture or shutter speed, you can lighten or darken your exposure. Faster shutter speeds let in less light, thus darkening your image exposure. Slower shutter speeds do the inverse. Wider aperture (smaller f. number) let in more light.

Smaller aperture (larger f. number) cuts out more light.

Now there are a few ‘guidelines’ that one can remember to help you start with a near accurate exposure.

Sunny day: f8.0 1/200 iso100 Cloudy day: f5.0 1/125 iso100 Dusk: f5.0 1/60 iso 400 Night: f2.8 1/60 iso 1600 (or whatever the highest usable iso your camera handles)

06 One little bit of theory I want to leave you is the “Equivalent Exposure Chart”.

This basically maps out the changes in settings you can use, but still allows the same amount of light to hit the sensor.

This is based on a non-light-changing perfect scenario. Give it a look over & you’ll notice the bond that shutter speed & aperture share:

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