DESIGNTIMES south africa’s creative resource
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/06 DESIGN
STELLITANO
Andrew Stellitano graphic designer turned food designer has been working with food design resulting in awe inspiring results.
/08 DESIGN
MATTHEW BAX
Matthew Bax, accountant, painter and bar owner is founder of Trink Tank a test lab or creative hub pushing the boundaries of art, food & drink.
2013 Issue No.47 ZAR 15 EUR €2, UK £2, US $3
/10 PHOTO
THE ISSUE Cover sponsored by
TONELLI
Francesco Tonelli studied at a professional Culinary School for five years and worked for many years as a chef before turning photography into a full time career.
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NEWS
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It’s all about the food, the delicious, mouth-watering, exquisitely designed food! Creatives strive to immerse you in a full sensory experience, although they rarely achieve their goal. However when it comes to food total sensory overload is almost guaranteed! Not only does food look good, but we can experience the smell, texture and taste. We’ll forgive you if you find yourself drooling and licking the pages of this issue, it really looks that good! Our cover was created by a collaboration between designer and chef Andrew Stellitano and photographer Dominic Davies. We would like to thank Le Creuset for making it all possible. We chat to Matthew Bax, founder of TrinkTank, who discusses his passion for food of the liquid kind. Getting food to look great requires a special talent, more about that from our foodie photographers Francesco Tonelli and Beatrice Peltre. We finish off our food issue with a cool long drink of No. 3 London Dry Gin soon to hit South African shores. Bon appetit, Mahlzeit, Vær så god, Eet lekker! Mark Rosenberg
Bringing WDC to life
3D printing your food 3D printing expert Janne Kyttanen has produced prototype printed pasta, breakfast cereal and burgers to demonstrate how advances in 3D printing could transform the way we eat. Kyttanen, co-founder of design studio Freedom of Creation and Creative Director of printer manufacturer 3D Systems, told Dezeen: “Food is the next frontier. We’re already printing in chocolate, so a lot of these things will be possible in the
next few years.” To illustrate the possibilities, Kyttanen has 3D-printed models of pasta in plastic and cheese burgers in plaster. “I printed burgers just to create an iconic image and make people realise that one day we will be able to 3D print a hamburger. And once you do, you don’t want to print a traditional hamburger; you can print the weirdest thing you can imagine.” www.dezeen.com
Blackberry 10
BlackBerry 10 is the re-invented BlackBerry platform available on on the Z10 (all-touch) and Q10 (touch with physical keyboard). BlackBerry unveiled the new BlackBerry Z10 and BlackBerry Q10 smartphones at events held simultaneously in New York, Toronto, London, Paris, Dubai, and Johannesburg. “Today sees a re-invented BlackBerry launching an entirely new mobile experience,” said Thorsten Heins, President and CEO of BlackBerry. “We are thrilled to be introducing BlackBerry 10 on the new BlackBerry Z10 and BlackBerry Q10 smartphones, to deliver a faster, smarter experience that continuously adapts to your needs. Every feature, every gesture, and every detail in BlackBerry 10 is designed to keep you moving.”
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 editors illustration by Chris Valentine
Cover
A collaboration between Andrew Stellitano and Dominic Davies Andrew Stellitano www.astarism.co.uk Dominic Davies www.dominicdavies.com
Advertising
Wendy Scullard, Kiara Hagglund, Mark Rosenberg, Roxy Rosenberg, Steven Rosenberg
Publisher
Designtimes Media (PTY) LTD PO Box 21676, Kloof Street Tamboerskloof, Cape Town, 8001 Tel: 021 424 3520
Printer
Tandym Print www.tandym.co.za
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White chocolate posters Kit Kat together with illustrator Mike Watt have released a collection of fifty limited edition posters made from delicious white chocolate. Commissioned by the brand, Watt melted fifty bars of Kit Kit ‘White’
and painted the melted chocolate onto blank posters. Once the chocolate dried, Watt proceeded to etch different designs on the posters, forever immortalizing the limited edition Kit Kat ‘White’ on print.
Creative Economy Conference Cape Town, already gearing up for World Design Capital next year, has concluded another creative coup, it will host the third Creative Economy Conference 2013 and the fourth Arterial Network Biennial Conference in October this year. The event should attract more than 300 delegates from around the world. It will be held in the City Hall with a parallel programme celebrating African creative industries. These will include music, theatre, dance, film, fashion, visual art, design, literature and cuisine, mostly taking place in the East City district, The Fringe. The Conference programme will examine ways to re-define the creative industries under African conditions and their relevance to African economic, social and political developments. www.africancreativeeconomy.org
Food art
Malaysian artist and architect Hong Yi (who goes by the nickname Red) posted an art piece on instagram made from food on a white plate every day for 31 days in the month of March. She sent designboom her first week of tasty creations. Some of her pieces included a charming watermelon boat on a sea of pips, a sushi replica of ‘The Great Wave’ and a soy sauce map of her home state Sabah in Malaysia in an effort to raise awareness of the area’s ongoing conflict. Instagram @redhongyi
With the launch of Cape Town Design, the non-profit company established to implement World Design Capital 2014, and the appointment of its CEO Alayne Reesberg in January 2013, Cape Town’s bid vision is now being translated into reality. Ideas and plans outlined in Cape Town’s bid book will become tangible, through the collection and curation of a rich diversity of projects for inclusion in the official 2014 programme. Bid drivers, the Cape Town Partnership, who also supported the City of Cape Town with World Design Capital 2014 planning and institutional setup, will now join other agencies and organisations in supporting Cape Town Design’s implementation efforts. The Cape Town Design company will work closely with the City of Cape Town to ensure that the World Design Capital year delivers on the requirements of the host city agreement, signed with the International Council of Societies of Industrial Design, founders of the World Design Capital designation. Of course, Cape Town’s programme in 2014 must also speak to the needs and expectations of Cape Town’s design and creative communities, and more broadly to all the citizens of Cape Town. To this end, Cape Town Design will collaborate with a wide spectrum of agencies, organisations and networks, including the Cape Town Partnership, its Creative Cape Town programme, Cape Town Tourism and Accelerate Cape Town, to ensure widespread participation, engagement and impact.
Pedrali’s anniversary
Pedrali celebrates its 50 years of activity and its 25th attendance at the Salone Internazionale del Mobile in the year 2013. The Milan event represents the annual international meeting point for furniture and design and the company, run by Monica and Giuseppe Pedrali. Pedrali’s products are 100% made in Italy and are manufactured exclusively inside its own production facilities. All plastic and metal products are made in the factory of Bergamo, while wooden products are made at the subsidiary in Udine. The research and development department studies the best technological solutions for the realization of high-quality, safe and durable products while always taking into account the environmental conservation. Pedrali’s R&D team includes experienced draftsmen who work together with international designers to realize innovative products such as “A Wheel For Pedrali” which won the Fx International Interior Design Award. The collaboration between Migliore+Servetto Architects and Pedrali will continue for the Salone Internazionale del Mobile 2013.
Earth hour
Most people know about Earth Hour and what it stands for, but lack real motivation to participate. This year Ogilvy CT and their client WWF, have launched a campaign for Earth Hour 2013 called, ‘Things To Do In The Dark’. Earth Hour will take place this Saturday the 23rd of March from 20h30 – 21h30 and the campaign is centred around celebrating it in a fun way. WWF has teamed up with a number of partners nationally that will all offer activities to do in the dark, from candle-lit dinners to unplugged music concerts.
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DESIGN
Andrew Stellitano
D
esigners strive to immerse you in a full sensory experience but very rarely achieve their goal. When in comes to food immersion is a guarantee. The texture, taste, smell and sight combine to draw us into the food experience. Our bodies naturally react to this visual stimuli in a way which only the greatest designers and artists can only hope to achieve. But with such a high degree of immersion a great deal of detail needs to be designed. Andrew Stellitano seems to have been on a collision course
designer, is food just another medium you work in? I have never wanted to restrict myself to exclusively working with food and always worked on other projects, the work I have done with food got me really interested in a synaesthetic approach to design more generally. A lot of the projects I worked on merged sound, set and scent design so I began to collaborate with people from a range of disciplines and became interested in delivering ideas in this way. When working on a project using food what comes first design or taste? Is it a constant play between the two? It depends on the project but if I’m designing a menu to be served to guests in my opinion taste is the most important sense to please. The visual element along with sound, smell and surrounding environment are of course incredibly influential on our perception of taste so these were also variables I enjoy exploring and manipulating. Structure is really important to my process of working and I think in approaching food with the aim of making it taste as good as you can you are then creating a design brief to work with visually with a collection of materials, ingredients and flavours. You created the cover for this issue of Designtimes tell us about it and the concept behind it? I worked with photographer Dominic Davies on the cover for this issue, we were interested in the suggestion of taste through color and shape association, I created a ‘Full English Breakfast’ which Dominic photographed. We have done a great deal of work on Synaesthesia over the past year or so and this idea is a continuation of this body of work. What’s your idea of a midweek meal? I always go through phases, I used to cook nothing but say Japanese food for a couple of months to learn more about ingredients and processes. At the minute I am trying to perfect Congee. The only shame is that we cant taste his work on our pages but we can assure you it would not disappoint. www.astarism.co.uk
The visual element along with sound, smell and surrounding environment are incredibly influential on our perception of taste. I enjoy exploring and manipulating these variables. with food design since his youth but it has resulted in awe inspiring results. We asked him a few questions to delve a bit further into his mind and work. When did the interest in food begin and how did it develop? Yes, I had always been interested in working with food. I got a job washing dishes in a restaurant when I was sixteen and would get the dishes finished as fast as possible so I could take on small prep jobs and eventually moved into working in the kitchen. I worked at quite a few different restaurants whilst studying for my graphic design degree. Looking back at my degree projects one of the most enjoyable was designing a concept restaurant in my second year but I didn’t consciously merge the two until after I graduated. When did you start experimenting with food? How did this come about? I began to see the design potential in working with food, I became interested in food as a universally impacting medium, something we all have a personal relationship with. I did an internship with Bompass and Parr, working with them taught me a great deal, and I continued to freelance with them for a couple of years. Alongside this I started applying processes I had used in design like laser cutting and screen printing to food and put the results on my site. You describe yourself as a multidisciplinary
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Silk Roads Tandoor apricot with smoked honey bay and coriander seed ,yoghurt, sultana, coconut and almond crumb. Inspired by the ancient Silk and Spice trading routes this dish is a reflection on the journey of these exotic spices and how these flavours and have been tailored to a different cultural palette.
Louis Vuitton Totopos Laser cut totopos, totopo is a Mexican flat, round, or triangular corn product similar to a tortilla, but prepared with ground black beans.
Cosmos Cream Laser cut biscuit.
Forms Laser cut poppadom.
Panascapes A series of recipes for Lyle’s Golden Syrup transforming the flat topography of traditional pancakes into landforms with more presence on the plate. The Panscapes were based on two classic pancake recipes paired with Lyle’s range of syrups and fresh fruit. The recipes were developed for children to recreate with their parents.
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MATTHEW BAX
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orn in Adelaide, Matthew Bax grew up in tiny town of Naracoorte near the Coonawarra wine region of South Australia. Snuck into St Peter’s College (by way of his Dad’s teaching position), studied Commerce at Flinders Uni and worked part time for Christie’s and the Greenaway Art Gallery. As long as he could remember he wanted to be a painter. He took the highest paid / any job he could find. Art dreams were put on hold. He donned a grey suit and became an Accountant. He somehow ended up working for the worlds most prestigious accounting firm Arthur Anderson. After travelling extensively in Europe, he jumped ship and headed to Munich. Whilst working for KPMG, he finally had amassed enough work and courage to try and find a gallery to represent him. Luckily there was one silly enough to take him on, and after a sell out opening show his art career had officially begun. As the demands of juggling two careers grew he dreamed or plotted a new more art friendly day job. Munich boasts a great classic cocktail scene due to the fame of Schumann’s American bar. Anyway, somewhere in this drunken haze of discovering the classic the idea of opening a bar was conceived, not terribly original. He threw all his money, ran up debt, slept in the bar for over two years to keep it afloat. Over time he steered Der Raum on an unfamiliar pure cocktail bar course. Despite all the advice and poor patrons support it somehow stayed open and started to build a little following. In 2008 Matt also conceived Singapore’s Tippling Club. Probably a world first with its cocktail/dining degustation format. It was then that he founded Trink Tank a test lab or creative hub pushing the boundaries of art, food and drink. He later opened Bar Americano, a tiny classic bar in Melbourne’s city centre. Through the success and reputation of Der Raum, Matt has travelled the world presenting his work, a fusion of food, drink and visual art.
Matthew is also the first Aussie to present at Tales of the Cocktail in the US and the first bartender to be invited to the world’s most prestigious food event, Madrid Fusion. How would you describe to a 5 year old what it is you do? Wow, tough question! This has stumped me a little. I would say I try to make people happy or I entertain people by making interesting drinks and pictures. When did your interest in working with food and drink begin? I’ve always been fascinated with food and drink. I grew up in the Coonawarra, which is a wine region in South Australia. So perhaps it stems from this? You founded Trink Tank which you describe as boozy art or a coming together of food, drink and design. Tell us a little bit more about this process and is it simply creating venues, restaurant and bars that combine these elements? It’s just giving a name and space to the creative work required for my bars. Not everything fits neatly within the walls of each bar’s agenda; some creative drink work I do or am interested in, has no destination or brand. How involved are you with the projects you work on? For example the glass that a drink is served in and the interior design of the venue. I’m completely involved. I designed everything in Der Raum (although the bottle installation was the creation of my mate Joost Bakker). Tippling Club was much the same; the layout concept was the work of Chef Ryan Clift and myself. However every glass, even the logo was my work. I always decide or design the vessel it’s extremely important. You are still very much active in your career as a painter how do you balance that between Trink Tank? With difficulty, I don’t have much in the way of spare time. What’s your favourite cocktail? No idea, I don’t have a standard order. www.trinktank.com
LOTS TO SEE
PLENTY TO EAT
LOADS TO SAVOUR
MUCH TO MAKE
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PHOTOGRAPHY
FRANCESCO TONELLI
S
o you love food, love looking at streams of food imagery on the internet but wonder how to achieve those pictures. We spoke to Francesco Tonelli to find out how he achieves his photos and what brought him to taking photos of food. Francesco was born in Milan a city steeped in a rich food culture. He studied at Amerigo Vespucci a professional Culinary School for five years and worked for many years as a chef before taking a five day photography course and turning photography into a full time career. It’s this relationship with food that plays a critical role in the way he photographs it. How did your interest in food come about? My mother was an incredible cook. She grew up on a farm, harvesting her own wheat, vegetables, and olives. She raised animals, made her own salami, and cooked everything from scratch. I always ate the most remarkable meals at home. My older brother is also a wonderful chef, so I was always surrounded by incredible homecooked food. Tell us about photographing food. Some of the challenges you face? Sometimes the biggest challenge I face is to be able to refrain from eating the food before I have a chance to shoot it! Maybe the biggest challenge with food is to capture those volatile moments of freshness, moisture, fragrance, and appetite appeal that sometimes last only a few seconds. To be able to produce it, and capture it in that instant can sometimes be extremely challenging. What is it you look for in a great shot, is it the correct angle or the perfect lighting? Some of my best shots often end up being much different from what I had in mind when I started shooting. I get inspired by the food, by its shapes, curves, shades of colors, textures. I always try to react to what I see in front of me and find out the best way to photograph it in terms of angle and lighting to capture its most unique characteristics. Ultimately, a great shot is a combination of a number of small details: shape, colors, lighting, and - of course appetite appeal. What tips can you give for aspiring food photographers out there? Get familiar with the food you want to shoot. Look at it, touch it, cook it, eat it. I believe that if you get excited about your subject, it will show in your photographs. What equipment do you use? I use a Canon 1Ds MK3. The most common lenses I use is the 50mm f2.5 Macro lens and the 90mm f2.8 lens. That is how the images are captured, inspired and crafted. Now go forth take photos learn about the subject and create your own repin-able culinary delights. www.francescotonelli.com
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PHOTOGRAPHY
Dominic Davies
D
ominic Davies produces photographs that give us a stolen glimpse in a unique moment of time. It is rightly said that a picture tells a thousand words. It seems that Dominic wants his to tell 1001. Not tied into only doing commercial work Dominic follows his heart and photographs for the love of it. His many private projects are testimony to this. One of his recent projects featured on the right, is a series of food photography for the Fat Duck Restaurant. Discerning eyes will have also noted that Dominic took the photo which graces our Designtimes cover this issue. Tell us a little about yourself? I was born in a place called Shoreham on the Sussex coast. I went to the local art school and started the inevitable drift towards London via a Photography Degree at the Bournemouth and Poole College of Design. What was your first paying job? I shot an image of a friend of mine, some how an art director saw it and asked if it
“I had no specific interest in food” could be put on a record sleeve, six weeks later it was in the stores I could go in and see it, I realized that ‘this is what I do now’. You work a lot with food photography. Do you have an interest in food? No it was by chance, my first day working with food was with Fat Duck Project, I was a complete novice. I had no specific interest in food culture or fine dining. I think I was conscious of not getting caught up or stuck in a genre, still life photography can be like that, you get known for a specific thing and that’s all you are offered, that scares me to death. Its only when you explore the subject that it becomes obvious that its such a rich medium, culturally, historically, there is some great material to play with. Is there ever a difference in opinion between photographer, foodstylist or chef? That can happen , but I think the job of the photographer is to show what can be done if that’s not wanted then you adapt to the new parameters. Whenever you are on set you are learning and you will be able to apply that somewhere else. How do you approach each project? Is there a process or checklist? No conscious process that I am aware of, perhaps if it’s a commercial job then often there is much discussion going back and forward, but with self motivated work then the whole point for me is that I don’t know where I am going or what it will end up like. I just try things ,make a mistake and then refine it . What keeps you inspired? I just enjoy the excitement of doing something good its amazingly rewarding and a hugely satisfying feeling. www.dominicdavies.com
The art of pizza making. www.facebook.com/colcacchio
www.twitter.com/colcacchio
www.colcacchio.co.za
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PHOTOGRAPHY
Béatrice Peltre
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eatrice grew up in a small village in the north-eastern part of France. This is where her education to homemade and home grown food started. This is where her love of nature was born. We chat to her about her work with food. You are a food writer, stylist and photographer what comes first? I am comfortable with these three. But it’s probably more natural for me and easier too to style and photograph food, mainly because I write in English when I am not a native of the language. How did your French heritage influence your interest in food? France is obviously where my attraction to food started. My family loves to eat, talk about food, and cook. My grandparents were farmers, and everyone in my family has always had vegetable gardens and fruit trees at the back of their houses. Because of this, I learnt to cook by my mother’s side when I was young. In France, it’s really easy to become food obsessed because the enjoyment of food and eating runs deeply in the culture of the country. Any challenges photographing food? Some foods are always going to be more difficult to photograph than others and some photographers are better at photographing particular foods. In my case, since I style the food as well, I feel I have the advantage of understanding the mechanics behind food, so to speak. Light is key. But so is composition and understanding space between props. Not trying to show too much in the frame and always put the focus on showcasing the natural beauty of foods first. I am particularly fond of photographing vegetables and fruit or any ingredients in their raw state as I find that they have an amazing life of their own. A lot of people also may think it’s easy to photograph food because the subject does not move. In fact food, once it is on the set, “moves” very quickly. And it’s up to the photographer to be sure that he or she is going to catch it while it’s still looking at its best. Some colours in food are also more challenging. What’s your idea of a perfect midweek dinner? Something you would make at home for yourself or the family? During the summer, I’d make a gazpacho with crab, a vegetable tian (thinly-sliced layered vegetables slowly baked in the oven with herbs, olive oil, and garlic. I have a recipe in my cookbook, actually, La Tartine Gourmande: Recipes for an Inspired Life) with marinated skewers of lamb or chicken served with a yoghurt, lemon, and herb sauce, and an apricot and pistachios tart for dessert. www.beatricepeltre.com
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No.3, the past, perfected
E
legance is a word that instantly comes to mind when encountering the unique presentation of No.3 London Dry Gin. The brand has phenomenal bar presence. Handsome good looks and unique packaging have successfully created a look and story that appeals to consumers, and a bottle that mixologists love! Thrillingly, the bottle and its design don’t outshine the contents, if anything they enhance them. Fruits and spices balance beautifully for full-on flavour, there’s a creamy texture, and the angelica makes for one of the most downright delicious finishes a Dry Martini can deliver. No.3 ST JAMES’S STREET A PLACE CALLED HOME The name No.3 refers to No. 3 St. James’s Street, the home of Berry Bros & Rudd, London’s oldest wine and spirit merchant. Established in 1698 the company has over 3 centuries of heritage, tradition and expertise – along with a reputation for offering the finest products and the traditional standards of quality and service. The key displayed front and centre on the bottle is directly inspired by the key to the lock in the door of ‘The Parlour’ at the heart of the shop at No.3 St James’s Street. ‘The Parlour’ is, in many ways, the inner sanctum of No.3 St James’s Street. It is one of the oldest chambers in the shop; a room steeped in history and tradition. Given the global aspirations of the brand, the name No 3., derived from its true place of origin, also provides the important advantage of being easily understood across markets. THE BOTTLE & PACKAGING The high-shouldered green bottle is a brilliant expression of the brand, inspired by the open pontil gin bottles dating back to 17th century Holland, with a tippedin aged-metal key. Every element of the brand identity is based on threes, from the trefoil in the top of the key, to the key itself, the repeat of the logo around the foiling and the branded copy. The emerald green of the glass, in contrast with the rustic feel of the key as well as the use of the modern type creates a clean premium look developed by London-based design specialists BrandHouse UK. “Our objective was to create the ‘world’s best, premium gin brand’ from the world’s oldest wine merchant. We harnessed the skills of a range of external experts alongside our own talents to develop the product, the brand and the whole in-bar experience in a totally integrated way,” says a BrandHouse spokesperson. The crafted brand identity fuses the fine traditionalism of the Century Old Style bold font style with the clean modernity of Gill Sans to create a sophisticated unit that sits proudly on a clean, crisp gauge card carton in a cool premium colour palette of pale blue and deep green. Beautiful detailing of embossing and the simple telling of the brand story on the reverse invites consumers to look through the keyhole cutout to the bottle within. A rich green carton interior gives way to a bottle wrapped in
tissue paper (rather like a precious gift) printed with an historical map of the address of Berry Bros & Russ at No. 3 St James’s Street. Subtle, sophisticated tweaks were made to ensure the bottle works for the modern mixologist – a longer neck to make it easier when pouring, flat sides so that it sits well in the freezer and special glue technology to ensure that the iconic key stays in place whatever the temperature regime. All the text on the bottle is applied as screen print to ensure that the quality feel is never degraded through its busy life in the world’s top bars. THE KEY Not just at the heart of the design but also the marketing platform as a whole, the original key to the Parlour at No.3 St. James’s Street provided the inspiration for the core brand icon. Sitting proudly in the centre of the bottle, a faithful replica of this very key draws in the eye and ensures additional ‘standout.’ The No.3 key therefore unlocks the secrets and traditions of an extraordinary institution and symbolises the values of quality, authority and integrity that are integral to the brand. THE GIN The aim in the creation of this gin was simple: to create a gin fundamentally true to the traditional taste of London Dry Gin. Dr Clutton, in collusion with a team of fine spirit experts, spent a year painstakingly refining and perfecting a recipe that would meet the traditional standards of quality that Berry Bros. & Rudd’s customers have come to expect. The resulting liquid, with juniper as its bedrock, is the absolute embodiment of what a London Dry Gin should be. Put simply, it is a taste of tradition. “No.3 is unmistakably traditional London Dry Gin,” says Simon Berry, Chairman of Berry Bros. & Rudd. “By traditional we mean gin that tastes as gin should: with juniper at its heart.” We are determined that No.3 will be the last word in gin for a Dry Martini cocktail. To achieve this we asked one of the world’s authorities in the art and science of gin distillation, Dr David Clutton, as well as a panel of gin specialists, writers and mixologists to help us.” 3 FRUITS & 3 SPICES “Just three fruits and three spices, collectively known as botanicals, are all we deem essential to the flavour of No.3 London Dry Gin. Juniper, from Italy, not only gives gin its name, but also the unmistakable gin taste of pine and lavender. Sweet Spanish orange peel provides freshness in the form of clean, crisp citrus. Grapefruit peel gives an extra zingy lift. Angelica root delivers an earthy quality and helps to make the gin dry. Moroccan coriander seed releases a lemon flavour and a spicy, slightly peppery finish. And finally, cardamom pods which add a spicy, aromatic, yet warm bite” – Dr David Clutton, creator of No.3 and distillation authority TASTING NOTES Nose: Bright, crisp and fresh with an uplifting welcome of juniper. Palate: Juniper to the fore, supported by floral notes and spicy, warm cardamom. Plenty of citrus ‘zing’ complemented by the gingery spiciness of coriander. Finish: The earthy dryness of angelica kicks in gloriously. For more on No.3 Gin you can visit their website: www.no3gin.com Twitter: @No3Gin
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DESIGN
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CAN RECIPES BE PATENTED?
C
ookery has become one of the most popular past times of the last few years. This is illustrated by the enormous popularity of TV shows such as “Masterchef” and “Come Dine with Me”; and cookbooks by celebrity chefs such as Jamie Oliver and Nigella Lawson. This leads to an interesting question, Can food recipes be patented in South Africa? To answer this it is necessary, as with any invention, to look into the statutory requirements for patentability. No matter how delicious the dish, the recipe must still meet the basic conditions of patentability all other inventions must meet: the recipe must be useful, novel and inventive. Section 13 of the previous Patents Act No. 37 of 1952 stated that; “if in the case of any application it appears to the registrar that the application claims as an invention a substance capable of being used as food which is a mixture of known ingredients possessing only the aggregate of the known properties of the ingredients, or a process producing such a substance by mere admixture, then he shall refuse the application”. In the light of this under the previous Act, recipes were not patentable. However, such a provision is not provided for in the current Patents Act. Because, there is now no explicit exclusion, one can draw the conclusion that food patents/recipes are allowable in South Africa. Therefore, recipes can certainly be patented if the patent application and claimed subject matter meet the statutory requirements, which can be difficult and impossible in some circumstances. There are several stumbling blocks that one can encounter. If the recipe is an old family tradition passed down through generations, the primary hurdle is that the person who wants to patent it, will not be the inventor. Section 27 of the current South African Patent Act provides that: “an application for a patent in respect of an invention may be made by the inventor or by any other person acquiring from him the right to apply or by both such inventor and such other person”. In addition, the person who is the actual inventor is probably no longer known. The main stumbling blocks, however, are the novelty and inventive step requirement. The South African Patents Act provides that a patent may be granted for any new invention which involves an inventive step. For an invention to be new, means that it must not have been available to the public anywhere in the world by word of mouth, by use, in any printed publication, or in any other way, before a first application is made for a patent. The problem with recipes is that it is likely that the recipe is an old family recipe and belongs to many families and has been published someplace by someone. Since recipes are typically combinations of ingredients that are known for a specific purpose, even if the combination is new, establishing that the combination is inventive can be difficult. The difficulty lies in the fact that there are so many recipes and methods of cooking
that it may be difficult to demonstrate novelty and inventive step. Recipes primarily fall into two categories, namely 1) setting out a list of ingredients and 2) a method of combining the ingredients. Merely setting out a list of ingredients is unlikely to be patentable unless of course the inventor is using some ingredients that have never been combined before or the order of combining them is new and it’s not obvious to do so. So in preparing a patent application, one would ultimately set out a list of ingredients in their proportional ranges. Whilst this certainly may be new unless it has some feature that provides unexpected results, it isn’t patentable. On a more practical note, the more the invention addresses new preparations or cooking methods, as opposed to merely new combinations of ingredients, the better the chances will be to receive valid patent protection. For example, if you merely take food items off the shelf and mix them without doing anything special to the process, then the proposed invention does not reach the level of inventive step required for patentability. The recipe must therefore have some special feature (an inventive step) for example an achievement of unexpected results such as fat free processes or ingredients, the addition of certain off shelf ingredients like antioxidants, or defining process steps like preservation, fermentation, ageing, etc., to make a strong recipe patent. In fact, there are several South African patents already directed to one or other types of food compositions. One of the South African patents for example deal with a potato based food product. The invention provides for a method of preparing a potato based food product comprising the steps of: processing potatoes into potato articles having a desired size and shape, blanching the potatoes, dipping the blanched potato articles in a solution to prevent nonenzymic oxidation of the potato articles, drying and coating the potato articles. As can be seen in the example above, preservation in a recipe could be one of the defining steps to increase the chances of obtaining a valid patent. To reiterate this argument, the patent classification system which is used to classify patents according to the different areas of technology to which they pertain, provides for class A23. Class 23, provides for the preservation of foodstuff in general. Other defining steps can include for example, fermentation, ageing, and addition of food additives like antioxidants. Furthermore, if your food recipe contains some ingredients which in addition to giving nutritional benefits, also gives some therapeutic relief, this can also make for a stronger patent. Therefore, if your recipe meets the basic patentability requirements and is not just a mere mixture of known ingredients and involves a special feature that achieves an unexpected result, which would not have been obvious for a skilled person to achieve in view of prior publications, then your food recipe could be patentable in South Africa. Spoor & Fisher www.spoor.com
Situ diamond jewellery
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echnology and art have always seemed to be mutually exclusive entities and rarely enter the same discussion and space. But as many architects find out, design is never free of the principles of science. Gregory Katz began a journey which would ultimately marry these two worlds. First, the background to this seven year journey to what is now the Situ Diamond Jewellery. Gregory Katz trained as an architect first at UCT and then
place and the destination for his research and experimentation with resin had found its destiny. He went on to work for his father who was a diamond dealer and this was his first exposure to the industry. After a year of learning the business, something was missing, the need to design, and so Gregory began sketching out designs for jewellery making use of some smaller diamonds his father kept in the cupboard. The idea was slowly beginning to take shape and inspiration drawing form his architectural background and work with reinforced concrete, the idea of encasing the diamond in resin was born. As with many technologies when it is repurposed for another use a number of challenges arise which might not have ever been an issue to the process. He needed to get some input from professional jewellery designers and it was in 2003 he Ida Elsje and met Philippa Green in Cape Town and the first experiments began with resin. The first pieces had a lot of problems. The resin would mist up or turn a slight yellow colour or tiny bubbles could be visible in the resin. Alongside the problems of the resin, Ida Elsje still had to figure out the design of each piece. Further, how would one transform a solid piece of resin into a sculptural piece of art that woman would love to wear. Greg
Situ diamonds are encased in a block of clear epoxy resin. furthered his studies with a Master’s degree in New York at Columbia University. After he graduated he began his career as an architect in New York, every architects dream. During a backpacking trip to South America in 2011 the 9/11 tragedy struck preventing anyone not American from reentering the country. Gregory had no other alternative but to return to South Africa. Wasting no time, Gregory started work for a company called Urban Solutions. He worked on some exciting product design projects one which was bench designs as well as lamp posts for Constitutional Hill. It was here where he began experimenting with resin. But Gregory’s introduction to the jewellery industry was just about to take
also founded his own architectural firm in 2004 while still experimenting with the resin and trying to solve the problems. He took the problem to a student at Wits and together worked out solutions. One which was importing a high quality resin from America and buying a destabiliser to stop the bubbles from forming in the resin. Once the diamond was encased in various size resin blocks, these pieces were sent to Ida Elsje and Philippa Green and to fashion into the final jewellery pieces. In 2006 the three opened their first shop in Heritage Square and are now located in Holland House, 76 Church Street, Cape Town under the name The Olive Green Cat. The benefits of the concept are quite amazing, for one it protects the diamond from scratches and damage and the resin can always be melted off leaving you with a perfectly intact diamond. The other benefit is that with traditional settings a large portion of the diamond is hidden away and the encased diamond in resin allows for maximum light reflection. Gregory is currently based in Johannesburg running his architectural firm Gregory Katz Architecture where he works on numerous projects including many private homes. He still however finds the time to explore his other interest of jewellery design and we look forward to future creations and collaborations. www.situ.co.za
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THE FACE OF THE RESTAURANT
C
ommon knowledge informs that man has four basic needs, of them all; food has been the laggard when it comes to creative inclusion. Over time food presentation remained fairly conservative and it is only recently that terms such as “food art” and “food design” came to parlance. Thereabout around the 1950’s was a pivotal decade where cuisine met with creative culture. And if you fast track to 2013, we’re now referring to titles such as foodies, food bloggers, food markets and food curators, amongst others. Take it a step further, the Berlin Film Festival 2013 introduced to their program a Cuisine Film segment and Amsterdam just held their Food Film Festival and so did Design Indaba which dedicated a “food pop up” section at the Expo. In light of the mentioned, it seems that creative culture and cuisine are having a rather bohemian kinship. On the opposite end of the scale, the item food has transformed from mere sustenance to affecting so many other aspects of society, namely; economics, politics (via food aid) and in lesser instance influenced fashion. And to the discerning few, food also relays a subtle message about the area in which it is set. To elaborate, the study of a population’s food consumption tells the psychology of that people. For example as Europe reverts to basics by supporting the local farmer, Asia’s importing of high end food commodities shows their openness to the Western world while Africa is targeted to be the destination for fast food franchises of the West. Through critical studying of these statistics we are able to tell the consciousness of these societies. However, amidst these rather severe themes you will find albeit lighter yet integral items that also contribute to food culture, one of these items being design. Amidst this robust evolution in gastronomique and nutrition, consideration is now being given to smaller aspects such as user-friendliness of the menu, food presentation and the ever-important face of the restaurant, and it is these design issues that this article seeks to probe. The face of the restaurant is a dual idiom. The one side of the idiom is the honest aesthetic and charm of the building where form follows function. This characteristic is generally obvious at first glance. And the aesthetic is only heightened as one peruses the finer detail of the interior. The second side of this idiom is that which operates on a psychological level, we could otherwise refer to this as the resonance of the ethos of the restaurant. This resonance is built by the intangibles such as service,
ambience, branding, transparency, provenance and social impact. These are issues that pervade profits but accentuate the pillars of the business. One such sterling example is NOMA that hosts Food Symposiums which are talks by expert chefs about how they can solve modern problems through cuisine. The owner Rene Redzepi has also published a book titled NOMA, A Time and Place In Nordic Cuisine. Another example which closer to home is an interesting establishment, The Burlesque Cafe, just south of KwaZulu Natal, sells not just delectable food but everything else from the cutlery to apron worn by the chef is for purchase. So clearly, this idiom seeks to investigate the foundation of the restaurant beyond food. And quite often it is the culmination of both idioms that convert first timers into regulars, and there is huge benefit in this since eateries generate profits from regulars than from the “once-off” customer. As products and people change roles in society, the face of the restaurant ought to do the same. The quintessential diner is much more informed these days; they would like to identify with their eatery of choice. They would also appreciate the pragmatism in all items, and take pride in knowing from where the ingredients are sourced, they are bound to care about food presentation and trust that the chef crafts every meal with love. Notably so, the expectations of the consumer crosses from tangible to non-tangible and all should be met. In response to this, progressive restaurants have changed face through open plan design, another way of promoting transparency by inviting guests to admire the cooking process as opposed to a locked away kitchen which is generally considered to be in a mess. In aim to upscale the ambience, scope has opened for companies and individuals whose speciality is compiling playlists for background music. The playlist is carefully considered as it has to tie-in to the theme of the venue and it typically changes with the time of day as it seeks to set the tone. This will ultimately affect the pace at which the food is consumed, eventually affecting your spending pattern. The bigger picture to this is that, this backdrop music contributes to ambience which calls upon resonance and reassurance that you’re seated at the perfect dining hall. Moving onto other small items, it seems very little, if anything, has been done to develop the waiter, and even the menu for that matter. In our country, a waitering job is still considered a menial temporary arrangement. As much as SETA’s have a waitering module, it is evidently not
utilized. This lack of skill translates to incompetence and waiters having no true connection to the establishment because they are not granted commensurate respect as the chef and other senior staff enjoys. The waiter I would like to think is the facilitator between his tool, the menu, and your palate. Waiters are an integral part of your overall dining experience and should be treated as such, both from restauranters and diners. A good service is expected from a waiter at the very least however, many waiters have not experienced good service themselves. So it is in the restauranters best interest to offer to send his staff to experience exemplary service in a reputable restaurant where they get served. This in-turn boosts morale, sparks passion and ultimately improves yet another facet in the face of the restaurant. Right next to this topic is that of the menu. Typically a laminated few pages or booklet is what we’ve known menu’s to be. Perhaps the menu could be called the identity document of the restaurant; it is the one documentation which calls upon the attention of the guest, chef and owner. The menu should stimulate and engage. A quirky example is taken from a Durban branch of Circus Circus whose wine list is printed onto empty wine bottles. And a few progressive restaurants in Japan have introduced menus in digital form at their tables and orders may be placed via the medium. These are examples where the designer and restauranter have used every small item to engage the diner and solidify the relationship between guest and restaurant. Ultimately capturing not only the guest’s palate but also their heart. In light of the few aspects mentioned, should we ask ourselves, to re-look at the role that the restaurant plays on contemporary society, should we review the rules of engagement with the restaurant? Should we get closer to the roots of our food as we move into the new world? Should designers and decorators use the restaurant to inspire new questions and meaningful experiences? Or is the face of the restaurant to serve as an escapism without much consideration for substance? Or is the face of the restaurant just fine as it is? Fortunately enough, there are restaurants alas mostly in the western world who are pushing for new business models in restaurantering where human scale and profits are of equal importance. But as diners and farmers, we also play a role in contributing to the face of the restaurant, be it the resonant aspect of the eatery or the decorated interior. Russel Hlongwane
The rise of Fairtrade coffee
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offee is big business. Speciality coffee appreciation is infiltrating more and more countries and developing a burgeoning global ‘coffee house’ culture. South African coffee culture has been growing since the late 90’s, when lattes and flat whites were predominantly unheard of. “With the growth in the coffee market around the world, many people have become concerned with the practices employed in coffee farming & production. Fairtrade reassures the coffee drinker that the growers and producers of the coffee you’re drinking are fairly rewarded in return for their produce and hard work,” says Seb Schneider, co-founder of Motherland Coffee.” “One side to the coffee industry that is generally not seen in coffee shops is the production, procurement and distribution of coffee. In the search for low prices and big profit there is often a large group of losers somewhere in the equation. With coffee, this usually turns out to be the farmers and farm workers in developing countries who grow the coffee beans, which are then shipped off to first world countries to be enjoyed.” “For many consumers however, they’re just not aware that their daily cup could be ending up in their hands through unscrupulous practices. We’re not saying this is necessarily the case for all nonFairtrade certified farmers and co-ops, but unless you’ve actually been to the origin of non-certified coffee, you just don’t know. Which is why many consumers who find out about the conditions for procuring and growing coffee are sometimes shocked. However, not everyone wants to dedicate their lives to the plight of third world coffee farmers, but simple awareness and a change in what you buy can go a long way to changing that. This is the aim of Fairtrade
coffee, which ensures that the farmers at the coffee origin get a fair deal,” explains Schneider. “It is particularly pertinent for Africans, where a considerable amount of the unfair practices are taking place, not only in coffee but in a number of natural resource industries. That’s why we feel supporting Fairtrade is like directly supporting African upliftment.” In South Africa Fairtrade is managed by the local marketing organisation Fairtrade Label South Africa (FLSA), whose main objective is to develop the local market for Fairtrade products and to increase awareness amongst the South African public. “Coffee was not only the first Fairtrade product launched in Europe in 1988, but also the first one launched in South Africa in 2009. Since then, a growing number of big and small roasters have joined the movement and we can say that coffee is the fastest growing Fairtrade product locally,” comments Arianna Baldo, Business Manager for FLSA. She adds, “0ver 60,000 Kg of Fairtrade coffee was consumed in South Africa in 2012 – a clear increase from the 45,000 Kg of 2011. We are enthusiastic about this growth, especially because it translated into more Fairtrade Development Premium that small-scale coffee farmers in East Africa can invest in developing their businesses and communities.” Fairtrade has in fact become such a large aspect of the coffee industry that South Africa even has its own Fairtrade Coffee Week, which in 2013 will be celebrated in July. “Motherland Coffee Company is built upon the idea that Africa can help Africa, simply by supporting local industries, believing in our potential and working upon the principle of fairness.” concludes Schneider.
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TUTORIAL
Customise a Live Preflight Profile in InDesign CS6
Explore the advances in Adobe InDesign’s Live Preflight feature. The new Live Preflight is a vast improvement on the preflight feature of previous versions. The key is to create your own preflight profile, writes Eva Csernyanszky The preflight limitations from previous versions of InDesign are ancient history with the new live preflight feature of Indesign CS6. Locating and fixing document errors has doubled in speed and accuracy since the update. In this tutorial you will learn how to create your own customised preflight profile. You will learn to implement additional checks that enhance the settings of the Default [Basic] profile which checks for modified or missing graphics, fonts or overset text. DURATION 15 minutes LEVEL OF DIFFICULTY Beginner
01To get started, open the Preflight
dialog (Window > Output > Preflight), and choose Define Profiles from the flyout menu.
04 For this tutorial, we will select 02 Firstly, add a profile as the default
[Basic] profile is not editable. Click on the + button at the bottom of the profile listings. Name it and click Save.
attributes for a print project in the “Text” section, e.g.: • Overset Text • Paragraph Style and Character Style Overrides • Missing Fonts Go to the “Image” section and check: • Image Resolution • Non–Proportional Type Scaling • Selecting “minimum stroke weight”, is handy to make sure all strokes are going to be printed correctly.
03 Select the attributes you want to use
in your profile, and begin by determining the technical requirements required by your document. For example, is it to be a print or web project? What colour modes are allowed? Is a minimum image resolution required? Do you need a certain number of pages or even empty pages? What about a bleed? Should styles be overridden? You may want to create different profiles for the different kinds of output. It’s tempting to define a profile with every possible option checked, but this might end up being more trouble than expected.
05 After making your choices, click Save
and OK. All that remains is applying the new profile and activating it. Select the profile from the Profiles drop down menu. Once selected, InDesign will check the document immediately against those settings and warn you if any settings you set in the profile have been compromised.
06 Test the profile by creating and Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts. Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies. www.friendsofdesign.net
forcing a few errors in a sample test file. Again, choose the new profile in the preflight panel and test that it detects and displays the errors.
07 Back up the file by exporting your
profile. Choose Define Profiles in the Preflight panel flyout menu. In the Preflight Profile dialog, choose Export from the flyout menu at the bottom of the profile listings. The profile will be saved as an .idpp file and you can use and load it again whenever you need it. You can also share this file with others to ensure that output consistency is maintained across your creative layout teams during tight deadlines.
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