Issue 49

DESIGNTIMES south africa’s creative resource

www.designtimes.co.za

/06 DESIGN

OPEN DESIGN

Interview with Y Tsai and Christo Maritz, founders of Open Design Cape Town. They explain what the festival is all about and what we can expect next year.

/08 DESIGN

2013 Issue No.49 ZAR 15 EUR €2, UK £2, US $3

RUN RABBIT RUN

/10

Run Rabbit Run is an illustration and design studio based in Cape Town, South Africa. It was founded in 2013 by Kirsten Beets and Francois Conradie.

PHOTO

CARLOS AYESTA

Carlos Ayesta born in Caracas is a freelance photographer specialising in architecture photography, more specifically architecture photography on rope.

HEADS OF

ADVERTISING T E N

•

C O L L E C T I O N

season 2

Cover courtesy of Havas Worldwide Southern Africa illustration by Chris Valentine

LOERIES

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CREATIVE WEEK CAPE TOWN 2013

BE THE MOST FAMOUS YOU A whole host of creatives – from architects and artists, to authors and advertising experts converge on Cape Town from across South Africa and abroad each September. What brings them? A series of festivals, events and award ceremonies, at the heart of which is Loeries Creative WeekTM.

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NEWS

4

How do you get ahead in advertising?

We asked Kings and Singers and all we Gotz was a Welsh Gomes. No idea what we’re on about go read page six and hold the the sighing and cringing at the bad corn we just served up.

Blame it on the Loeries, it is infamous for bringing out the fun in us. We love fun, and speaking of things we love, we love free stuff! Open Design Cape Town is all about free stuff and sharing, especially sharing design and inspiration. We discussed the project with co-founders Christo and Tsai to get a better idea of what they’re trying to accomplish and how the design community can get involved.

Run Rabbit Run is the new start-up illustration collective co-founded by Kristen and Francois who apparently met in the wilds of Patagonia and bonded over fancy cheese and hard liquor. We think they are stars! Not actual stars in the sense of great big flaming heavenly bodies. To see those kind of stars you’ve either got to get up to Sutherland or you can immerse yourself in the amazing photographic works of Michael Shainblum. See you at Open Design Cape Town and 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

Chromecast Honey

One Thousand Museum Zaha Hadid Architects have proposed a 215-metre-high residential skyscraper called the One Thousand Museum. The proposed 60-storey tower is set be located on Biscayne Boulevard in downtown Miami. The developers of the One Thousand Museum condo tower won unanimous approval from Miami’s urban design review board The building has a fluid concrete exoskeleton.

Rising out of the spa pools on top of the base podium it soars up to a helipad and aquatic centre at the summit. Apartments come in at a steal for only $5 million although some will set you back a cool $15 million

depending if you want a duplex home, halffloor residences or full-floor penthouse.

Nearby in Miami, Herzog & de Meuron are also working on a residential tower in the Sunny Isles area.OMA have also been busy in Miami and have landed the commission to redesign the Miami Beach Convention Center. Back in 2011 Zaha Hadid Architects unveiled designs for a spiralling car park in Miami. More recent projects by Zaha Hadid in other cities include plans for an apartment block to be constructed beside New York’s popular High Line park and an extension to the Serpentine Gallery in London.

LG Optimus G Pro

Contributors

Eva Csernyanszky, Daine Mawer editors illustration by Run Rabbit Run

Cover

Havas Worldwide havasworldwide.co.za Chris Valentine valentinedesign.co.za

Advertising

Wendy Scullard, Deidre Rosenberg

Publisher

Digital Media Publishers (PTY) LTD a division of Future Media Group Palms Centre, Sir Lowry Road, Woodstock, Cape Town, 8001. Tel 021 461 8790

Printer

Tandym Print www.tandym.co.za

Subscribe

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To subscribe send an email to roxy@designtimes.co.za with your name and postal address and we will send you the payment details. It’s that simple!

@designtimesmag

Google ‘Chromecast’is a cunning little device that streams online videos right to your TV set. The device can be plugged into any High-Definition (HD) TV and will allow you to “use your phone, tablet, or laptop to ‘cast’ online content” to it.

According to their blog , ‘Chromecast’ works with popular video sources such as Netflix, YouTube, Google Play Movies & TV, and Google Play Music—with even more apps like Pandora to be added soon.

Chromecast even allows you to send emails and surf the web, while watching what’s on the TV screen. Chromecast is currently priced at around R350 on Google Play. www.google.com/chromecast

Prisma

Designed by Brisbane resident Alexander Lotersztain these angular lounge chairs and ottomans can be tessellated in an endless array of different shapes and patterns. orn in Argentina, Alexander Lotersztain studied design at university in Queensland before setting up Derlot in Brisbane. Created for Lotersztain’s contemporary furniture and lighting brand Derlot Editions, each Prisma seat has an angular asymmetric form so they can be clustered together however you like.

Stacked together they can form long sofas, small armchairs or banks of seating. Their unconventional shape allow them to be positioned in the centre of a room, against walls or in corners. The chairs are available

in a variety of colours as shown above.

The colours are acidic hues of turquoise, green and yellow. Prisma are MDF-based, covered in enviro foam and upholstered in either fabric or leather. To compliment the design of the seats and the variety of shapes that can be created from Prisma, small triangular tables form part of the set.

The wooden tables fit onto the ends of each chair formation allowing you to get really creative. Custom modules of each chair are also available. Other projects of Alexander Lotersztain include plywood furniture made from plantation forests, a modular shelving system featuring X-shaped pillars and even a hotel (with a roof-top bar and cinema).

The LG Optimus G Pro is available in South Africa as from 1 September 2013.

In response to global trends and consumer needs when it comes to LTE networks the LG Optimus G Pro will support Band 3 on 1800 Mega Hertz and Band 7 on 2600 Mega Hertz. This is specific to the South African market. “Whilst the adoption of LTE network is still quite new to many consumers we hope that the extraordinary user-experience they obtain with Optimus G Pro will give them a taste of what’s out there,” says Deon Prinsloo, General Manager for Mobile and LG Electronics.

Watching HD movies on demand or videos and downloading material from your email is made easier as it has no lag. The Optimus G Pro is equipped with the swift Qualcomm Snapdragon 600 processor, which features a 1.7GHz Quad-Core CPU and Adreno 320 GPU. The Optimus G Pro includes a long-lasting 3,140mAh battery and 2GB RAM. It has a massive 5.5-inch 1080p Full HD IPS display delivering a resolution of 1920x1080 pixels at 400ppi. The Optimus G Pro will set you back R7999. www.lg.co.za

Badger Looking for an ingenious way to build its digital presence the Johannesburg Zoo has handed over its social media account to someone who knows the Zoo inside out.

BG, a honey badger residing in the Zoo (and its mascot) has taken on the responsibility.

How is this possible? Well, it’s largely due to his high-tech enclosure, cleverly devised by award-winning digital agency in the Draftfcb group, Hellocomputer, and constructed by tech wizard at BinarySpace, Tom van den Bon. The enclosure features motion-triggered, animal-friendly sensors.

Selected because he is active during the day and at night, has a definite personality and loves being with people, BG began tweeting on June 14 this year thanks to a bespoke system devised by the agency.

The team have said: “We are thrilled with the results and look forward to many of our supporters and the public engaging with BG on a regular basis,... He’s a very friendly badger, we’re sure he’ll be very popular on twitter.” You can follow BG at @zootweetslive or #tweetingbadger. You can view him and his role as a twitterer here www.youtube.com/watch?v=xGTptt7iwj8.

A Tweeting Honey Badger, we think that’s bad @ss!

Jupiter wins Virgin project

The Jupiter Drawing Room has been brought on board by Virgin to develop a conceptual approach and way forward for the for the global brand’s expression. The work will span several months, culminating in new visual guidelines being developed by Jupiter, which the brand and their agencies world-wide can reference and implement across all of the Virgin companies. For several months in the lead up to the brand guidelines being created, Virgin creative partners and employees from around the world will be participating in a crowd sourcing exercise where they contribute their submissions on their understanding of the brand, and how it manifests itself across touchpoints. Kicking this process off, a handpicked team of global Virgin creatives flew into Cape Town to participate in a weekend-long creative boot camp. As part of this process, five sensory experts were brought in to inspire and lead the creative process. The sensory experts were: Andrew Shoben (sound), Sissel Tolaas (smell), Joel Gethin Lewis (sight), Marije Vogelzang (taste), Willem Boshoff (touch). Jupiter will spend the next few months working off the content and insights created by the ongoing collaborative process to develop the new approach for the Virgin brand.

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6

HEADS OF ADVERTISING

ALISTAIR BRENT KING SINGER

CHRIS GOTZ

JUSTIN GOMES

EOIN WELSH

He nearly became a geneticist but ended up as a copywriter without having done a copy test. He went on to ‘slightly’ hide his writing skills to not be labeled as such - a radio writing specialist. All this ended up with an agency which you might already know King James. We asked Alistair King a few questions to delve into the mind of one of the best ECD’s in the country.

Over your many year in the advertising industry what’s the one project / campaign you are most proud of?

I think it’s relatively easy to crack one great campaign and win awards with it, but not so easy to do it year after year on the same brand. That has to be the ultimate goal of an agency. So by that criteria I’d have to say Allan Gray is the work I’m most proud of.

It’s a 10 year relationship during which time we’ve built a really great brand. Too many marketers change their agencies every 4 years thinking that’s how great brands are built. Good luck to them.

Do you know the other ECD’s? Are you mortal enemies or do you guys have a secret ECD’s club were you hang out and drink whisky?

There are no secret clubs as far as I know.

Or maybe there are and I’m just not invited.

There are many ECD’s I really like as people, and I’d never skip a chance to have a scotch with them. Some agencies are so close that we’ll even invite each other to our agency parties. But there are also a few very competitive ECDs I’d rather not hang with. One or two have used social media to slag off work I’ve done and that doesn’t sit well with me. I don’t think anyone in this business should be critical of anyone else’s work on public platforms - we all know the many variables that affect how our ads turn out the way they do.

There is often a single campaign which performs extremely well across all the different crafts, which campaigns do you think will fill that position this year?

To be honest, I have no idea. I’m taking a forced sabbatical from the industry and its affairs this year, mainly because I wish to focus my creative and emotional energy on my own company and the work we do. I find that I’m least effective and least content when I’m watching what other agencies are up to. The best way to do great work is to concentrate on the job that’s right in front of you, so that’s what I’m doing.

What’s your super power?

I think I’m more of a trusty, funny side-kick.

Anything from your agency that your expecting a win from?

I am never sure about anything when it comes to awards. In fact, I’ve been massively disappointed in the past when I was confident, and rewarded when I least expected it.

Chris Gotz is the Executive Creative Director of Ogilvy & Mather Cape Town.

2012 was a big year for Chris and it all was came together for Ogilvy & Mather Cape Town under Chris’s leadership (but mainly because of a whole bunch of amazing and inspiring creative people, suits and clients) Ogilvy and Mather Cape Town was ranked the number 1 creative agency at Cannes and Loeries, the first time this has happened in the history of the agency. Ogilvy and Mather Cape Town is currently the number 3 ranked creative agency in Ogilvy and Mather worldwide. He is also a devoted and besotted husband to Shelley, and the doting, but occasionally weary, father of two small boys, James and Thomas. His life right now has been described (by him) as “just peachy”.

Do you think there was one breakthrough project that gained you industry recognition? What was it?

In my second year in advertising I was lucky enough to work on the launch of black youth radio station YFM. We did some pretty controversial stuff and it won a whole bunch of Loeries. It’s still some of my favourite work to date.

Over your many years in the advertising industry what’s the one project / campaign you are most proud of?

Carling “Be The Coach” for SAB. It drew the most incredible consumer response and was a big award winner worldwide. I think what makes me most proud is that it was a huge, hardworking integrated project that included TV, Mobile, Online and conventional POS. Do you know the other ECD’s? Are you mortal enemies or do you guys have a secret ECD’s club were you hang out and drink whisky?

I am friends with lots of other ECD’s, most of us serve on an industry body together, the Creative Circle, which is a bit like a secret club I suppose. The industry is competitive, but not to the degree that it would affect anyone personally. You’d have to be a real asshole to offend ad people.

While specialist awards such as the Academy Awards, Golden Globes and Cannes receive much admiration from people outside their industries, how can we do the same for the Loeries?

No, definitely not. I think Loeries are relevant to a smaller group of people. I don’t think we need to popularize them, it’s not showbiz, it is business, albeit in the creative disciplines. The movies are a different story.

What’s your super power?

Passive aggression.

What’s your favorite TV series?

There are too many. Not much has come along since The Wire that beats it. I suppose if I had to pick one it would be Breaking Bad, because of the writing, the plot lines and the kickass cinematography.

Justin Gomes is the ECD and Co-Founder of FoxP2. He would have been a lawyer but his dad warned him that he would probably be useless at it. Las was no longer an option.

Like many BA graduates he then decided on the career as a furniture remover, a paint-sprayer, a door-to-door salesman, a security guard and a drug-trial bunny. Sound familiar? Luckily he saw a Wonderba ad and this changed his life’s path, so basically he thanks Eva Herzigova’s breasts for his career in advertising.

Over your many year in the advertising industry what’s the one project / campaign you are most proud of?

I’m very proud we created the Frank life insurance brand from scratch, with a positioning that differentiated the brand in a saturated life insurance market. The work we’ve delivered against the brand positioning has been recognized at the Apex Effectiveness Awards, the Loeries, D&AD and Cannes.

Do you know the other ECD’s? Are you mortal enemies or do you guys have a secret ECD’s club were you hang out and drink whisky?

While the industry is as competitive as ever, I don’t think any of us are mortal enemies, certainly not the guys on Creative Circle EXCO anyway. I could probably count the massive ego’s in our industry on one finger at the moment, whereas a decade ago, I think the clashing of antlers could be heard reverberating around the industry on a regular basis. I often phone my fellow ECD’s for advice or references and think the relationships are generally quite healthy.

What campaign from your agency are you sure will take home some awards from the Loeries? I’m not in the jinxing business.

The Loeries and the creative week associated with it provide a great platform to celebrate and showcase creativity; do you not think it is preaching to the converted?

Should the awards try and be embraced by pop culture?

I was chatting to my creatives about this the other day, explaining to them a Loerie win with work that no-one has seen or heard feels totally hollow compared to a win with work that has captured the public imagination and got the country talking.

That’s why I love Twitter so much, it’s the digital equivalent of the office water-cooler – you can immediately see if your work is talk-worthy enough to become a part of the conversation. When Shrien Dewani was finally sentenced to trial in SA a few weeks ago, social media lit up with the catchphrase “Papa Wag Vir Jou.” And that’s two years after the campaign broke. I find this aspect of what we do very rewarding.

What’s your favorite TV series?

Arrested Development. You thought I was going to say Mad Men, hey?

Born in Dublin, Ireland, and bred in Johannesburg, Eoin Welsh comes highly recommended in the creative advertising world. His history includes working for large agencies including Metropolitan Republic, Lowe Bull Johannesburg, Lowe Prague, King James and Leo Burnett Johannesburg, among others. Eoin Welsh is currently ECD at Havas JHB. He stared out by writing property brochures, because somebody told him it would be easy money, turns out they were lying.

Do you know the other ECD’s? Are you mortal enemies or do you guys have a secret ECD’s club were you hang out and drink whisky?

I know ‘em all. Fine upstanding bunch of reprobates. If they have a secret club they certainly haven’t invited me. That’s ok. I haven’t invited them to my Tupperware parties either.

Do you think client’s care about awards?

Yes. Though it’s sometimes hard to get them to admit it.

What campaign from your agency are you sure will take home some awards from the Loeries?

It’s never a sure bet, but we picked up a silver lion at Cannes for a Strepsils radio campaign, so we live in hope that it converts at Loeries too.

There is often a single ad campaign which performs extremely well across all the different crafts, which campaigns do you think will fill that position this year?

Hard to say. The Cape Times “Selfies” campaign is awesome, as is the Engen fire blanket. “Hope Soap” is fantastic. But none of these exactly fit the bill as “performing well across all the different crafts”. We’ll see.

The Loeries and the creative week associated with it provide a great platform to celebrate and showcase creativity; do you not think it is preaching to the converted?

Should the awards try and be embraced by pop culture?

Yes, but it’s up to us to promote it as such.

We need to practice what we preach, especially in terms of using tools like social meida to our own advantage.

While specialist awards such as the Academy Awards, Golden Globes and Cannes receive much admiration from people outside their industries, how can we do the same for the Loeries?

Good question, and one to which there is no short answer (good cop-out, that). In fairness though, comparing internationally renowned mass entertainment awards to the Loeries isn’t entirely comparing apples to apples.

What’s your super power?

The power to enjoy the taste of tequila.

What’s your favorite TV series?

The Wire.

“I’m Brent, I’m a chiseled 6ft rocket scientist and part time underwear model trapped in the body of a regular guy. While waiting for my gig as a promiscuous trust fund kid to kick in I’ve decided that a career in advertising is the next best thing. I’m currently the resident grumpy pants and joint Executive Creative Director at Net#work BBDO.” Do you think there was one breakthrough project that gained you industry recognition? What was it?

This is a test of modesty. I guess international awards have helped but it could just as easily be because I’m a gifted lounge singer.

Over your many year in the advertising industry what’s the one project / campaign you are most proud of?

I think it would definitely be BMW mouse.

Do you know the other ECD’s? Are you mortal enemies or do you guys have a secret ECD’s club were you hang out and drink whisky?

Club? No one told me about any club?

What campaign from your agency are you sure will take home some awards from the Loeries?

I am but a mere mortal. I have no idea.

There is often a single ad campaign which performs extremely well across all the different crafts, which campaigns do you think will fill that position this year?

Not to be a hater but I haven’t seen a truly amazing integrated campaign this year.

That said, there are plenty of great ideas and some spectacular pieces of work in their own respective categories but no gigantic campaign of awesomeness.

The Loeries and the creative week associated with it provide a great platform to celebrate and showcase creativity; do you not think it is preaching to the converted?

Should the awards try and be embraced by pop culture?

I might be a real cynic but the reality is that most people go out of their way to avoid advertising, so it’ll be a while before the recognition of it becomes part of pop culture.

The two creative weeks of impact in South Africa are undoubtedly the Loeries and Design Indaba, do you think there would be greater value in having these events at the same time? (or is that too much for all in the ad industries liver to handle) I think that’s a great idea I just worry that they are two very different events. And I think Design Indaba would be wasted on the hangovers that go hand in hand with the Loeries.

What’s your super power?

Belligerence.

What’s your favorite TV series?

That’s the hardest question I’ve ever been asked. I’d have to say it would be a tie between LOST, The Wire, Mad Men and Breaking Bad.

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DESIGN

8

COPYRIGHT SURROUNDING CREATIVE WORK DONE BY AGENCIES

FOUNDERS OF OPEN DESIGN CAPE TOWN

W

hen you hear the words open source your mind immediately goes to IT and computers, programming by users, for users. The concept has become so wide spread and popular that programs like open office and the like have been adopted by huge organisations and governments worldwide. So, what then is open design?

Designtimes had the chance to meet up with the founders of Open Design Cape Town. No doubt if you have been in Cape Town recently you have seen the posters advertising the event but what is it? Where did it start and who is involved?

We asked Y Tsai & Christo Maritz to open our minds to the event. Y Tsai runs a small architectural and design practice called Tsai Design Studio. The studio takes a multidisciplinary and experimental approach to all things design. The studio is well known for winning a Red Dot Award and ‘The Most Beautiful Object in South Africa’ 2008 for its Nested Bunk Beds.

Christo Maritz is founder of design studio Infestation, which recently played a pivotal role in Cape Town’s bid for World Design Capital 2014, including designing the bid book presented to the ICSID in Montreal.

How did the two of you meet?

Christo and I met few years back when both of us volunteered to be part of the

Cape Town Design Network and become committee members. As with the rest of the committee, our passion for this beautiful city we call home became the common cause, prompting us to contribute our creative talent and time to put design on the map.

The idea to start Open Design Cape Town, when did this come about and how?

Open Design Cape Town is a collaboration by the Cape Craft and Design Institute in partnership with the Cape Town Design Network, the Western Cape Furniture Initiative and the City of Cape Town. The idea of a design festival for Cape Town has been an on-going topic amongst the Cape Town Design Networ committee members for several years. Eventually City of Cape Town, who have been exploring the idea of a cultural event in winter, came on board as the main sponsor and partner for Open Design 2013.

What’s the basic concept behind Open Design Cape Town?

It’s about creating a multitude of channels through which to demystify design and

education, mobility and sustainability etc.

The majority of the activities can be found at the City Hall during the festival.

At Open Design, we also believe ideas, if shared responsibly, can only get better through cross pollination between different design disciplines. We have invited various design institutions and professional bodies to participate by hosting their own events to the public, or by exchanging ideas through talks during Open Design festival.

Since we would love to see Open Design as a city-wide festival, we have invited designers to open up their studios, host exhibitions and throw parties, all in the name of design.

Is there space for another design event?

We believe the formula is unique and fresh for it to be a stand alone event with very different offerings to other existing events. The idea here is not to compete, but to create more avenues for designers to engage with the public in an open way.

Each event has its own merits and this is our contribution in making design accessible and showcasing its potential.

Is there any association or tie in with Cape Town World Design Capital 2014?

Open Design Cape Town, as with WDC2014, is both sponsored by the City of Cape Town. However it is conceived as an independent annual festival that is an inclusive platform for everyone. The program has two events hosted by the WDC 2014 team.

Where do you see Open Design Cape Town in the next 5 years?

The response to Open Design Cape Town 2013 has been incredible and has shown us that what we are doing is something people want to be engaged with and feel is needed.

If this is anything to go by, we see Open Design as a movement that will get bigger and better, spreading across South African cities.

Thanks very much for your time and opening our minds to new possibilities. We look forward to the event. www.opendesignct.com

We want to demystify design through a mixture of design events. rather celebrate our design culture through the lenses of various design academies, professional bodies, industry initiatives and individuals.

‘Design is for sharing’ what does this mean in practical terms, how will we see this come to life?

Designers are like actors, we like to have an audience who we want to see and applaud our ideas and creations. It is also important that the audience can appreciate the ideas that we are trying to share. In practical terms, we want to demystify design through a mixture of events such as design education programs like the One Stop Design Shop for school learners, Designing Career and Talk 100 presentations for design students (hosted by RockCity Foundation), and an exhibition called ‘Design Is For All’ that explore the idea that design is everywhere through common topics of concern, like health,

A

number of noteworthy copyright principles apply where design agencies devise creative works for its clients.

These include the legality of the works created by the agencies as well as rights which they acquire therein.

From the very outset, a design agency must be mindful of the subject-matter which it incorporates as part of its creatives.

Third party matter could be the subject of copyright protection in its own right. Where a design agency therefore reproduces or adapts (as the need may be) pre-existing material in its own creative work, it must consider whether permission might be required to do so. Failure by a design agency to obtain permission beforehand may render it liable to copyright infringement.

Common examples of copyright protected works in respect of which clearance must be obtained before using it in a creative design could include photographs, paintings and images of works of architecture.

Advertisements generally manifest themselves in different types of media, e.g. print, radio and television. Depending on the specific type of media for which the advertisement is intended, an advertisement could constitute different types of works as protected under the Copyright Act. A television advertisement qualifies as a “cinematograph film” under the Act which itself comprises various other works that might be protected by copyright, e.g. songs (lyrics being a literary work and music being a musical work), a dialogue or script (being a literary work) and depending on the content of the advertisement potentially various works protected as artistic works (e.g. works of architecture being buildings and so forth).

Radio advertisements generally comprise some form of dialogue, the script for which will constitute a “literary work”. Finally, print advertisements generally depict some image whether realistic or animated, concrete or abstract which constitute an “artistic work”. The copyright implications will in each instance depend on the specific subject-matter being created.

Once it has been established what it is that has been so created, it is necessary to consider by whom it was created and in which capacity. The author of, for example, a literary or artistic work is as a general rule, the person who first makes or creates the work. In the context of a design agency, it would normally be individuals in the course of their employment under a

contract of service with the design agency.

The effect is that whereas the specific individual as employee will be the author of the creative work, an exception to the issue of ownership exists in respect of works created by employees. In this scenario, ownership of the copyright which arises will vest in the design agency as employer.

A common misconception which often presents itself, is that if you pay for it you own it. Ownership of copyright generally does not transfer to a person by virtue of it paying for the creation of the work and the scenario of works created by design agencies is no exception to this rule.

Therefore, in the absence of any contractual arrangement (which must be in writing, properly identifying the work at issue and signed by or on behalf of the design agency)

Ownership of copyright generally does not transfer to a person by virtue of it paying for the creation of the work and the scenario of works created by design agencies is no exception to this rule. copyright will not automatically transfer to the client for whom the advertisement was created, despite it having paid for it.

Should the client require ownership of copyright, it must take assignment thereof separately and if the parties so agree, can include the arrangement as to ownership of copyright in the contract for services to be rendered, alternatively after the fact.

There is generally no copyright protection in thoughts, ideas or concepts. A design agency should therefore caution against simply divulging these and rather treat it as a form of confidential information.

Copyright vests in the actual, physical manifestation or embodiment of an idea or concept (and from there the requirement of a work being in “material form” for the subsistence of copyright). If the creative work is then also original in that it was not copied from any other source, but rather created through the individual effort and skill of the author, the work will be safeguarded against unauthorised reproduction, adaptation (and certain other acts). Copyright protection entitles the owner thereof to object to the misuse of the works created by it (or a substantial part thereof) and, where relevant, should be a basis on which it can claim an infringement of its copyright (where reproduced or adapted without its permission) for remedies such as an interdict, damages (alternatively a reasonable royalty) and delivery up.

Herman Blignaut, Spoor & Fisher

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ILLUSTRATION

RUN RABBIT RUN

R

un Rabbit Run is an illustration and design studio based in Cape Town, South Africa. It was founded in 2013 by Kirsten Beets and Francois Conradie.

Kristen and Francois met in the jungles of Patagonia where Kirsten was a low paid research intern categorizing newly discovered fauna and flora while secretly yearning for the safety of middle management. One night while out collecting poisonous lichen she came across unusual tracks, some animal and some (gasp!) human. The human prints belonged to Francois, a professional beardsman and circus runaway who had been befriended by wolves, gradually rising through their ranks to become the leader of the pack. After fostering a friendship built on mutual respect (of hard liquor) and love (of fancy cheeses) they decided to leave the jungle and start an Illustration company on the shores of Cape Town, South Africa.

Seriously though they met a couple of years ago while working at a post-production and animation company, BlackGinger. They went their separate ways for a while but met up again and wanted to start something new together.

Why the name Run Rabbit Run, is their any significant meaning behind it?

The triple R’s are great and easy to remember plus rabbits are considered lucky and when you start something from scratch you need all the luck you can get.

Also most days it’s easy to feel like a rabbit running around from place to place.

Are you both self taught or did you receive training? If so were?

Francois I went to The Animation School and I also studied photography at The Photography Institute.

Kirsten I studied Fine Art at Stellenbosch University and then the Animation school.

I recently received my Bphil in Illustration from Stellenbosch.

What were you both doing before Run Rabbit Run? Francois Working as lead texture artist at Triggerfish Animation on their next feature film ‘Khumba’ Kirsten Working on illustration Honours degree from Stellenbosch University Tell us about the creative process behind the work, how do you start a project?

Francois We switch the kettle on and we go over what needs to be done for the day.

It’s important for us to be on the same page before we start a project because we want it to be a collaborative effort.

Kirsten We have different styles and strengths and most of the challenge comes in figuring out what combination would work best for a particular project.

What was the studio’s first paying job?

A pitch for a Two Oceans wine label Who are some of the clients you currently work for?

We’ve done a lot of collaborations, our most recent collaboration was with Piece Industries on a skim board design. But we have some exciting projects lined up for the rest of the year.

How do you market and promote yourself to get new work?

Social media like Facebook and Twitter, skywriting, word of mouth, participating in networking events like Tjing-Tjing exchange.

What project stands out for you and why?

Francois The Piece Industries board that was featured at the A l a i a h Creative Showcase.It was a challenging but fun project and the design ended up getting a great response. The boards will be available to order soon for the summer time.

Kirsten I enjoy the self motivated projects, some of the circus characters we did or the explorers just because they were fun and many laughs were had.

Have you got any self initiated projects?

Yes, it’s always nice to be the captain of your own destiny creatively , that’s why we do this , we’re always brimming with ideas. We’ve got a couple of products that we want to get off the ground soon. www.runrabbitruncollective.com

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PHOTOGRAPHY

CARLOS AYESTA

C

arlos Ayesta, born 1985 in Caracas is a freelance photographer specialising in architecture photography, more specifically architecture photography on rope, that’s right you read it correctly, rope.

He recently worked on an architectural project that lead to a book which captured unusual views of La Défense, a major business district near Paris, by abseiling down the sides of skyscrapers.

Tell us a little about yourself?

From a young age, I started climbing so that I became a climber and I worked as an operator specialized in rope access techniques. I decided to combine my two passions and I am now specializing in rope access techniques for my photography work. I appreciate the fact that I can take pictures of hidden things, no one can see what I see from the ground or from the top of the buildings.

Why do you use ropes and abseiling to take photographs?

When I arrived in Paris, I did work as an “operator in rope access techniques”. I realized quickly that this point of view, unique and sometimes incredible, could be a new approach to architectural art.

My approach, by using altitude techniques (on rope but also on platform) permits me to show the architectural realizations in another dimension, marking in its original context - and above all exceptional views!

I can take pictures of towers, offices and homes, but I can also show people working and living in these spaces (with their permission of course). With the reflection in the windows it is magical to see life and landscapes in the same frame. The main idea is to show a district or a building from a new angle: low-angle shot images, more vertical than ever, exceptional views, but also, men and women simply living or working there. It is a new way of valuing architecture art, or to speak about a landscape and to look at our world…

How did the La Defense commission happen? Who was it for?

I thought about this project for a long time, I had to make a proposal to EPADESA who is dealing with the la Defense district. The communication team of EPADESA were interested so we began the project. I had to work with a team to organize the shoots because it is not really usual to see someone attached to the top of a building with a rope taking pictures!

What’s the next building you would like to photograph?

I am really dreaming of photographing foreign buildings in the district of New York and in the Middle East. www.carlosayesta-architecture.com

OE/57844/DT

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PHOTOGRAPHY

MICHAEL SHAINBLUM

M

ichael Shainblum was born in San Diego, California.

He is twenty three years old, and has a dog. His hobbies other than taking pictures are camping, hiking, urban exploration, star gazing and travel. Michael has always been interested in art, and he migrated from drawing and graphic art to photography and film making.

How did your interest in photography begin? My interest in photography began early in High School, and I bought a camera to use for my digital art and compositing, but then I ended up enjoying photography more than graphic design.

You shoot quite a wide variety of subject matter. What’s your favorite subject to photograph?

My favorite subject to photograph is astrophotography, pictures of the galaxy and weather such as clouds, fog and storms.

Tell us about astro-photography? What is about this subject that you love and enjoy photographing it?

There is something about the stars that have always captivated me, and I love to explore isolated and new places. You need to go beyond just photographing the stars, and incorporate the foreground and locations into the composition of the photograph.

There is a balance between the shooting and editing aspects, and trying to keep the photo realistic but still visually pleasing. I try to make very realistic looking images and sometimes it is hard for people to comprehend that my images are actually real.

Tell us about some of the challenges in shooting astro-photography? Some challenges I have while shooting are mainly things like light pollution, shooting in hot places which heat up the camera sensor. A lot of the places I go require a four wheel drive car, and the biggest problem I run into is revolved around unknown weather occurrences like heavy fog or a marine layer coming in.

How long does a shot take or expose for?

Each shot is exposed for 20 to 30 seconds.

Are there photographers you look up to or are inspired by?

I’m always inspired by photographers, too many to name. Not just big photographers, but my friends and peers who also shoot the same things I do, and they have helped me grow as a photographer.

How do you decide on composition and lighting. Is it merely taking hundreds of shots and picking the best ones?

No, every single shot is planned out and structured. I will delete every single image that doesn’t fit the composition in my head.

Everything mainly relates back to the structure of art and I use a lot of symmetry and I put a lot of thought into the balance of the image. Not only the visual aspects of the image, but I pay attention to the concept of the image. www.shainblumphoto.com

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DESIGN

6

P

antone, an X-Rite company and the global authority on color and provider of professional color standards for the design industries, has launched there new site PANTONEVIEW. com, a digital subscription service devoted solely to color. Catering to designers across all areas of design, PANTONEVIEW.com features visual inspiration, critical color direction and a global perspective on color from the world’s leading experts, enabling users to make more informed decisions and perfect their color strategy. With a focus on what’s

topical color news and live events where subscribers can hear directly from a variety of PANTONEVIEW.com’s global color experts.

“Color is the single most powerful communication tool, influencing 50 to 85 percent of ideas and product purchase decisions. With consumers looking at color more holistically, color has become the catalyst of cross-design thinking and the connector across all areas of design,” explained Laurie Pressman, vice president of the Pantone Color Institute®.

“Offering an affordable digital service like PANTONEVIEW.com – which will be

PANTONEVIEW.com is not another trend or fashion site. It’s all about creating a panel of global experts that spans different disciplines, but is united by its desire to speak the common language of color. We all take color for granted, but it is a complex issue that can involve high financial risk. And, that is truer now than ever before. really important, PANTONEVIEW.com provides both macro and local views on key color stories, including insight and analysis on how color is breaking across different industries and geographies worldwide.

Ideal for creatives around the globe – from students and independent designers to businesses of all sizes and large corporations – the service zeros in on the color zeitgeist and features comprehensive color direction, market validation and the psychology behind color trends.

PANTONEVIEW.com includes forecasting and orientation where key color direction is mapped out six to 12 months ahead of the season, in addition to reporting and analysis as the season progresses, in order to provide color confirmation and any new color updates. The site will also feature

continually updated with valuable color insights and unique color perspectives across geographies and industries – will enable our users to stay on top of the latest color information and gain the actionable color intelligence they need to make more informed color decisions.”

PANTONEVIEW.com Editor in Chief David Shah, a longstanding partner of Pantone, color consultant to major worldwide brands and publisher of Metropolitan Publishing BV, which includes Textile View, View2, Viewpoint and PANTONE VIEW Colour Planner, brings 30 years of color forecasting expertise to the service. “PANTONEVIEW. com is not another trend or fashion site. It’s all about creating a panel of global experts that spans different disciplines, but is

united by its desire to speak the common language of color. We all take color for granted, but it is a complex issue that can involve high financial risk. And, that is truer now than ever before,” said Shah.

“There’s a lot of uncertainty and that’s what PANTONEVIEW.com helps to solve.

We are color experts across industries who can provide advice, clarification and confirmation on all things color.”

PANTONEVIEW.com includes: Colour View – Color forecasting reports and analysis by product sector across a variety of industries including apparel, homewares, interior design, graphic design, industrial design and food. In Colour View, the common language of color is used to link our community to what’s happening in parallel areas of design.

Material View – Comprehensive color direction and regular updates on the science of color, i.e., the machines, dyestuffs and R&D, that will change how we choose and look at color in the future.

World View – Regional and geographical color and trend reports providing local viewpoints plus global overviews.

Expert View – Experts give their views on what is happening in color in their world or product sector.

Future View – Strategic information and a long-term look at the influences that will affect color in the future.

News and Events – Color news from around the globe plus live webinars and events featuring PANTONEVIEW.com color experts and special guests Pricing and Availability Subscriptions are available at PANTONEVIEW.com and select Pantone distributors worldwide for $24.95 per month or $169.95 annually.

Students can purchase an annual subscription for $99.95. A free 30-day trial is available now for download.

The PANTONEVIEW family includes multi-discipline color forecasting books for color decisions 12 to 24 months ahead of the season. PANTONE VIEW Colour Planner – published bi-annually, 18 to 24 months ahead of the season – provides comprehensive color direction for multiple design areas, including men’s and women’s apparel, beauty, lifestyle, graphic and industrial design. PANTONE VIEW home + interiors – published annually 12 to 18 months ahead of the season – is a trend forecast that highlights the key color and design themes for home furnishings and interior design.

PANTONEVIEW.com, an extension to this family of products, offers ongoing access to timely and more widespread color insights relevant for what is taking place right now and up to 12 months in advance of the season. www.pantoneview.com

THE GLENROTHES DEFINED BY MATURITY NOT AGE

I

n 1879 something unique, beautifully crafted and exceptionally pure entered the world of spirits: the first whisky from the stills at The Glenrothes distillery in the heart of Speyside, Scotland.

Kept outside the industry amidst a small band of connoisseurs for over a hundred years, this exceptional Single Speyside Malt Whisky was essentially a hidden treasure.

In 1994, the first The Glenrothes Vintage 1979 was bottled, setting a new and exciting standard in malt whisky and establishing the brand’s key differentiator; maturity determined not by age but by the production of individual vintages captured forever in specific expressions of this remarkable spirit.

Unlike traditional malt whiskies bottled in line with the age concept, today each The Glenrothes Vintage bears its own unique personality underpinned by the distinctive hallmarks of the distillery; ripe fruits, citrus, vanilla, an exquisite spicy finish encased in the creamiest of textures and a complex, well-poised balance.

As a result of rigorous and exacting tasting and testing processes, only a small number of The Glenrothes Vintages have been released. Each vintage is, by definition, rare and finite. Each has its own unique personality and, of the vintages produced to date, many are no longer available. Vintages from the 1970’s and 1980’s are increasingly hard to come by.

They’ve been sold, imbibed and greatly enjoyed.

In addition to individual The Glenrothes Vintages, exists The Glenrothes Select Reserve – a harmonious marriage of different years of distillation and itself containing some of The Glenrothes finest Vintages, with focus on flavours and quality, not solely on age. Select Reserve is available on an on-going basis for all single malt lovers and offers a wonderful consistency of taste.

The home of The Glenrothes – the original

distillery in Speyside has been recognised as one of the best and its whiskies some of the most sought after.

The structure, flavour and body of The Glenrothes makes it a ‘top dresser’ or quality enhancer found at the heart of some of the world’s finest blends such as Cutty Sark and The Famous Grouse.

Expert distillers and blenders claim that it produces one of the finest and most accomplished of malt whiskies.

Over the years The Glenrothes has won numerous awards, including a double Gold for the 1979 Vintage in 2003 and the International Spirits Challenge’s highest accolade, the Trophy Award in 2005 for the 1972 Vintage. Its distinctive label and packaging enhance its vintage-style appeal (inspired by the round bottle and hand written checking slip of the distillery sample rooms), and have won numerous awards including a Gold in The Wine and Spirit International Design Awards.

Over the years The Glenrothes has won numerous awards, including a double Gold for the 1979 Vintage in 2003 and the International Spirits Challenge’s highest accolade Recently, The Glenrothes Extraordinary Single Cask 1970 picked up the whisky industry’s highest accolade for design at the World Whisky Awards this year, winning the sub-category for ‘Best Design - Limited Edition’ followed by the overall grand prize for ‘World’s Best Design’.

The judges from the World Whisky Awards had this to say about the The Glenrothes Extraordinary Cask 1970, “An absolutely fantastic example of high level craftsmanship and design. It just keeps on giving. The egg-shaped, hand grenade style bottle is weighty, ample and just beautiful. A brilliantly put together piece which reflects the brand but goes on to enhance it. Great execution, touch and feel.

Sophisticated and outstanding.” www.theglenrothes.com

A sample of our work?

You’re looking at it!

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

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

Tandym Print

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

T: 021 505 4200

F: 021 505 4280

Email: print@tandym.co.za

DOUBLE UP SPECTACLE PROMO R 699 R 999 R 1899

PACKAGES INCLUDE • 2 pairs of lenses • 2 stainless steel frames valued at R850 each!

Give the extra specs to a friend or loved one... * Terms and conditions apply. Errors and Omissions Expected. Unless we state a specific limitation, we will attempt to have sufficient advertised stock available. If we run out of stock, we will attempt to obtain stock or we will offer you a reasonable alternative. We take care to ensure that all advertisements are correct. If a mistake occurs in the advertisement, we will display a notice in store with the correct details. Prices includes VAT at 14%. Prices exclude eye consultation. Expires 30 September 2013.

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B e l lv i l l e B r a n c h • 0 21 949 415 9 / 14 6 8 • f a x : 0 21 949 16 8 7 • b e l l v i l l e @ d a n n e b e r g . c o . z a • 31 B l a n c ke n b e r g R o a d , B e l l v i l l e R o n d e b o s c h B r a n c h • 0 21 6 8 5 6 4 2 3 / 3 7 2 6 • f a x : 0 21 6 8 5 3 5 2 8 • r o n d e b o s c h @ d a n n e b e r g . c o . z a • R i v e r s i d e M a l l , S h o p 2 0 , R o n d e b o s c h

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TUTORIAL

Conditional Text in Adobe InDesign

Streamline your production processes with Adobe InDesign’s Conditional Text.

Save time and be more efficient with fewer source documents with the use of conditions, writes Eva Csernyanszky

01 Let’s begin by setting up a new

document. File / New. You can make use of an existing document, or you can create what you see above. If so, create a pricelist with two different currencies.

04 Now let’s create another condition

for the U.K. prices by clicking on the New Condition button at the bottom of the panel.

All the text in your document is set to Unconditional by default until you assign one or more conditions to it. Any text that is set to Unconditional will always be visible, which is not the case for condtional text.

option to keep track of two menu versions inside one file and within one page.

Go to the Window menu, select Type & Tables and click on Conditional Text.

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

Eva has been in the design software training business for 15 years, with 7 of those years spent running one of South Africa’s leading digital design academies. www.friendsofdesign.net

08 The “NEW” tag should only show up

05 Use the Type tool to select one of

the Rand prices and tick the “Rand Prices” section in the Conditional Text Panel.

You’ll notice the checkmark moving from Unconditional to “Rand Prices”. Repeat this for the next price.

Placing a text frame on a layer and setting the layer’s visibility to visible, or not, is an “all or nothing” approach. How about hiding and revealing elements , such as textframes or images, only when needed? Additionally, having surrounding textwrap adjust automatically would be great. Working with conditional text makes this task an easy one, even for the beginner.

LEVEL OF DIFFICULTY Beginner

have been applied properly, just place the text cursor inside any of the prices. Notice that the appropriate checkmark in the Conditional Text panel will appear next to UK/Rand Prices.

02 Next, we will use the conditional text

Whilst Adobe’s InDesign has always supported the use of layers, layers alone offer limited control.

DURATION 20 minutes

07 To make sure that all the conditions

03 Next, we will set up some conditions for the Rand and Pound prices. Choose New Condition in the Conditional Text Panel pop-up menu and rename it to “Rand Prices”.

with the UK Prices selected. Conditions can only be assigned to objects within a Textframe, so we need to anchor the tag first. To do this, cut the object (Cmd X) and paste it into the Textframe (Cmd V).

Open up the Story Manager (Cmd Y) and select the Anchor symbol. Next, select the required and proper condition from your Conditional Text Panel.

06 To speed up the workflow, consider

using the Quick Apply feature to apply conditions to text by selecting the text, press the Command and Return (Mac) button on your keyboard and type “UK.” Quick apply suggests “UK Prices” and press Enter. Try this as an alternative method to applying conditions.

09 If you change from Preview to

Normal mode (W) you’ll notice that colour indicators underline each condition. Also, side or show your conditions by clicking the Eye symbol in the Conditional Text Panel (left column). Go back to Preview mode to see your conditions in action.

Secure the value of your designs.

Make sure your intellectual property is protected.

dont become a left brained person

accountants use the left side of the brain

creatives use the right side of the brain

why do both? let us take care of the boring stuff leaving you more space for the creative side

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TUTORIAL

0 2

Vector Icons using Adobe Illustrator

01First off. Lets create a new document.

For examples sake we will just use the “Web” preset and that will provide us with a comfortable workspace to design in.

Use Adobe Illustrator to take your design to the next level We’ll learn how to make some seriously simple and minimal vector icons for your next client project.

06 Within the Pathfinder palette click

on the very first icon which is known as “Unite” and make sure all your shapes are selected.

10 Next move your sun closer to your

cloud near the top left hand corner. We’re going to use the Scissor Tool now, a very handy tool in Illustrator that cuts paths at specific points.

02 We’re going to start by creating 3 cirlces using the Ellipse Tool.

Voila! We now have a good looking cloud!

Now to add some sun peaking out from behind it.

09 You may want to rotate your sun

a little to get the rays sitting nicely.

Ungroup the sun rays if you had done so before and delete whichever ones are with in the cloud itself.

Create one small circle, one big circle and one medium sized circle.

As the design industry changes, designers are required to develop skills for more innovative platforms and media types.

I’ve always found it very valuable as a designer to have a good understanding of mobile trends and usability. The latest innovation being Apples iOS 7 update coming in October.

Such a complete make-over is bound to cause ripple effects in the design world.

Today, we will learn how to create iOS 7 inspired vector weather icons using our old friend Adobe Illustrator. Dont worry, you dont need to be a pro. The great thing about Illustrator is that you can build complicated shapes and and paths using basic shapes like circles and rectangles.

07

03 Good work - make sure these circles have a clear fill and a thick black stroke.

Now, lets align our baseline so they all sit on a level bottom-line then move them close together so they overlap

DURATION 15 Minutes

Tip: Hold Shift to get a perfect circle.

10

Thats it! You have a cool “Partly Cloudy” weather icon. I’ve added an app I mocked up to put it in context for you.

I will take you through some tips and tricks as we work through this project together and also show you the power of Illustrators much loved “Pathfinder” Pallette.

If you’re ready to learn a skill that will help set you apart in the design world, jump in front of your computer and lets get going!

In the same document, use the Ellipse Tool to create a simple circle with the same fill and stroke settings as your cloud.

08 Now to add some sun rays. Use the 04 Next, draw out a rectangle and place

Line Tool to create a short line and with in the Stroke Pallette, make sure that “Cap” is set to “Round Cap”

it at the bottom of your cloud, so that it covers the gaps been created by the circles.

LEVEL OF DIFFIcULTy Beginner

09 Create a short line and then

duplicate it directly down - use shift and alt to pull a copy out of the original and align it vertically. If you have “Smart Guides” turned on this will also help.

05 Depending on how much of a Daine Mawer (@DaineMawer) is a designer, lecturer and entrepreneur with a passion for all things digital and online.

He runs More Beyond Digital, a small web and graphic agency in Cape Town, South Africa (www.morebeyonddigital.com)

Then take the Scissor Tool and click on the path of the sun about 2-4mm from the outline of the cloud. Do this on either side. Then delete the path that over laps with the clouds outline edge.

perfectionist you are - you can zoom in and make sure that there are no geometric edges sticking out due to the rectangle and the circles trying to merge their lines.

Now for the fun part! Go to Window > Pathfinder

You can then select both lines, Group them if you need, and rotate them by 90 degrees to get the horizontal ones, then by 45 degrees each way to get the diagnol ones. You should have something like this at the end.

f

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

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2013/08/07 4:58 PM