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NEIL STeVENS
illustrator Neil Stevens was born in London. Neil was drawing and painting from a young age. He went on to study Typography & Design at Reading University.
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MARTIN GRAN
Martin Gran is cooler than your gran, a partner and Managing Director at Snøhetta design firm. The firm has over 170 staff members in three continents.
2014 Issue No.54 ZAR 20 EUR €2, UK £2, US $2
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Pernilla Ohrstedt Pernilla Ohrstedt is a London based Architect and Designer. She works on projects ranging from buildings, exhibitions and installations all around the world.
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Designtimes Issue 54 brings you some fabulous products any creative would want to get there hands on. Neil Stevens adorns our cover with his bold graphic illustration style. We also interviewed Neil and feature more of his illustrations on page six and seven. We chat to Martin Gran (cooler than your gran), of design and architecture studio Snohetta, who is reposnible for designing Norway’s new banknotes. We take a look at Linberg eyewear from Denmark. At this time of year thousands of creative students graduate. We rounded up Cape Town’s top fourteen creative graduates for a photoshoot, to show off these very hireable graduates. Turn to the inspiring photography of German photographer Peter Guenzel who manages to shoot a wide variety of subjects from architecture, cars, interiors, people and landscapes. Talking landscapes, Haakon Nygaard - self taught photographer - based in Norway captures the most breathtaking landscapes of the Norwegian mountain ranges. Enjoy the read, practice pronouncing Scandinavian names and we will see you in the new year. Mark Rosenberg
i.am Puls Nike Lebron 12
Will.i.am has just revealed the Puls at Dreamforce 2014, a smartwatch that doesn’t need to be tethered to a phone to send texts, emails or make and take phone calls. The Puls has 16GB of storage onboard, 1GB of RAM, GPS, a pedometer and accelerometer, all powered by an Android-based platform and a Qualcomm Snapdragon processor. It connects to the internet via WiFi and 3G. It also has a voice assistant. The musician/entrepreneur didn’t mention how much the Puls will cost. www.iampuls.com
Seatylock
Editorial Mark Rosenberg mark@designtimes.co.za Roxy Rosenberg roxy@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Zachariah King zac@designtimes.co.za
Contributors editors illustration by Run Rabbit Run
Cover Neil Stevens crayonfire.co.uk
Advertising Wendy Scullard, Roxy 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
Public relations Lions Wing lionswing.co.za
Printer CTP Printers ctpprinters.co.za
Subscribe R250 for a one year subscription, thats six issues delivered to you! 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! We would also like to correctly credit Reinard Kruger, Associate at Spoor & Fisher for writing last months article entitled “Questions on Copyright protection for creative agencies.”
Nike has unveiled the Lebron 12, a basketball shoe designed specifically for basketball star LeBron James, with five hexagonal air bags built into the sole to provide “accelerated explosiveness” . The boot has an upper that includes an area of breathable mesh and flexible synthetic fabrics fused together to create single piece. The soles combine Nike’s existing Zoom technology – which uses balls of bouncy fibres to help give athletes more power with hexagonal pockets of air for extra cushioning across the bottom of the foot. Nike say: “James
iPad Air 2
Apple has introduced iPad Air 2, the thinnest and most powerful iPad ever. Now just 6.1 mm thin and weighing less than a pound, iPad Air 2 features an improved Retina display and better cameras. It is available in gold, silver and space gray, The iPad Air 2 is packed with many new innovations, Philip Schiller, Apple’s senior vice president of Worldwide Marketing says “iPad Air 2 has a new Retina display with anti-reflective coating, second generation 64-bit A8X chip, all-new iSight and FaceTime HD cameras, faster Wi-Fi and LTE wireless, and includes the revolutionary Touch ID fingerprint identity sensor.” iPad Air 2 is powered by the new A8X chip, which delivers a 40 percent improvement in CPU performance and 2.5 times the graphics performance of iPad Air, but still delivers up to 10-hour battery life iPad Air 2 also includes the M8 motion coprocessor that gathers motion data from the accelerometer, gyroscope, compass and an all-new barometer which senses air pressure to provide relative elevation. iPad Air 2 should deliver faster connectivity with 802.11ac Wi-Fi with MultipleIn-Multiple-Out (MIMO) technology which should give 2.8 times the Wi-Fi performance of iPad Air. www.apple.com
The brand new Seatylock is a bicycle seat that also functions as a onemetre-long bike lock made of steel with links that fold up under the seat for storage during travel. Seatylock was created by a team headed up by product designer Oren Livne. The Seatylock solves the problem of having to carry around a heavy conventional bicycle lock - a problem faced by many urban cyclists.
Canon G7X
The new mini beast from Canon is the PowerShot G7 X. The camera features a large 1” 20.2-megapixel HighSensitivity CMOS sensor and powerful DIGIC 6 image processor. G7 X allows for dramatically improved low-light performance and ISO sensitivities up to 12,800. The fast 4.2x f/1.8-2.8 optical zoom lens provides users with a responsive camera capable
runs approximately three miles per game, and the average player changes directions about 1,000 times over that distance, requiring supportive, comfortable footwear to withstand tremendous impact and torque”. Each of the seven colour combinations for the Lebron 12 has been influenced by elements of James’ style of play. The first two will be released in October, with a further three made available in November and the final two going on sale in December. www.nike.com
Hennessy Bookmarks by Shepard Fairey Awards
The Bookmarks Awards is an IAB South Africa initiative (celebrating its 7th year in 2014 / 2015). This is the local digital industry’s highest calibre award, aimed at identifying and rewarding excellence in digital creative work and execution. Benchmarked against international standards and measurable results, it is judged by a host of local and international judges. This year, the Bookmarks form part of the IAB Summit taking place on the 19th of February 2015 at the Turbine Hall in Newtown Precinct, Johannesburg. This years theme is: ‘Be Inspired, Celebrate!’ www.iabsa.net/summit/bookmarks
of producing detailed imagery in a wide range of situations. It has a 6.5 fps continuous shooting rate with large buffer for capturing images in full resolution (HD 1920 x 1080 video recording in 60p). Complementing the imaging and handling traits of the camera is built-in Wi-Fi connectivity, which allows mobile devices to control and release the camera’s shutter.
After its sought-after collaborations with Kaws, Futura, and OsGemeos, Hennessy invited Shepard Fairey, one of the most most popular American artists of the early 21st century to design his own Hennessy Very Special Limited Edition. The collaboration between Hennessy and Shepard Fairey has everything to do with their shared values: the never ending quest for excellence, the love of true craftsmanship, the cultivation of consistency, the passion for tradition and innovation. “There is a philosophical connection between the way I work and the way that Hennessy works as a brand,” said Shepard Fairey. Shepard Fairey had the privilege to dive deeply into Hennessy’ visual history in Cognac. His research brought some enlightening insights into the brand’s iconography and its core principles. “I was incredibly impressed knowing how many years it takes to cultivate all the different kinds of eaux-de-vie, and the real craftsmanship that goes into making Hennessy cognac. I think it’s a very artistic process, which I truly relate to. Hennessy invited Shepard Fairey to celebrate the release of his Limited Edition with a “Very Special World Tour” already scheduled to hit ten of the world’s most influential cities which has included Braamfontein in Johannesburg.
The world is colored with possibilities. How you look at it is up to you. It’s your imagination. Your vision. Your eye. We add a colorful lens. A lens we’ve been crafting and perfecting for over 50 years. A lens you can look through, whether you’re a creator of design or a lover of design. With Pantone’s insight and tools, you have the power to make it well-designed. Make it vivid. Make it memorable. Make it yours. Make it Brilliant. Find out more at Pantone.com PANTONE® and other Pantone trademarks are the property of Pantone LLC. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. © Pantone LLC, 2014. All rights reserved.
ILLUSTRATION
Neil Stevens
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eil Stevens was born in Basildon, Essex, just North of London, in 1974. He grew up in Hertfordshire near the countryside. From a young age Neil was drawing and painting. He went on to study Typography & Graphic Communication at the University of Reading. He spent some time after graduating working in London before moving to open his own studio based in the old Roman city of St Albans, just north of London. What got you interested in illustration? I think my first form of illustration came from me copying my elder brother who drew a lot of his own comics and characters. It wasn’t until at school aged around nine that we were asked to draw self portraits and I realised mine was actually not a bad representation so explored that more. It was
small luggage label. I love the classic artists as mentioned before like Picasso and Miro but also fellow contemporary illustrators such as Lesley Barnes, Stanley Chow and the work of Steven Bonner. What was your first project you did as a freelance illustrator? Ah, I looked back at this the other day and had to laugh, I can’t believe they published it but I’m very grateful that they did. It was for a football magazine here in the UK. They must have liked it as I still work for them to this day. I sent them examples of my work via email in the hope they would ask me to create work for them and three months later they finally asked, so never give up hope if you’re just starting out, as people may not need your work the moment you send them self-promotional material, but if you’re good enough, they’ll call when they have something that fits. Can you talk us through the process of working on an illustration? I usually work with pencil first as the marks you make with pencil on paper are more fluid. My sketches are very crude and for my own reference at the start. I would then scan in the rough marks and use Illustrator to create the vectors on top of it. But as my career has progressed i’ve learnt to use Illustrator in a more confident way and often bypass the pencil sketches altogether. With a Wacom tablet and pen it has become a lot easier to ‘sketch’ in Illustrator. I create the basic ‘crisp’ vectors to get everything in place and then walk away from it. This is always good to approach it again later with fresh eyes and see how you can add, improve and do something a little different to the illustration that will make it stick out from the crowd. Craft it more, add fine details etc. I then usually finish off in photoshop with various subtle texture additions, shadows and colour adjustments. You have an impressive client base. Audi, Citroen, Paul Smith, WIRED etc. How’d you manage to get these clients? I stumbled upon a list of the top design agencies in the UK and decided why not send them all some self-promotional work. So I sent off a postcard pack and a follow up email to them all. There was a 100 agencies on the list! It seemed to work as the jobs gradually began to come in. I never hassled them, just one simple pack of postcards and one email as bait. I also sent my work to agents who I would like to represent me and they kept asking for more examples of work. So when you start out that’s hard work as you hardly have anything, so I kept sending self initiated piece after self initiated piece and then eventually got on the books of an agent in the UK, one in France and the US. I think twitter, instagram and Behance have been a vital tool for getting seen too. Once you get one ‘big name’ I think clients will put trust in you. But it’s not always about the big clients of course. It’s about creating work you love. And if these big clients love your work then you’re on to a winner! What do you love and dislike about illustration? I love the colours I bring to my work, but as mentioned before I sometimes dislike that I’ve not settled on a very distinctive style, like Lesley Barnes, Ben O’Brien or Stanley Chow here in the UK. If you could be a superhero for a day, who would you be and why? I’d be Super Slow-Mo Man. Encouraging the world to slow down a little, relax and just take in all that could inspire them in for a day. Life moves too fast!. www.crayonfire.co.uk
It’s good being versatile and constantly developing your style. also the many children’s books I had as a child that must have inspired me. I always tried to draw the pictures in all the books we had and my Dad was a great water colour artist so naturally tried that too. Have you always worked for yourself? I started my professional career the moment I left University. I got a place at a local book publishers designing book covers. I actually worked for a handful of publishers before joining a marketing design department at Sotheby’s auction house in Bond Street, London. I was designing all their promotional material and adverts. It was a great job being amongst Picasso’s, Warhol’s and Miro’s etc so again very inspiring. So by day I would be designing in an in-house studio in London, by night illustrating jobs for clients found by my agent. It got to the point where I couldn’t do both and loved the illustration work so quit the day job and began working from home in my loft as a freelance illustrator. It was the best decision I ever made! How would you describe your style of illustration? How your styled developed over the years? This is always an interesting question as my style never seems to settle in one style. My portrait work is completely different to my photo montage work which is then very different to my vector illustration styles. It’s good being versatile and constantly developing your style so I try to ‘re-invent’ myself a lot but always try and keep a signature element to the work. I create a lot of cycling prints so I keep them all the same style, but then I also like to be more abstract one day and then more realistic the next. I often wish I had a very set style but then why not change and mix it up now and then? I think this comes from my design background. As a designer you have to adapt to the brief a lot. You design for so many different clients and situations that you change styles frequently. What keeps you inspired? I’m inspired by absolutely everything. From huge widescreen cinematic films, to a
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Cycling Prints Ongoing project of cycling prints for The Spring Classic, a series of prestigious cycling races held each year within France, Belgium and the Netherlands.
Modus Magazine illustration created for Modus magazine to explain all about low-cost carbon fuel storage.
Electronica Inspired by the music of the ‘Electronica’ genre, with the likes of the Chemical Brothers, Leftfield, UNKLE and even albums from Primal Scream. Part abstract, part typographic and part scructural.
Vintage World Cup A set of vintage styled World Cup prints. The series gives a nod to artists in the past such as Miro and even Chagall.
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MARTIN GRAN OF Snøhetta
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tudio Snøhetta was formed in 1989. Snøhetta is an award-winning international architecture, landscape, interior and graphic design firm with main offices in Oslo, Norway and New York City. The company was founded by Kjetil T. Thorsen and Craig Dykers. Currently the firm, which is named after one of Norway`s highest mountain peaks, has approximately 170 staff members from 28 different nationalities working on projects all over Europe, Asia, the US and Canada. The firm is centered on a transdisciplinary approach where various professions work together to explore different perspectives of each project. A respect for diverse backgrounds and cultures is a key feature of the practice. Reflecting this value,
What would you say has been “the” defining moment in Snøhetta’s growth? In general, you could say that although very international in its approach, there is a strong and common company culture firmly rooted within a Nordic Social Model which is based on equality, openness, generosity and environmental conditions. And we think this can explain some of the growth. The more defining moments have been the starting point with Library of Alexandria, The 9/11 memorial pavilion, Oslo Opera House, redesigning Times Square and the expansion for San Fransico MoMA. And in graphic design and branding, winning and redesigning DNB (large Nordic bank), Norwegian Airport Network AVINOR, OECD in Paris and Newsbeast in New York, ResMed in Australia were all important moments. Tell us about the design for Norway’s new bank notes? Tell us about the brief you received, how many creatives were assigned to the job, how the idea came about? It was a competition were 70 agencies and artists enrolled. 8 were pre-qualified and we got briefs from the Central Bank of Norway; There was also a one day seminar where all competitors were gathered, learning about security measures and obviously the overall concept of the Sea. It must be quite a milestone for the studios design for the banknote to be chosen. Millions of people will be holding your work in their hands daily. How does this make you feel? It feels very exciting and important at the same time. We couldn’t think of any other design project that shifts hands more than this one, so it’s very social. We feel were part of something very governmental. It is a honor. We find it very interesting that your studio is involved in architectural projects as well brand identity and print design. Is there a split in the company in terms of a bunch that do only architecture and others doing only design for print? We practice a self-defined transdisciplinary processes where different professionals, from authors to visual artists, from philosophers to sociologists, take each other positions to explore differing perspectives without prejudiced points of view. Opinions on history, culture, representation, climate, branding and landscapes, social environment, ethics and functions all represent layers of complexity to be embedded in a final result. You will not find a group of a singular minded people only working with graphics or interior in Snøhetta; we are all mixed in our office. The studio has been involved in some pretty exciting projects – what has been your personal favourite and why? I believe I must say the Zumtobel Group Annual Report. We just launched this project. It is a very beautiful project because, despite it being an annual report, it is so very human. We have all, truly, gotten very fond of this project. What can you tell us about Snøhetta’s creative process? We nurture concepts, diversity and the dialog between analog and digital tools, and all our projects must go by our modelshop. We like to say that we think as much with our bodies as our brains. www.snohetta.com
We are centered on a transdisciplinary approach where various professions work together to explore different perspectives of each project. Snøhetta is composed of designers and professionals from around the world. Snøhetta has developed a reputation for maintaining a strong relationship between landscape, architecture, and design in all of its projects. The unique site and context of each project is considered and provides a strong point of departure for the design. We had a chance to chat to Martin Gran a partner and Managing Director at Snøhetta Brand Design. Previously he was Scandinavian Design Group’s New Business Director and Strategic Advisor, responsible for major brands in Europe and the Nordic region. He has many years of experience in advertising, and has also taught at various universities in Norway. Snøhetta has 170 employers in four cities around the world. That’s really impressive for a design firm. Can you tell us about this growth; did it take a long time? In 1989, Snøhetta received its first commission to re-invent the great Alexandria Library in Egypt, after winning an international design competition. This was followed a decade later by another competition-winning proposal for the Norwegian National Opera and Ballet. In 2004, Snøhetta was commissioned to build the only cultural building on the World Trade Center memorial site, and a permanent office was then set up in New York. Snøhetta is currently involved with more than 50 projects in Europe, Asia, Africa, Oceania, and the Americas. Working globally gives each designer valuable cultural and economic insight and creates the foundation of Snøhetta’s continuously evolving professional knowledge base.
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Lindberg Danish design at its best
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n connection with World Design Capital 2014, the Embassy of Denmark is bringing Danish design and architecture to Cape Town for you to explore examples of worldrenowned Danish design. Her Royal Highness Crown Princess Mary of Denmark and His Excellency Minister of Trade and Development Cooperation, Mr Mogens Jensen visited Cape Town and open the Embassy of Denmark’s “Danish Showroom for Design, Architecture, and Consumer Goods” in November. Functionality is the pillar of Danish design. Together with simplicity and a striving for the highest quality, Danish design often reflects the beauty and calmness of a country that has been continuously voted the happiest in the world. One of the brands asked to exhibit and explore partnerships with South Africa is eyewear brand LINDBERG. LINDBERG is a Danish family run eyewear company with trophy cabinets laden with high-profile awards for exceptional design as well as technical achievement. The
made it possible to move eyewear away from traditional materials that were bulky, heavy and prone to breakages. These included relatively primitive plastics, acetate and traditional metals. By contrast, the ultra-lightweight, nofrills AIR Titanium design was virtually indestructible. There were no vulnerable rivets or welds, and patented screwless hinges meant there were no screws to work loose. LINDBERG’s curious exploration and development of the design potential of this “space age” material, as well as the multitude of manufacturing challenges associated with processing, extruding and shaping titanium wire, gradually reconfigured perceptions about eyewear. It also radically changed the demographics of consumer appreciation of good design in the eyewear market. LINDBERG’s combination of innovative technical features and remarkable minimalist design throughout the 1980s and 1990s attracted worldwide media attention, along with cascades of design prizes and display at MoMa. This kind of success and recognition meant that the awardwinning, eyecatching design of LINDBERG eyewear generated interest and credibility among influential new customer groups that included technically appreciative design aficionados and fashionistas of both sexes. Furthermore, economic growth meant that middle and higher-income groups were growing in size and had significantly greater disposal incomes than ever before. These key developments in society and consumer demographics also meant that attractive – and distinctive – eyewear became a crucial competitive element in making personal style statements. Eyewear became a prestigious part of the world of fashion and design – and everyday life. LINDBERG has made a clear decision for the long term. The company has no need or ambition to get bigger – size and volume have no intrinsic value. At the same time, keeping the company family-owned and relatively small means LINDBERG is able to make sure the organisation remains agile, quick to react to market changes and easily manageable – as well as maintaining the distinctive Danish style of directness and non-hierarchical egalitarianism. It’s a company that wants every member of staff to feel that they know what’s going on and who’s doing what – and why. LINDBERG has resolved to maintain its focus on one sole crystal-clear objective – consistently making amazing eyewear even better, and living up to the company mantra that if you’re going to do something, it’s worth doing it exceptionally well. www.lindberg.com
in the 1980s the Danish optometrist Poul-Jørn Lindberg was unable to find any lightweight glasses that he liked, so he decided to develop and make his own, experimenting with titanium wire to hold the lenses in place. company has notched up an unprecedented total of 64 such accolades to date, including multiple Red Dot, iF Product Design, G-Mark, Silmo d’Or and Eyewear of the Year awards. The LINDBERG design and manufacturing mindset is firmly rooted in the long-standing Scandinavian design tradition that focuses on the capabilities inherent in high-quality, natural materials and the resulting functional, no-frills minimalism – devoid of superfluous embellishments and visual noise. The basic story is that back in the 1980s the Danish optometrist Poul-Jørn Lindberg was unable to find any lightweight glasses that he liked, so he decided to develop and make his own, experimenting with titanium wire to hold the lenses in place. His collaboration with architect Hans Dissing resulted in the AIR Titanium frame, which subsequently became an icon of minimalist design that opened up new vistas for the design, manufacture and marketing of eyewear. If it were done today, this design idiom might be categorised as steampunk retrochic, harking back to the way the vast majority of glasses were made back in the nineteenth century. But in the 1980s the breakthrough AIR Titanium design was one of the very first to exploit the – at that time – largely unfamiliar qualities of titanium, a metal that provides a rare combination of remarkable strength and very light weight. In mainstream thinking, titanium was then mostly associated with aviation, spacecraft and advanced metallurgical wizardry. LINDBERG’s innovative use of titanium
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2014 Cape Town’s TOP CREATIVE GRADUATES Compiled by Lauren Millar Photography by Seagram Pearce Every year Designtimes features a graduate showcase where we show off the work of Cape Town’s top creative graduates. Every year these featured graduates get snapped up by the creative industry. This year we wanted to take the focus off the work which is absolutely brilliant - and can be viewed on www.designtimes.co.za - and rather put the spotlight on the graduates themselves. If you would like to get in contact with any of the graduates please email graduates@designtimes.co.za
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01 Alesha Otto Friends of Design Print Design & Publishing
02 Cheyne-levi Maasdorp AAA School of Advertising Graphic Design
03 Byron Boshoff CityVarsity Multimedia Design
04 Robyn Newham Vega Visual Communications
05 Faith Ilevbare SAE Digital Film Production
06 Tristan Chesselet The Creative Academy 1st Year Interaction Design
07 Chantelle Rautenbach Red & Yellow Art Direction & Design
Alesha is from a marketing background and left tp pursue her passion for design. “What I love about design and the creative process, is its diversity, the thinking process behind it and the ability to inspire others and give life to someone’s vision through creative visual language.”
Cheyne is a graphic designer, illustrator and letterer. Surviving from a young age on a stable diet of cartoons, comics and video games he loves nothing more than being able to bring his imagination into real life. This is Cheyne’s growing passion and life goal!
“I am passionate about most areas of design, I really enjoy being creative. Whether it’s doing print and layout or late night coding sessions, I like to put everything I can into a project. I challenge myself to continuously learn new styles and approaches to design.”
As a creative Robyn is very interested in the local design vernacular of South Africa. African culture, design, music and art form the focus of her work. “Merging my Eurocentric cultural heritage with my African cultural creates a special dynamic in my work.”
Faith has a passion for storytelling, is enthusiastic and creative. At the end of this year she graduates with a higher certificate in digital film production and will have completed her first job as a producer, director and editor under her short film production company, Gray Films.
“From a young age, I have always found myself at my happiest when pushing my own creative boundaries. The feeling of ‘flow’ that comes with the creation of something new is what I live for. Studying at CTCA has only served to fuel this process, fostering my desire to create.”
Chantelle started surfing competitively from a young age, which taught her to work hard and strive for the best. This inevitably translated into her design work and after applying to Red & Yellow helped confirm her creative spark and discover her potential.
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08 Shaun Gartland Inscape Graphic Design
09 Emma Philip AAA School of Advertising Brand Communication
10 Tayo Kopfer The Creative Academy 1st Year Interaction Design
11 Robert Alison SAE Sound Production
12 Talia O’Brien CityVarsity Multimedia Design
13 Clara Ilena Friends of Design Interactive Media
14 Grethe Meissner Red & Yellow Art Direction & Design
“I’ve been told Im a pretty versatile designer, therefore I’d say bring on any design project you have in mind… and lets get to work. I like to think of myself as a designer that won’t walk away from any project until its jsut perfect. I keep calm and carry on.”
Emma grew up McGregor, playing in the streets and buying chappies with her pocket money. “I’m a bit of an introvert but I’m ok with that.” Emma is passionate about all aspects of design. She is very excited to become a part of the Cape Town design community!
“I grew up by the seaside in Scarborough. I went to school at Constantia Waldorf and did a year at UCT before deciding to move to the Cape Town Creative Academy. I love design and have a special interest in animation, especially more traditional stop-motion animations.”
Robert completed his BCom Degree at Stellenbosch University bfore enrolling at SAE. He is working on his Debut EP to be released as part of his graduation showcase. “This album will primarily be relaxing ambient music composed and produced to help one fall asleep.”
Talia is a graphic and web designer who loves all things design. “To me, design is a powerful and enigmatic tool that uses visualisation to create, manipulate and express ideas. It is this understanding of design that motivates me to be a visual problem solver.”
Clara is a freelance digital designer and illustrator. She has worked for advertising agencies such as Saatchi & Saatchi and Y&R but soon realized that her true passion lies in Web Design and Interactive Media. She is currently perusing this passion.
“I decided to list my future career options in alphabetical order. I got as far as ‘A’. So advertising it was. Have you seen the Levi’s advert “Go Forth”, well I didn’t really do that, I went to college instead and now... I’m graduating from Red & Yellow as an Art Director and Designer.”
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PHOTOGRAPHY
peter guenzel
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eter Guenzel grew up in Leipzig, East Germany and and emigrated with his family to West Germany in 1986. He was only fifteen back then. He is now forty three and living in London. He initially came to London in 1996 to study photography with the intention of moving back to Germany. During his studies his talent was clearly noticed and small commisions and jobs sstarting coming his way which later led to a full time career in photography based in London. Peter currently lives and works in a warehouse in Hackney, East London. How did your interest in photography begin? What was your first camera? My first camera was my dad’s Praktika which I started using when I was about eight. I shot b/w images of animals mainly, they are till in my photo album. I always had an interest in art and I used to be pretty good a drawing, a talent which I have completely lost. When I did fine art at A level in a small town called Detmold I was introduced to b/w film processing and printing and it was then when I decided I wanted to become a photographer. What was your first photography job? I think it was a portrait of my sister’s boss who run a film production company in Potsdam at the time. I was still in college. I don’t see many photographers shoot such a wide variety of subjects and manage to do all equally so well. How did this broad interest in subject come about? My favourite subject is landscapes (because I like to travel and be outdoors I guess), yet there isn’t much (editorial) work out there in this particular field. I had never planned to shoot architecture and cars, yet the work somehow came my way. Right after leaving college in 2000 I shot a couple of projects for friends of mine who are architects. I then started shooting travel stories for Wallpaper which would usually be a combination of portraits, architecture/interiors and city scapes. Many architectural photographers seemed to shoot architecture only (without people) at the time so this was a plus for me I guess. Around the same time I started shooting for Intersection also (portraits and factory visits initially) which in turn lead to other car jobs. Do you do a lot of post production on your photos in Photoshop? What’s your workflow like after shooting for a day? I try to do as much work as possible in Lightroom. I would do a quick edit right after the shoot and step back for a day or so (if there is time of course). I would then do the final edit and color correct/crop before sending it off to the client. Only the final selects would be opened in photoshop (if at all). For more complicated work such as comping or high volume jobs I get a retoucher involved. I actually don’t like sitting in front of a computer and there is way too much of it now. I sometimes miss the days when you could leave your film with your lab and your printer (who you would trust) would deal with the client’s print order. I still shoot most of my personal work on film. What equipment are you currently using? A Canon 5d Mark II, but I’m very close to switching to a Nikon D810 (although I’m hoping that Canon will get their act together and come up with a camera of equal qualities). I hire Phase One backs on a Hasselblad for commercial work I’ve got some profoto lights and shoot film on a Mamiya 7 and a Mamiya RZ. Do you have an instagram account? Yes you can follow me on @peterguenzel www.peterguenzel.com
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ARCHITECTURE
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Pernilla Ohrstedt
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ernilla Ohrstedt Studio is a London based Architecture and Design practice working internationally with projects ranging from buildings to exhibitions, installations and objects. The studio was founded by Pernilla Ohrstedt. Clients and collaborators include Coca-Cola, Colette, The Architecture Foundation, The Royal Academy of Arts, The British Council, Storefront for Art and Architecture, Mark Ronson, Canada Pavilion at Venice Architecture Biennale and fashion houses DAKS and Antipodium. We had the
his projects was like being asked to chose which of his children was his favourite! I don’t have any kids but I know what he means. I would say the people that you collaborate with is usually what makes a project really special be it the clients, engineers, musicians or specialist contributors like Geoffery Finch of Creative Director of Antipodium or Sarah Price super talented garden designer based in Wales and of course Mark Ronson who created the Beats for the Beatbox Pavilion. What would you say has been the defining moment in your career? My time working with Joseph Grima in New York at Storefront for Art and Architecture, a tiny not-for-profit gallery in SOHO. The collaborative projects we did there all on shoestring budgets taught me that anything is possible. The Gallery was founded by Kyong Park and Shirin Neshat 30 years ago is still at the cutting edge of architecture, art and design and just represented The US at the Venice Biennale! What has been your guiding principle when it comes to architectural or installation projects? We try to approach every project differently depending on what’s particular to each one. A principle that we apply to each project and for which we are becoming known is to create maximum impact with minimal material waste - a big problem within temporary architecture and event world. What are you working on now and when / where can we see it? We are working on an exciting new showroom in Germany which will open next year. I can’t tell you more at the moment as its all top secret. We have also just finished a project for Dezeen & MINI’s Frontiers project where they asked six designers to explore the Future of Mobility for an exhibition during London Design Week, The project was called ‘Glitch Space’ and we collaborated with Scanlab Projects to superimposed a digital point cloud onto the exhibition venue in the form of 150,000 vinyl dots. www.pernilla-ohrstedt.com
Shoestring budgets taught me that anything is possible. opportunity to talk to Pernilla about her about some of her projects. Killer looks, smarts to match and talent in heaps, is there anything (other than donning a superhero outfit and fighting crime) that you don’t do? Get enough holiday, this year has been super busy for the studio and we are all wishing that we had bit more free time. Tell us briefly how you got started on a your career in architecture and design? I originally was set on a career in fashion or the art world. After school I left Sweden for London to do a foundation course at St Martins School of Art. While I was there I came across the very exciting London architecture schools. You work with fashion company’s a lot. What are the challenges what do you like about it? I love the fast pace of the fashion industry, our more traditionally architectural projects can take years from start to finish but the turn around for our work for the fashion world, be it for London Fashion Week or shop interiors, can be weeks. Its a very different but satisfying challenge. You’ve been involved in some great projects what has been your personal favourite and why? I heard quite a well known architect say the other day that he always felt that being asked to chose which was the favourite of
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PHOTOGRAPHY
Haakon Nygaard
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aakon Nygaard is a twenty seven year old photographer from Norway. He grew up in the small town of Sunndalsøra between tall mountains in a valley near the west coast of Norway, where he currently lives. After studying for four years in the capital, Haakon received his degree in... no not photography, but rather data technology. His love of nature, family, friends and the beautiful landscapes you see on the left drew him back to his home town after graduating where he lives with his girlfriend and ten month old daughter. How do we pronounce your name? Back home I actually write my last name Nygård. I write Nygaard internationally. The double ‘a’ in both my forename and surname is pronounced as an ‘å’, which is one of three extra vocals we have here in the Norwegian language. The ‘å’ is pronounced like ‘awe’. (British rather than American pronunciation). So it will be something like ‘Hawk-oon’. ‘oo’ pronounced like in ‘cool’. My last name is directly translated into English ‘new farm’. I think I just leave it there. Have you received photography training? I am self-taught. I learned a lot from reading and looking at photos on the internet. What got you interested in photography? It started when my girlfriend and I was on vacation in Malaysia back in 2009 when we decided to buy a DSLR to photograph our trip. But I didn’t get serious before 2011 when I bought my first proper lens which was a macro lens. I started doing macro and animals, mainly birds. Now I almost only do landscapes, and it is what I am most comfortable with. Why landscape photography? I like landscape photography because the landscape is always “there” in the same place but it is ever changing with the seasons, light and weather conditions. Unlike the birds and animals who you have to wait for (wait a lot for) and the really good telephoto lenses are very expensive. The same landscape can look very different at different times, I find that fascinating. Tell us about the process in capturing a great landscape shot? I always have a great experience when I am out there capturing the beautiful landscapes. To get many of my shots, I have to go out backpacking, lying in a tent for several days at the time to get the light I am looking for. I mostly do it alone, it is peaceful and I guess you can call it spiritual. How do you make money from your photography? Do you sell prints and usage rights? I do not make enough money from it to make it my livelihood yet, but one day I hope I do. I sell some prints and usage rights now and then. www.haakonphoto.com
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DESIGN
Samir Sadikhov
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amir Sadikhov was born in Azerbaijan, in the city of Gandja in 1990. After attending high school Samir completed a Bachelor degree in Transportation Design at the Italian university: Istituto Europeo di Design. In 2011 he completed his thesis, which was sponsored by Ferrari. He also came second in a worldwide design competition for cars which landed him two job offers; one from Ferrari and the other from Lamborghini. Samir had a tough choice to make and ultimately decided to work for Lamborghini. He worked there for over a year. During his time at Lamborghini he felt he needed to expand his education. Samir is currently enrolled to complete his masters degree at one of top five design schools in the world, the Pforzheim University. He will graduate at the end of 2015. Besides designing cars what are some of your hobbies? As a designer I always try to keep my ideas fresh, therefore i am always into new adventures. I really love photography and graphic design which helps me to present my projects in the most delicate ways. Also I am very much into Typography and Calligraphy. You speak quite a few languages? How’d you manage that? Being born in the post soviet era in my home country it automatically gave me the oppertunity to learn more languages and just for the record Azerbaijani people really good at learning languages without accents. At the moment, I can speak Turkish, English, Russian and Italian. Sometimes I mix up the words within languages but I think it’s not a big deal these days ;) Did you always know you wanted to design cars? Since childhood I was really into cars and especially drawing them. During my high school years I found out that there is a profession called car design. Immediately I decided my carreer path and at that moment I was sure of what I wanted to be in the future. Since then I still continue to work hard to become a real good car designer. Tell us about your time at Lamborghini? I was working directly for them as an employee. Those were definitely great moments in my career. The biggest project I have worked on there was the URUS concept which was revealed at the Beijing Motor Show in 2012. As a part of the team I worked mostly on interior of the vehicle. How does one start designing a car? First of all there must be a brief from the client. Knowing this you then have to start researching to find a strong concept for the project, which will be the DNA of the car. After deciding on concept and direction then the best part of the process starts, sketching… Firstly, I am go as crazy I can with ideas and let my imagination flow and then only later do I slow down to adapt those sketches to the provided brief. Then the client or supervisor decides on the final idea. 3D CAD modeling helps defines the real proportions and details of the car. After modeling , if you are in a company studio you can make 1:4 scale model of your car for better evaluation. Final editing comments comes from the client or boss to help finish off the project. Finally, I do realistic renders to present the project. If someone wanted to be a car designer what advice would you give them? First of all he/she must be car nuts, a total petrol head. That’s what drives you in this profession. Second sketching, a designer must be able to transfer his ideas to paper. www.samirsadikhov.com
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2014/11/14
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DESIGN
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ADVERTORIAL
ADVERTORIAL
Sharpening Pathfinders your raw artistic talent
The Wine Label Design Awards were launched at Jordan Wine in Stellenbosch in November. The awards, a first in South Africa, are proudly sponsored by selfadhesive label supplier Rotolabel and are convened by Winemag.co.za – Wine magazine was published from 1993 until 2011 and now lives on in digital form. World Design Capital Cape Town 2014 have endorsed the initiative and At Pace have designed the logo. The motivation for the competition is to reward outstanding design as an influence on wine purchases. Judging takes place from 27 - 28 January 2015 and all South African wine producers and design studios are invited to enter by the deadline of 21 January. An administration fee of R300 per entry applies. A distinguished panel has been has been compiled as follows: Christian Eedes, Editor, Winemag.co.za. Sean Harrison has some 25 years of experience in graphic design and branding. He started Whitespace Creative Direction in 2013 having originally started Code – A Company of Designers in 1995. He is a winner of various national and international awards and has judged at both the Loerie Awards and Cannes Lions Awards. George Jardine, Executive Chef, Jordan Restaurant Scottish-born George Jardine began his career in London under Michelin Star chef Jean Christophe Novelli and subsequently headed up top restaurants in Australia, Indonesia and Malasyia. He ran the acclaimed restaurant Jardine in Cape Town before opening Jordan Restaurant on Jordan Wine Estate in Stellenbosch. Ivan Oertle has been involved in buying wine for leading retailer Woolworths since 1999 and recently became Specialist Wine Buyer responsible for procurement, innovation and development. Joanne Thomas is one of the founding partners of The Jupiter Drawing Room Cape Town, one of South Africa’s most successful independent agencies. She has won numerous local and international awards and has extensive judging experience. Wines will be judged in three categories: 1) under R60 a bottle; 2) over R60 a bottle and 3) labels forming a series – no price constraints. After official judging, finalists will then be displayed on Winemag.co.za for a set period to allow for consumer voting to determine a “Consumers’ choice” winner. www.winemag.co.za
When choosing a career path, many young art students consider a job in advertising or graphic design – industries where artistic skills can earn you a good salary. There is a misconception, however, that raw talent is enough. After all, if you can draw well or make expressive, meaningful visuals, you should be able to create great commercial designs – right? Not so. Here are four important reasons why studying graphic design and art direction is an essential precursor to a career in the communications industry. Art is not design. Being a great artist does not necessarily mean you’re a good designer. That’s because design has very little to do with art and everything to do with communicating a message. Designers create meaning through layouts, relationships, information architecture and consumer insights – and some of the world’s most renowned designs have virtually no colours or images at all. An excellent design delivers the intended meaning and information to the viewer – nothing more or less.
There is a misconception that raw talent is enough to secure you a job in advertising or design. Design skill. Developing a knack for great design takes time and coaching. While the two have visual creativity in common, design is a much more scientific, rulesbased medium where personal expression plays a lesser role. In order to excel as a professional designer, you need to channel your artistic style and aesthetic through tried-and-tested formulas. Through centuries of refinement, designers have developed principles and approaches that ensure that their designs work. Learning these rules (and knowing when to break them, carefully) is an essential step in becoming an effective graphic designer. Design mediums. What is the best way to design a poster? What about a billboard? And how do those approaches translate when designing web or mobile experiences? Skilled art directors or designers know that the medium can dramatically affect how you approach the design, and what will simply work (or not). Environment, context, materials and meaning need to harmonise – learning what to use where takes time and effort. Design teams. One of the most important aspects of design work is knowing how to work together with your team (usually consisting of a copywriter, strategist, project manager and brand manager). You need to know your role in the process so that you can collaborate effectively – from initial concept all the way through to final production. Considering a career in design? Red & Yellow offers a 3 year diploma in Graphic Design and Art Direction. Visit www. redandyellow.co.za to find how you can learn all the skills required to work on the creative side of advertising, as an art director or designer. By Anna Malczyk
SAE Institute was founded in 1976 in Sydney and currently has a network of 53 campuses in 27 countries across the globe. Since its inception in Africa, SAE has set the bar for Higher Education on the African continent for students wanting to pursue careers in the animation, film and music industries. Through their globally recognised Degree and Certificate qualifications, SAE is producing graduates that authentically serve Africa’s rapidly growing creative media industry with their astute, skilled, and humble graduates. SAE Institute is recognised as a centre of excellence because of its renowned tuition, skilled and compassionate staff, proactive student support and uncompromising customer service. SAE is the only creative media technology provider in South Africa with a global footprint and internationally renowned curricula. There is no shortage of talented and creative individuals, but there is a distinct shortage of savvy creative professionals who know how to earn a decent and sustainable living
If one cannot earn a living from one’s art, it is nothing more than a hobby. from their productions. If one cannot earn a living from one’s art, it is nothing more than a hobby. This reality is the cornerstone of SAE’s tuition and collegial culture that supports its students to not simply marry the art with the science, but to marry them with the business of creation, and an entrepreneurial spirit. The cornerstone of SAE’s approach is to produce graduates that are not simply talented animators, filmmakers, music producers and sound engineers, but credible citizens of the world who make a significant contribution to society and the economy. It is no secret; employers seek to hire mature, astute and humble professionals and not idealistic prima donnas. SAE Institute offers bachelor degrees, higher certificates and a suite of short courses in their remarkable campus that is a tour de force of architecture and technology located in Cape Town’s Woodstock Exchange. If the ethos of SAE Institute resonates with you, please visit us online www.capetown. sae.edu or call us on 087 351 0828
Erick van Egeraat
Rotterdam, 25 November 2014 - Erick van Egeraat’s Incineration Line, Roskilde has been awarded the first prize in the competition for the Media Architecture Biennale Awards in Aarhus, an award show for outstanding projects at the intersection of architecture, media and interaction design. The design presents an iconic expression for the otherwise functional architecture of the local waste management company Kara/Noveren’s next generation line. The Incineration Line was nominated in the category Animated Architecture: projects demonstrating creative media facades solutions. The professional jury, consisting of international specialists was unanimous in selecting Erick van Egeraat’s design. The jury was made up of members of the Biennale Organising Committee: Alexander Wiethoff (University of Munich), Ava Fatah (The Bartlett, UCL), Gernot Tscherteu (Media Architecture Institute), Juan C. Carvajal (Media Architecture Institue), Marcus Foth (Queensland University of Technology), Martin Brynskov (Aarhus University), Matthew Claudel (Senseable Lab, MIT)
MakerBot IN South Africa
MakerBot, a leader in desktop 3D printing, has announced the expansion of its global footprint to the African continent with the addition of Rectron South Africa as its first distribution partner in Africa. Under the agreement, Rectron will distribute all MakerBot products, including the newest generation of 3D printers: the awardwinning MakerBot Replicator Desktop 3D Printer, the MakerBot Replicator Mini Compact 3D Printer, and the MakerBot Replicator Z18 3D Printer with its massive build volume and the best price/ performance in the extra-large professional 3D printer category. MakerBot Replicator
3D Printers are powered by the userfriendly MakerBot Replicator 3D Printing Platform, which offers an onboard camera, plug and play features, app- and cloudenabled workflow, and available Wi-Fi connectivity. Rectron will also distribute the MakerBot Replicator 2X Experimental 3D Printer, the MakerBot Digitizer Desktop 3D Scanner, and MakerBot Filaments and accessories. “We are excited to partner with Rectron SA to add to MakerBot’s growing network of authorised international distributors and resellers,” noted Mark Schulze, vice president of sales for MakerBot.
ADVERTORIAL
3-D Printing A blessing in disguise?
3-D printing, also known as additive manufacturing, is a revolutionary technology that is likely to shape the future of design and manufacture. It isn’t completely new, but as with most technologies it has taken a few years before reaching the point of being workable (and affordable!). There is little doubt that it is going to become an essential tool for creative people but it could also spell disaster for them when it comes to protecting the exclusivity of their work. The concept behind 3-D printing is quite simple: a printer uses tiny particles of metals, sandstone, ceramics or plastics to create a 3-D object by ‘printing’ thousands of layers on top of the other. As the technology develops the possible applications increase. Thousands of design files are now available on the internet allowing the average person to manufacture their own 3-D items with relative ease. This should sound some alarm bells - it follows a similar pattern to what happened with music. In the good old days, copying music was not an easy task, and in any event, analogue copies had an inherent loss of quality which made copying undesirable. As such, preventing pirating was easier. It could be stopped at the source. With the advent of the internet,
MP3s and peer-to-peer file sharing, it has become a considerably more difficult task. Fears are that the same will happen in relation to objects protected by designs and patents with the advent of 3-D printing: instead of stopping “fakes” at the source, intellectual property (IP) owners will now be required to stop individuals from making copies at home. This is best illustrated by way of an example. Consider a unique key ring; it may be covered by a trade mark, constitute the subject of a registered design or even included a patented idea. But with the advent of 3-D printing a person will be able to manufacture copies in the comfort of their own homes. This leaves the IP owner with the almost impossible task of stopping the acts of multiple infringers. We are yet to see how these issues will pan out as 3-D printing becomes more accessible, but there is no doubt that it is a topic worth watching; it is going to present some unique challenges for IP owners who are going to have to come up with equally unique solutions to ensure the exclusivity of their products. Bryce Matthewson Associate, Spoor and Fisher www.spoor.com
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