DESIGNTIMES south africa’s creative resource
www.designtimes.co.za
/08 DESIGN
JOHN MAEDA
John Maeda is an artist, graphic designer, computer scientist and educator, named one of the 75 most influential people of the 21st century by Esquire.
/10 PHOTO
Connie Zhou
Connie Zhou is an architectural photographer and the first photographer officially allowed into Google’s data centers to photograph the facility.
2013 Issue No.46 ZAR 15 EUR €2, UK £2, US $3
/12 PHOTO
KEVIN SAINT GREY
Kevin Saint Grey is a bank analyst in Calafornia who picked up a camera in 2006 to simply get out of the house more. He has never put it down again since.
MCSA/SHIMANSKY/DESIGNTIMES/4645/E
hoW Much rejectIon cAn You hAnDle?
When it comes to choosing a diamond for his Brilliant 10™ cut, Yair Shimansky says “You’ll do”
You’ll be pleased to know, then, that each Brilliant 10™ diamond is certified by the Gemological
to just one in around ten thousand rough stones. (It seems there’s the dictionary definition of
Institute of America, and laser inscribed with a unique ID and the Brilliant 10™ trademark.
discerning, and then there’s Mr Shimasky’s own.)
the nuMBerS
But then, he needs to be absolutely certain that the selected diamond will hold up to his unique
Yair Shimansky’s Brilliant 10™ displays as much as 25% more brilliance than standard 57-facet
Brilliant 10™ cut. After all, there are many reasons why he holds the worldwide patent on the cut,
brilliant-cut diamonds, and has absolutely zero light leakage. Which makes it appear two shades and why Shimansky is the only place on earth you’ll find it.
whiter than its actual colour. of course it’s scientifically impossible, but you’ll be left wondering whether it actually emits more
A lIfetIMe of BrIllIAnce
light than it receives.
far more will be asked of the rough stone than clarity, colour and carat before it can become
With the kind of precision it takes to achieve this, it’s no surprise it takes three times longer to cut
a Brilliant 10™.
and polish a Brilliant 10™ than any normal diamond. no wonder, then, that it’s as rare as it is – only three hundred Brilliant 10™ diamonds can be produced per year.
Most importantly, it must be able to hold 71 precision-cut facets that are perfect in proportion and symmetry, whether the stone is a quarter of a carat or larger.
the lAnGuAGe of love
the result is a diamond that reflects light with an intensity no other diamond can equal.
the Brilliant 10™ cut is so much more than a technical exercise in creating the world’s most
You don’t have to take our word for it – the Brilliant 10™ achieved the highest score ever
brilliant diamond. viewed from above, the facets reveal a perfect 10-arrows pattern. And viewed
recorded by international analysis. And its qualities have been further verified by specialist
from below, a perfect 10-hearts pattern.
diamond laboratories in europe.
Altogether making it one of the rarest and possibly the most perfect diamond ever created.
In fact, so dazzling is the Brilliant 10™, it’s all but impossible to count the facets with the naked eye.
Surely the perfect woman deserves nothing less?
go to www.brilliant10.com for more information
v&a waterfront
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clocK tower waterfront • caPe town intl
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canal walK
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SanDton citY
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tHe Pavilion weStville
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tYger valleY www.shimansky.com
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NEWS
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Looks like we’re all still here despite the naysayers and prophets of doom, so welcome to 2013. Yep this is it, the future! And it’s green. Or Emerald to be precise. Pantone 17-5641 Emerald if you really must know. So what does the green future hold for us? Freedom and all sorts of fun and excitement. Scientist, author, designer and thinker John Maeda will be visiting South Africa as a guest speaker at Design Indaba later this month. Incidentally we’ll be at the expo and we’d love to meet you so come introduce yourself, take a photo with us, Instagram it (hey you could even print it with 250gram. co.za), Twitter it, Facebook it, you get the idea. We’ll be selecting two social media addicts for a nice surprise gift. Ever wanted a peak inside the Google Data Centres ’gasp’ of course you do, and so did Connie Zhou. She is the first official photographer allowed to capture the heart of Google, we chat to her and showcase her work on page 16. There’s plenty more but I’m out of space, so just read it already! Enjoy! Mark Rosenberg
Editorial
Creative Cloud in SA
Adobe Systems Incorporated today announced immediate availability of the much-anticipated Adobe Creative Cloud to South Africans. Adobe Creative Cloud is a radical new way of providing creative tools and services that will change the game for creatives. This subscription-based offering from Adobe is a hub for making, sharing and delivering creative work. With Creative Cloud membership, creatives can download and install all of the latest Adobe Creative Suite 6 applications. It provides users with access to download and install all Adobe CS6 applications as well as HTML5 products Adobe Muse and Adobe Edge Tools and Services. Creative Cloud integrates Adobe’s creative tablet applications, such as Photoshop Touch, into everyday work, seamlessly synchronising and storing files in the cloud for sharing and access on any device. Adobe Creative Cloud members have access to application upgrades, including new CS point-product features, before they are launched as part of major CS updates, as well as inventive new products and services as they emerge. Pricing for Creative Cloud membership for individuals is $49.99 per month based on annual membership. www.adobe.com/ africa/products/creativecloud.html
Goedzak rubbish bag Goedzak rubbish bag Goedzak is a special garbage bag for items that are still useable. It’s a friendly way to offer products a second chance and stimulate sustainable behavior. Whether it’s that purple vase your sister-in-law got you, or that particular coffee-pad-loving coffee machine (you know the one) that’s been lying in the basement for ages; everybody owns items that are no longer of value to
DI 2013
The countdown to Design Indaba Conference 2013 is well underway and we can’t wait for three days of uninterrupted inspiration. At the heart of this annual Conference is the carefully curated selection of speakers that share their thoughts, ideas and experience with a captive global audience. And this year will be no different. The Design Indaba Conference takes place at the Cape Town International Convention Centre from Wednesday 27 February to Friday 1 March 2013 followed by the Design Indaba Expo, the best of South African design, all in one place starting Friday 1 March to Sunday 3 March 2013.
Mark Rosenberg mark@designtimes.co.za Roxy Rosenberg roxy@designtimes.co.za Ryan Ali ryan@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Kerrythe Mahaffey kerrythe@designtimes.co.za Zachariah King zac@designtimes.co.za
Contributors
Eva Csernyanszky, Mandy Roberts, Seagram Pearce editors illustration by Chris Valentine
Cover
Kronk www.kronk.co.za
Sales Manager Wendy Scullard
Advertising
Wendy Scullard, Malika Noordien, Linda Schady, Kelly Keur, Ehrin Manuel, Thandolwethu Jevu, Gaynor Thompson, Kiara Hagglund, Edward Abrahams
Traffic Controller
Kelly Keur kellycupido@telkomsa.net
Accounts Executives Kelly Keur kellycupido@telkomsa.net Laurenda Hagglund laurenda@telkomsa.net
Office Administrator
Carmen Puma beyondpublishing@telkomsa.net
Publisher
Beyond Publishing, 25 Voortrekker Road, Goodwood, Tel: 021 592 5721
Printer
Tandym Print www.tandym.co.za
American Airways
American Airlines has unveiled a new brand identity with a new logo and plane exteriors developed with the help of advertising agency Futurebrand. The classic 1968 Massimo Vignelli logo has been replaced with a 3D ‘flight’ symbol that features an eagle in red, white and blue reflecting the airline’s “passion for progress and the soaring spirit, which is uniquely American”. According to chief commercial officer at American Airlines Virasb Vahidi, he said, “Our core colours, red, white and blue have been updated to reflect a more vibrant and welcoming spirit.” “The new tail, with stripes flying proudly, is a bold reflection of American’s origin and name. And our new flight symbol, an updated eagle, incorporates the many icons that people have come to associate with American, include the ‘A’ and the star.” This is the first time in more than 40 years that the airline updated its logo, and the brand is expected to promote its new look through an advertising campaign.
them. Every now and then we throw out these items, while they still might be of value and/or useful to others. These items disappear in grey garbage bags and end up on trash piles. Goedzak offers these items a second chance. Goedzak stimulates people to dispose of their products in a more conscious and sustainable way. Goedzak can extend the products’ lifetime. www.waarmakers.nl
Paul Smith
Paul Smith’s new store has landed in South Africa. Situated on the corner of Bree and Wale Street, in the heart of the central business district, the shop is surrounded by the city’s rich history and culture. With both men’s and womenswear on offer, there’s a slice of Paul Smith to suit everyone. With Paul leading the design, the colourful interior is contrasted with newsprint-lined walls, while the shopfront is wrapped in a vivid blue semi-circle.
De-branded products Apple plunges
London-based luxury store Selfridges has introduced de-branded, no-logo products. From a Heinz Tomato Ketchup bottle and a Marmite jar, to a pair Levi’s 501 straightleg jeans and Beats By Dre earphones. The collection revolves around recognizable packaging devoid of all brand logos. These potential collectibles can be found at their online shop. www.nonoise.selfridges.com
Apple’s share price is around 40 percent down from last September’s all time high of $705.07, when the company’s market value was $658 billion. It’s now around $413 billion, which represents a loss of $250 billion which is like losing one whole Microsoft ($234.65 billion). Apple has lost its position as the world’s most valuable corporation to Exxon, which is currently worth $417 billion.
Oscar Niemeyer
Oscar Niemeyer Architect and famed designer of the city of Brasilia passed away in January. Working daily for over 80 years until right before his death at age 104, he claimed that continuing to work was what sustained him. Starting out as an unpaid intern he begged his way onto his first project and eventually assumed control of the project and eventually went on to build a whole city: Brasilia. “My work is not about ‘form follows function,’” he said, “but ‘form follows beauty’ or feminine”. He often compared the curves of his buildings to “the curved universe of Einstein”. Much of his later life was spent discussing politics and architecture with friends. “We want to tell young people that life is more important than architecture, more important than anything,” he said in 09. “I’ve had a lot of work because I have been lucky, life is to know how to behave, to take pleasure in being amiable and just,”
Cheaper iPhones?
According to an insider source, Apple is working on a cheaper, lower-end version of the iPhone—that will probably resemble the current iPhone, but be made of lessexpensive case parts. The development of such a budget-friendly phone has been in the works since 2009 and it could be launched as soon as later this year. To lower the production cost of the iPhone, Apple may decide to replace its present aluminum and glass housing to a cheaper polycarbonate plastic shell—other parts could remain the same or be recycled from older iPhone models. This move in corporate strategy came after Apple saw its smartphone market share eroded by lower cost alternatives from rivals Samsung and Google. It is speculated that this budget iPhone will retail for US$99 to US$149. Would you like to see a cheaper iPhone on the market or do you prefer the original high-quality version?
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DESIGN INDABA
DI2013
SPEAKERS
Jessica Hische Profession Letterer, illustrator City New York
JOHN MAEDA AND THINKING
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his is John Maeda. In every generation we have people that challenge our thinking. Art seems to always be at the forefront of this, from the time of Da Vinci to the art of Andy Warhol that responded to mass production. Art is often a reflection of our society and a magnification of aspects which we often don’t realize are even there. How do designers find those points of interest in society? It’s often looking through a lens of simplicity. John Maeda, it could be said, is at the forefront of this. John Maeda is an artist, graphic designer, computer scientist and educator, named one of the 75 most influential people of the 21st century by Esquire. In June 2008, Maeda became president of Rhode Island School of Design. At RISD, Maeda is leading the movement to transform STEM (science, technology, engineering and math) to STEAM by adding Art. Dubbed the “Steve Jobs of academia” by Forbes, Maeda’s current focus is on imagining how design and technology can bring clarity to leadership in the era of social media. Maeda previously served as
associate director of research at MIT Media Lab. Maeda also serves on the boards of Sonos and Quirky, as well as on the Davos World Economic Forum’s Global Agenda
exploration of complexity. Throughout his studies of simplicity he found that people innately love complexity, love those things that we cannot explain.
Dubbed the “Steve Jobs of academia” by Forbes, Maeda’s current focus is on imagining how design and technology can bring clarity to leadership in the era of social media. Maeda previously served as associate director of research at MIT Media Lab. Council on New Models of Leadership. In 2010 Maeda received the AIGA Medal. His work is also in the permanent collection of MoMA. John Maeda authored a book entitled “Laws of Simplicity” which questions those two opposing thought processes of simplicity and complexity. He once described simplicity as a living being which followed him in life, but John being a designer, thinker and inquisitive individual soon became bored with the mundane aspects of simplicity and embarked upon an
This journey brings us to technology. Technology is controlled in simple terms by logic and reason but, when we introduce loops into technological systems this has the potential to create random, yet complex results, and we have a resulting display of intriguing art. An example of this is the device which he created when he discovered that by attaching an optical mouse to a CRT screen it began “drawing” within its paint program. It created a reaction loop which veered off the “tree” often referred to in
technology as possible outcomes. Early on his technological journey he designed a program similar in nature to “Adobe Illustrator” which upon witnessing its moving vectors, his professors at the time had implored him to: “make it stop.” Technology that mimics humans has the potential to make people feel uncomfortable, but is that not the purpose of all art? If it doesn’t challenge our thinking and simply serves to entertain, is this not just a shadow of what art could potentially be? The birth of computing triggered a new age of creation, the scope of which is unchartered. Through exploring these “offtree” reactions of technology we are able to realize that which is John Maeda’s ultimate goal in his work at RISD. That is, to make technology more “humane”. This was only the beginning of the career of John Maeda. Shortly, at the Design Indaba Conference we will have an opportunity to hear the man himself discuss his present day projects and his tenureship at RISD and MIT STEAM labs where his work has taken art and technology beyond the normative boundaries of art or innovation.
After graduating with a degree in Graphic and Interactive Design from Tyler School of Art (Temple University) in 2006, she worked for Headcase Design in Philadelphia before taking a position as senior designer at Louise Fili Ltd. While working for Fili, she learned most of her skills as a letterer and spent upwards of 16 hours every day working (9 for Louise, 7+ for freelance clients). Hische left after two-and-a-half-years to further her freelance career and embark on several fun personal projects. She started Daily Drop Cap, a project in which she created a new illustrative letter every day, working through the alphabet a total of twelve times. At its peak, the site had more than 100 000 visitors each month. It culminated in a thirteenth alphabet, each letter crafted by a guest contributor. Subsequently Hische has become as well known for her side projects as she has for her client work. While she doesn’t consider herself a web designer, many of her personal projects are web-centric. She has created several educational micro-sites including Mom This is How Twitter Works, Should I Work for Free? and Don’t Fear the Internet (with Russ Maschmeyer), each as entertaining as they are helpful. Hische coined the term “procrastiworking” to describe her tendency to procrastinate on client work by working on personal projects. Hische’s clients include Wes Anderson, Tiffany & Co., The New York Times, Penguin Books, Target, Leo Burnett, American Express, and Wired Magazine. She has also released several commercial typefaces, which are available in her store. Hische has been named a Print Magazine New Visual Artist (20 under 30), one of Forbes’ 30 under 30 in Art and Design, an ADC Young Gun, a “Person to Watch” by GD USA, and one of 25 Emerging Artists by STEP Magazine. She’s been personally profiled in many magazines, including Eye Magazine (UK), Communication Arts, Grafik Magazine (UK), and Novum (Germany). She currently serves on the Type Directors Club Board of Directors and divides her time fairly evenly between San Francisco, Brooklyn, and airports en route to design and illustration conferences.
ATELJEE
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DESIGN
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Paula Scher Matthew Carter Profession Graphic designer City Philadelphia
2013 Pantone Color of the Year PANTONE ® 17-5641
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he Color of the Year selection is a very thoughtful process. To arrive at the selection, Pantone quite literally combs the world looking for color influences. This can include the entertainment industry and films that are in production, traveling art collections, hot new artists, popular travel destinations and other socio-economic conditions. Influences may also stem from technology,
we needed to recharge and move forward. Emerald, a vivid, verdant green, enhances our sense of well-being further by inspiring insight, as well as promoting balance and harmony. Most often associated with brilliant, precious gemstones, the perception of Emerald is sophisticated and luxurious. Since antiquity, this luminous, magnificent hue has been the color of beauty and new life in many cultures and religions. It’s also the color of growth, renewal and prosperity – no other color conveys regeneration more than green. For centuries, many countries have chosen green to represent healing and unity. “Green is the most abundant hue in nature – the human eye sees more green than any other color in the spectrum,” said Leatrice Eiseman, executive director of the Pantone Color Institute®. “As it has throughout history, multifaceted Emerald continues to sparkle and fascinate. Symbolically, Emerald brings a sense of clarity, renewal and rejuvenation, which is so important in today’s complex world. This powerful and universally appealing tone translates easily to both fashion and home interiors.” The prevalence of green has been steadily rising for several seasons, especially in the fashion and couture markets, and even on the red carpet. Appropriate for every occasion, Emerald’s classic elegance makes for striking and irresistible women’s formal and everyday wear as well as accessories. Emerald also makes a strong statement in men’s sportswear, knitwear and ties. Fashion designers featured in the PANTONE Fashion Color Report Spring 2013, including Tracy Reese, Nanette Lepore, Barbara Tfank, NAHM and Marimekko, are incorporating Emerald into their spring collections. Balanced yet sophisticated, Emerald enlivens all colors in the spectrum and will continue to make a statement beyond spring and summer into fall and winter. Equally harmonious on the cosmetic color wheel, Emerald dramatizes all eye colors as it beautifully enhances green eyes, is compatible to blue eyes, emphasizes the green undertone in hazel eyes and intensifies brown eyes to make them appear deeper. Emerald is also
Multifaceted Emerald continues to sparkle and fascinate. Symbolically, Emerald brings a sense of clarity, renewal and rejuvenation, which is so important in today’s complex world. availability of new textures and effects that impact color, and even upcoming sports events that capture worldwide attention. For more than a decade, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home and industrial design, as well as product packaging and graphic design. Pantone LLC, an X-Rite company and the global authority on color and provider of professional color standards for the design industries, announced PANTONE 17-5641 Emerald, a lively, radiant, lush green, as the Color of the Year for 2013. The 2012 Color of the Year, PANTONE 17-1463 Tangerine Tango, a spirited, reddish orange, provided the energy boost
a perfect complement to peaches, pinks, roses, ruby reds and aubergines – offering a variety of lipstick and blush options. For those who want to sparkle and stand out, Emerald is the perfect punctuation point in nail color because of its complementary nature. Sephora and Pantone proudly announce the SEPHORA + PANTONE UNIVERSE™ 2013 Color of the Year beauty collection featuring PANTONE 17-5641 Emerald, which will be available exclusively at Sephora in March 2013. Sharing a strong passion for how color can transform a face, mood or even an attitude, Sephora and Pantone continue to change how consumers wear, feel and think about color through the second annual radiant and modern Color of the Year beauty collection. “At Sephora, we pride ourselves on giving our clients first access to what’s on trend – whether that’s a color, a formula or an ingredient story. With the 2013 Color of the Year collection, we achieve all of the above and we couldn’t have a better partner than Pantone,” said Margarita Arriagada, senior vice president of merchandising for Sephora. The limited edition 2013 Color of the Year beauty collection features a variety of products in Emerald, including eye shadow, nail polish and accessories, and will be available at Sephora stores across the U.S., Sephora inside JCP and Sephora.com. Enhance your sense of well-being at home by rejuvenating the interior with Emerald paint, accents and accessories. This jewel-like hue will create a luxurious feel in an entryway, powder room, dining room or study, and bring life to a living room as an accent wall. Add a splash of color to the kitchen and dining room areas with Emerald dinnerware, stemware and appliances. Enliven your home with Pantone bedding, pillows, bath towels and accessories in Emerald available exclusively at jcpenney stores and on jcp.com beginning Feb. 1, 2013. “As we re-energize our home department next spring, we are excited to partner with the leading authority on color to introduce the first-ever line of Pantone bedding and bath products,” said Paul Rutenis, jcpenney general merchandise manager for home. “The cheerful array of on-trend pieces will make it easy for customers to infuse the perfect color into any home décor.” www.pantone.co.za www.pantone.com
Paula Scher studied at the Tyler School of Art in Philadelphia and began her graphic design career as a record cover art director at both Atlantic and CBS Records in the 1970s. In 1984 she co-founded Koppel & Scher, and in 1991 she joined Pentagram as a partner. Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publications for a wide range of clients. Drawing from what Tom Wolfe has called the “big closet” of art and design history, classic and pop iconography, literature, music and film, Scher creates images that speak to contemporary audiences with emotional impact and appeal. Three decades into her career, these images have come to be visually identified with the cultural life of New York City. Scher is a member of the Art Directors Club Hall of Fame and a past recipient of the Chrysler Award for Innovation in Design.
Seymour Chwast Profession Graphic designer City New York Seymour Chwast was born in New York City and is a graduate of The Cooper Union, where he studied illustration and graphic design. He is a founding partner of the celebrated Push Pin Studios, whose distinct style has had a worldwide influence on contemporary visual communications. The studio’s name was changed to The Pushpin Group, of which Chwast is the director. Chwast’s clients have included leading corporations, advertising agencies and publishing companies both in the US and abroad. His designs and illustrations have been used in advertising, animated films, corporate and environmental graphics, publications, posters, packaging and record covers. He created background images for the production of Candide at Lincoln Center, and The Philadelphia Opera’s production of The Magic Flute.
Profession Type designer City Massachusetts Matthew Carter is a type designer with 50 years experience in typographic technologies, ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies he co-founded Bitstream Inc. in 1981, a digital type foundry where he worked for the next ten years. Carter is now a principal of Carter & Cone Type Inc., designers and producers of original typefaces Carter’s type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian, Bell Centennial (for the US telephone directories), ITC Charter, and faces for Greek, Hebrew, Cyrillic and Devanagari.
Marian Bantjes Profession Type designer City Vancouver Marian Bantjes lives and works from an island off the West coast of Canada, near Vancouver. Bantjes is known for her custom typography, detailed and lovingly precise vector art, handwork, patterning and ornamentation. Her personal, obsessive and sometimes strange graphic work has brought her international recognition and she has been variously described as a typographer, designer, artist and writer. Bantjes’ book, I Wonder (Thames & Hudson, 2010) encompasses all four these creative aspects. Like much of her work, it is a visual treat and an intellectual tease; a manifestation of obsession, an object of beauty; alternately mysterious, thoughtful, personal and funny. Her work has been published in books and magazines around the world, and is included in the permanent collection of the Smithsonian in New York. She has lectured on her work worldwide, and in 2010 she spoke at the renowned TED Conference in California.
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DESIGN
KEVIN DEVROO
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ne wonders is talent beaming easier or more difficult to find in the world of the internet where every designer out there has an online portfolio. Finding talent which is a cut above the rest can prove to be difficult but thankfully we found Kevin. We were excited to find out more and share with you why he seems to be that ‘cut’ above the rest. Please tell us about yourself? I’m Kevin Devroo, I’m 27 years old and I live in Ghent, Belgium. My creative alias is “Mr seQ”, which I adopted from my early days as DJ seQ. At one point it was time for me to step away from DJ-ing and focus on my career as an illustrator/designer. People kept calling me seQ, so the logical choice was to give the studio the same name. I added the “Mr” because we’re not getting any younger! Are you self taught or did you receive training? If so were? As I stated previously, I went to study at the Academy. Art & subjectivity can be a b*tch though. Let’s just say, I never fully shared my teachers visions. So yes, I flunked. But to be honest, it never got me down. If any, it made me mad. From that moment on, I made a switch. I do believe that you can make it in the creative industry, even without a degree. After all, it’s the work that counts, isn’t it? This might be different for other people though. I found work in the creative industry within the same month I quit college and noticed I learned more in two months work than I did in two years of college. I did a lot of self-initiated projects to improve my skills. A few years ago I got heavily involved with 3D and thus made it my core business. Would you call yourself an illustrator or designer or both? I’ve called myself an illustrator/designer in my introduction but to be honest I really don’t know. I don’t believe in these labels not for me anyway - because I do and have done a lot of different things. I think of my work as a mixture of things. Sometimes it’s ‘just’ a drawing, or something more typographic but since a few years I’ve found my way around 3D. Actually I love every form of creativity and I can’t put an ‘illustrator’ or ‘designer’ label on myself
nor my work. What project stands out for you and why? It has to be the ICONIC project. I haven’t seen this before and I really like the adaptation to typography without losing its furniture design essence that made the pieces so iconic in the first place. On an illustration level it has to be Laid Back Poster. To me, I pushed my illustration skills to another -personal- level and previous illustrations became somehow obsolete. Have you got any self initiated projects? Every day, I clear at least one to two hours for self initiated projects. I think it’s really important to do so. Make portfolio worthy material to show potential clients. Show what you WANT to do. After having spent a day behind the computer, the two hours are mostly sketching on paper though. My sketchbook keeps the ideas in line. Once in a while I browse through, combine ideas, and if I believe in the project I realise it. How do you stay inspired and creative? It seems kind of cliché but my environment and even the little things around me can inspire me. Sometimes I’m watching television and see something that gives me an idea. With that idea in mind, I start brainstorming and drawing in my sketchbook. So in a way, it’s my sketchbook that keeps me inspired and creative, it’s like a vicious circle. Almost every idea that pops into my head is in there. Later on, I can pull from that. On the other hand, if you follow the right people on Behance, you get flooded with the inspiration that suits your needs. What’s the secret to your success? Endurance. The will to succeed. We all know the creative industry isn’t a 9 to 5 job. Try to make extra time to improve yourself and/or the project. In the long run it will be fruitful. For example, I strongly believe anyone can draw. It’s a matter of ignoring your left hemisphere. You should google “Drawing on the right side of the brain”.
Make extra time to improve your work. In the long run it will be fruitful. Every day, I clear at least one to two hours for self initiated projects
The formulae for successful design seems to be branded into the mind of Kevin. We are sure that while he keeps in his mind clear how to succeed we will be sure to see more of his work. www.seq.be
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DESIGN
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uke Ritchie was born in Johannesburg but moved to Cape Town when he was two years old. He grew up and currently lives in Stellenbosch where he attended school and went on to study graphic design and photography at the Stellenbosch Academy. Luke has many interests not just within the design field. This is important to Luke, which he attributes not only to a healthy balanced life, but also for a healthy creative drive. What got you interested in design? I grew up always interested in art, and found great enjoyment and fulfilment in exploring an empty sheet of paper with a sharp 8B pencil. I think it was after I studied graphic design that things started to really make sense to me, and I really welcomed the restraints that design offered. It was as if the rules of design (rhythm, balance, proportion, emphasis etc) only made me want to explore more and break boundaries Are you a designer or illustrator? I would say that every designer is an illustrator and every illustrator is a designer. I think every designer is trying to illustrate something within their own work. Lately I’ve been focusing solely on Custom typography mainly because I absolutely love it..and can’t get enough of it, I also really love the restrictions and limitations the medium of typography offers, so much opportunity to be truly original in your approach to letterform design. What was your first paying creative job? In second year at College I won a logo design competition. Our whole class had to design a logo for this company called Selfords in Stellenbosch, they sell second hand cars, have a panel beater shop… property etc fairly diverse. Anyway, so I won and then went on to develop the collateral with the owner of the company. It felt really exciting to be paid for something. Who are some of the clients you work for? In the end of last year I worked with DSTV doing a billboard campaign for DSTV Africa which was great because I had the opportunity to work with the creative director at Ogilvy. Recently, I’ve just finished a logotype design for well known
photographer Christine Meintjes. Lately I’ve been doing some work with a couple of small design companies and individuals in the states. I’m also busy designing a family crest for a family in the cape who own a wine farm, something you don’t get to do every day, especially not if you work in an agency, so very grateful to have such diverse opportunities, comes with the freelance territory I guess. How do you market or promote yourself? It’s tricky in the beginning, nobody knows you and you’re new on the scene but lately all my work comes from direct enquiries from my website as well as referrals from all the awesome people I’ve met online on twitter and through awesome design communities like dribbble. A lot of the freelance lifestyle is being able to connect with other designers from all over the world, and share experiences and offer critiques about your work. Sometimes even share the workload. I’ve been fortunate enough to know many great designers all over the world who all do top notch work. What project stands out for you and why? Wow, there’s been so many awesome projects especially lately, but I guess if I had to speak about one of them it would have to be my own self initiated project ‘LuckyFella Clothing Co’. Have you got any self initiated projects? I started a clothing company last year, and had such an amazing response, from the design to the end product people really liked what I had to offer. It was a lot of fun to set up, and very challenging, certainly learnt a lot in a short space of time when setting up something new like that. I had a lot of fun designing the logo and tags etc I look forward to bringing out more products later this year and really getting this label established worldwide. How do you stay inspired and creative? I think it’s important to do work that you love in-between client work. Especially as a typographer, I’m always trying new styles of typography and always wanting to put something out there with my name on it, without it being linked to someone elses’ brand or company. Exercise for me is a big motivator, getting outdoors going for a mountain bike or a Longboard helps to clear my mind and reorganise my thoughts. What’s behind your success? I think what it comes down to is having the drive and motivation to want to be successful at what you do. And I think that’s difficult to have if you are not doing what you truly love. I think I’m really fortunate to have found something early on that really gets me excited to constantly want more from myself. It doesn’t come easy though, you have to work at it, and be persistent enough to want to not settle for average. I think a lot of my success is just because I don’t give up when things don’t look like they’re working out. www.lukeritchie.co.za
DEGREE & HONOURS DEGREE IN VISUAL COMMUNICATION CREATIVE SHORT COURSES photography | communication design illustration | film | animation interactive media design form & space design
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Connie Zhou, inside Google
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onnie Zhou is an architectural photographer born in Shanghai and grew up in New York City. She studied at La Guardia, a performing arts high school where her interest began in photography. She majored in photography at Parsons School of Design in New York. She grew up with her father, a graphic designer so she was exposed to the creative industry from a very young age. She began her career shooting architecture for small architectural companies. Her big break was being published in New York Magazine while she was still in school for an article about Lincoln Center. Her latest project has made her the first photographer officially allowed into Google’s data centers. The result, beautiful images of a giant warehouse full of electronic equipment. Tell us about life in Shanghai and growing up in New York City? I don’t remember much about living in China. Growing up in New York was a bit crazy, but I loved every moment of it. What was it that got you into photography? My first camera was a Nikon FM2 (film) camera. I’m not sure what really got me into photography, I think maybe in the beginning it was more of the process that really intrigued me. What got you interested in architectual and interior photography? I think what draws me towards architecture is how graphic everything looks when translated onto a photograph. Sometimes I look at buildings or a structure and I imagine them to be spaceships. Do you ever photograph other genres? Yes, mostly lifestyle or product. What kind of equipment do you use? I use a 16-35mm lens and I correct in post. It’s not very traditional, but I think it works for me. I used to shoot 4x5 and it was just too much for me. It’s too heavy. How did you land a client like Google? Getting the Google job was a big deal, it was the biggest project I have ever received. Google approached me earlier last year, they told me about the project. I put in a bid and I got the job! What is your approach to architectual photography? How do you approach each shot? What is it that you’re looking for in a shot? With exteriors it’s mostly about weather and what type of light you want to achieve, I often scout the location and go back to it. Sunrise and sunsets are super important. www.conniezhou.com
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PHOTOGRAPHY
Matjaz Tancic’s 3D photography The 3D effect that you get is by shooting two separate images...
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atjaz Tancic is a fashion photographer from Ljubljana, the capital of Slovenia. He spends his time between Ljubljana and London or traveling the world with his camera in hand. Currently he is living and working in Beijing. His most recent project has been experimenting with 3D photography,
the results of which are shown above. Designtimes got to ask Matjaz a few questions about his photography. What was it that first got you interested in photography? I have no clue what got me into the photography... I guess it was my grandfather’s old camera in the dark orange pouch that always attracted me because it was always handled with such a care,
stored in special big drawer, full of metal rings and springs... It looked like a treasure for me back then. What was your first paying photo? I will never forget that day... There is an important political weekly magazine in Slovenia called Mladina. My dream was to be shooting for them since they had (have) amazing photo reportages, portraits and they also covered some alternative, underground topics. So I kept sending them my photos from different concerts, festivals etc, got published and super excited now and then... And then one day a photo editor called me and asked me straight... You want to go to the Metal camp (one of the biggest Metal festivals that is held in Slovenia) for 3 days shooting there for the photo reportage? It was a dream job and I still remember that part of the photos I shot on film since I didn’t completely trust my new (first) digital camera. What other genre’s do you enjoy shooting?
I basically enjoy all the genres that include people. Portraits, fashion and even documentary photography. Who are some of your clients? At this moment mostly Chinese fashion and life style magazines plus some personal projects. Tell us about 3D Photography, how it come about? How do you get the result? Well, I had first seen 3D photographs of some caves from a friend of mine called Peter Gedei. I was blown away and surprised that 3D photography is not used more often because its unique effect. This is why I have decided to try is myself (with Peters help) and I have soon discovered why do we see good 3D photography so rarely. Because it is technically super difficult to make. There are lots of technical difficulties and limitations. The basic trick to getting that 3D effect is by shooting two separate images with two identical cameras at the exact same time. One for the left and one for the right eye. Is it the camera’s you use or photo retouching? It’s the technique. No Photoshop is used in the shots to create the 3D effect.
Do the images work using 3d glasses? Well, try it yourself and you tell me. :) Go on, use the common blue and red glasses. Are there any photographers you admire? I know it sounds cliché but I really admire some of the classics like Helmut Newton, Guy Bourdin, Mert and Marcus, Richard Avedon, Taryn Simon, Martin Parr. What keeps you inspired? Well, just everyday life, art, travel, people. I would say the biggest impact on my photography and inspiration have come from childhood family trips abroad. Like Sweden, where I took my first photograph of my mom and sister in front of the flower show. Then there was Rome, where I spent all my hard-earned saving on two instant cameras. We had a great trip to Vienna, where I received my first camera for my birthday. In Paris, I lost that same camera when I got super excited shooting Jim Morrison’s grave. Of course there is also London, where I studied fashion photography for some time. Nowadays I find inspiration in Beijing, where I’m currently living and working. www.matjaztancic.com
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Kevin Saint Grey architectual photography
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evin Kwok also known as Kevin Saint Grey a name he adopted as his photographic identity, was born in 1978 in Hong Kong but his family emigrated to Chicago, Illinois when he was six months old. At around eleven years old, his family moved to Pasadena, California. Kevin attended the University of California, San Diego where he studied Psychology and English. After college, he moved back to Pasadena where he currently lives with his dog. What got you interested in photography? I began to photograph around 2006. I first picked up a camera simply to get out of the house. I am an introvert and a homebody and photography became a way for me to get out into the world, even if it was only as an observer. I had never intended it to become a serious pursuit and while I have always admired many photographs
I had seen though the years, I had very little knowledge about photography and photographers when I began. Did you study to be a photographer? I did not receive any formal photography training. However, it would be inaccurate to say that I learned everything myself.
of the environment I live in. Being 5-10 minutes away from downtown Los Angeles and 30-45 minutes away from the beach gave me easy access to keep coming back to these locations, refine my technique and try different compositions and styles. Over time, I developed an affinity towards landscapes because I enjoyed the calmness and serenity of being out alone in nature and being able to let my mind wander. I enjoy architectural photography mainly due to the interplay between geometry and light which constantly fascinates me. I also do abstracts and a little still-life. Most of your work is shot in black & white do you shoot in colour as well? For me, the choice of black and white or colour depends on what my vision of the
I enjoy architectural photography mainly due to the interplay between geometry and light which constantly fascinates me. I read a lot of books, studied the work on hundreds of photographers and joined photography critique groups. The photographic community on the internet is incredibly varied, resourceful and helpful. Why landscapes and architecture? In the beginning, I started photographing landscapes and architecture mainly because
final image is. Prior to taking a photograph, I have already visualized the final edited product in my head and my choice of black and white or color is dependent on what I want to communicate to a viewer. A majority of the time, it is in black and white, but not always. I never arrive at a location with any predetermined editing decisions. How do you make money from your photography? I sell fine art prints. I understand you are not a full time photographer, what is your day job? Photography is not my full-time profession you’re quite right. During the day, I work for a bank as an analyst and I enjoy it. Tell us about your approach to a project, do you have a set formula? I tend to group my work into series based around a unifying theme, so I do work with a set formula which can be very specific. For example, in my “stealth
bomber” series, I was looking for buildings with strong lines and an inset corner while my “temple” series focuses on the interaction and adaption of wild birds in relation to city architecture. I am usually working on several series at a time and I try to be mindful of them when I am out photographing but if I see something interesting that doesn’t fit into a current series, I allow myself freedom to explore it as well. What is it you look for in a great shot Honestly, I am simply looking for something interesting. In architecture, I am looking for the way lines and geometry interact and compliment each other, the interplay of light and shadow and the way a composition comes together. There isn’t a single thing that determines a good image for me. The balance of all the elements need to work together to form a complete image. www.kevinsaintgrey.com
Ferrari. Maserati. Prada. Doors. Windows. Italians know all about superb, functional design. Now they’ve turned their attention to doors and windows. The Duro Designer range of windows and doors is manufactured from imported Italian cold rolled steel sections. Their structural strength allows designers the freedom to create unique and dramatic spaces. Exclusive rebate systems and pressure compensating joints ensure excellent insulation, they’re durable, corrosion-resistant and low-maintenance. The Designer range can be double glazed to make them more energy-efficient and compliant with the latest building regulations. For more information call 010 590 9060 or visit www.thedurogroup.com
BUILDING WITH PRIDE
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Build belief VEGA’S through brand Digital narrative marketing
Storytelling is as old as time and forms the very essence of humanity. From a very young age we make sense and experience life through stories. Indeed, narratives form an important link that provides context amidst the noise. One thing that all good stories have in common is authenticity; the ability to portray characters and plotlines in a way that give them both longevity and a very real impact in our lives, whether fictional or based on true life experience. So, why shouldn’t storytelling transcend to today’s fast-paced, always-connected world and more particularly play a crucial role in the way a brand engages people? Enter the narrative and its ability to convey and establish a brand that rings true to its consumers. Based on the fundamentals of storytelling it can play an invaluable role in the way creatives develop and
A brand should be seen as a person that has a story to tell. People build their personalities through context which is the result of narrative that develops through their past and present.
Seagram Pearce
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ou may remember Seagram Pearce when we interviewed him two years ago in Designtimes. Seagram Pearce is a Cape Town photographer well known for his automotive photography and other commercial work including fashion and portrait photography. He has been very busy the last two years and some of his work sent him across the globe. We caught up with him at the begining of this year and he shared some inspring words with us from his recent travels around the world.
“There is very little that can inspires the creative soul as much as travel. Even more so when combining photography &
view our immediate surroundings. Living in Cape Town, one often takes for granted the amount of beautiful surroundings in the middle of hustle & bustle of life. Just by changing ones surroundings a veil is lifted on how much we ‘see’ around us. These travel images are of exceptionally recognizable landmarks. Being someone not always surrounded by this environment, I found endless creative inspiration.” twitter @seagrampearce www.seagrampearce.com
Something I’ve found interesting is how we view our immediate surroundings travel. There have been some incredible opportunities for travel I’ve had recently & there would be nothing that would stop me from taking every opportunity to explore. Something I’ve found interesting is how we
deliver communication messages and campaigns that go beyond the clutter in today’s flooded marketplace. Explains Ricardo Rocha, executive creative director at Etiket, an Irene-based, multi-award winning advertising agency:” A brand should be seen as a person that has a story to tell. People build their personalities through context which is the direct result of narrative that develops through their past, present and future. “This is your story and what makes you unique. The ability to stay true to your story steers you away from superficiality and gives way to an individual that is authentic and the same should go for a brand.” Adds Tiaan Ras, strategic relationships director: “When developing a campaign for a brand we look at its story and what it has to tell. In essence we apply storytelling techniques to portray a brand’s message that in turn resonates with its audience in a personal way. The key is to develop these brand narratives in a way that reaches all its targeted segments in a consistent manner through all the various media channels available today. A consistent brand narrative will therefore link together all the various messages in all the various channels.” The brand narrative therefore enables creatives to develop a campaign that is based on a unique story which in turn makes it a one-of-a-kind. It strengthens the authenticity of campaign. “Brands that stay true to its core beliefs and values will have long-lasting brand narratives. It steers a campaign away from money-making superficiality and reestablishes a belief in a brand that is truly your own. Allowing your brand to tell its story it to innovate and carve out a path that is unique,” comments Rocha. Concludes Ras: “Good stories stand the test of time – this is evident through the reimagining of so many fairytales and lore. Why not do the same for your brand; let it stand the test of time through its story that makes it unique and establishes it identity.” www.etiket.co.za
course
Vega School of Brand Leadership (Vega) – an educational brand of the Independent Institute of Education (IIE) - in partnership with the Digital Marketing Institute of Ireland (DMI) recently introduced the short learning programme -professional diploma in digital marketing. The intensive ten-week course, which is now open for registration, commences on 5 February 2013 across all Vega campuses, namely, Johannesburg, Pretoria, Cape Town and Durban. This practitioner-led course has been designed to help students understand how to plan, implement and manage a comprehensive digital marketing strategy for any organisation. This course is suitable for a variety of professions and for all levels of marketing professionals, as it will equip students to better understand the principles of how to integrate digital marketing tactics into overall marketing strategy as well as assist marketing efforts to fully maximise the performance of online marketing investments. This diploma in digital marketing short learning programme offers a range of modules that are systematically designed to achieve all the relevant outcomes in this short learning programme. These modules include digital strategy creation, pay-perclick marketing, email marketing, Search Engine Optimisation (SEO), web analytics, digital display advertising, social media marketing, mobile marketing and the completion of an integrated digital plan. Vega’s National Academic Navigator, Dr Carla Enslin notes that the introduction of the course will be of great benefit to South Africa’s business society. “In the modern business environment, digital marketing is increasingly gaining relevance as a vibrant and essential form of advertising communication, and has the capacity to offer substantial benefits, including viewing campaign results in realtime, and reaching a broad and varied base of consumers. “This growing trend has necessitated the need to ensure that those engaging in a digital marketing career are provided with the necessary information and tools, that they can successfully implement this knowledge in the workplace. “Vega is therefore honoured to be part of the DMI network, and is confident that the training provided will allow organisations to employ or contract specialists who are imminently familiar with the notions of digital marketing. Subsequently, this will create a situation in which South Africa is regarded as a thought leader in this field of communication.” Enslin adds that digital methods of communication and marketing are faster, more versatile, practical and streamlined, and offers as much potential to marketers as it does to consumers. Students will hone their skills in a range of areas such as strategic decision-making for brands, online marketing, and observing the current trends in the online world, and applying those trends. www.vegaschool.com
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ARCHITECTURE
Peter Zumthor
T The greenest commercial building in the world
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uildings account for an estimated 39% of carbon dioxide emissions, 65% of waste and 70% of electrical use in the United States. In the Pacific Northwest, a changing climate is already shifting our use of water, energy and other natural resources. To address this reality, the Bullitt Center in Seattle, WA will demonstrate what is possible today and inspire tomorrow’s leaders to go even farther. As the first urban structure of its kind, the Bullitt Center is inherently about learning and discovery. From building design and the interactive resource center to the new community green-space, the Bullitt Center will be a place for people to gather and learn about green building and urban sustainability. And it will serve as a highly visible example of what’s possible when a team of people come together to advance uncommon wisdom. The 6-story, 50,000 sq. ft. building is the nation’s first urban mid-rise commercial project to meet the rigorous goals of the Living Building Challenge, the most ambitious benchmark of sustainability in the built environment. The lower floor of
the building, fronting 15th Avenue and McGilvra Place, will house the Center for Energy & Urban Ecology. Programmed by nonprofit and public agency partners, including the University of Washington’s College of Built Environments, the Center will feature an open resource library, classrooms, exhibition space and a research laboratory dedicated to the training of pioneers who will lead our green economy. The building has zero energy use with 100% onsite renewable energy generation from the latest photovoltaic technology, water needs provided by harvested rainwater, onsite waste management, a safe, naturally day-lit and ventilated work environment for all workers, and built to last 250 years. Why will the Bullitt Center be the world’s greenest commercial building? Denis Hayes, president and CEO of the Bullitt Foundation, has said the Bullitt Center is “a bold attempt to do everything right.” As the first urban in-fill commercial building that is seeking Living Building certification, the Bullitt Center is pushing the leading edge of performance-based design. Net-zero energy, net-zero water, onsite treatment of sewage and exclusion of many common “Red List” materials
are just some reasons the Bullitt Center is innovative. But our sincere hope is that in a few years, many other buildings have surpassed the standard being set by the Bullitt Center. What is the Living Building Challenge? The Living Building Challenge is a philosophy, advocacy platform and certification program that defines priorities on a technical level and as a set of core values. The purpose of the Challenge is to engage the building industry in deep conversations about understanding and solving problems. The Living Building Challenge consists of seven performance areas (Site, Water, Energy, Health, Materials, Equity and Beauty) that are subdivided into twenty “imperatives”. For more information visit www.ilbi.org. Why is the Bullitt Foundation building the Bullitt Center? The era of cheap abundant energy, plentiful fresh water, and localized impacts of human activities is over. Humans now affect every corner of the planet. Yet virtually no new buildings, even green buildings are being built to function harmoniously in the conditions we know will prevail. The Bullitt Center is being designed to still
make sense 250 years from now. And it is being built to ease barriers for projects yet to come. The first Prius cost more than the 10,000th. But before you can build the 10,000th of anything, you need to build the first. What are the educational opportunities related to the Bullitt Center? Throughout construction, the Bullitt Center team is documenting lessons learned and sharing these with the green building community. For example, identifying products that avoid “Red List” materials is an arduous and time-consuming task. And it is work that will not need to be repeated in future projects. In addition, the Center for Energy and Urban Ecology, which will be located on the ground floor of the Bullitt Center, will be a nexus for urban sustainability in the Pacific Northwest and beyond. Created in partnership with the University of Washington’s Integrated Design Lab and the Cascadia Green Building Council, the Center will serve as a learning laboratory for green design and energy efficiency. www.bullittcenter.org
Photo by Gerry Ebner
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he Swiss architect Peter Zumthor has been named as the recipient of the Royal Gold Medal. He will be presented with the Medal during February 2013 at a ceremony at the Royal Institute of British Architects in London, during which the 2012 RIBA International and Honorary Fellowships will also be presented. Known for running a small yet powerful and uncompromising practice, Peter Zumthor founded his own firm in 1979 in Switzerland. His projects include the Kunsthaus Bregenz in Austria, the Therme vals (thermal baths) in Vals, Switzerland, and the Kolumba Art Museum in Cologne. He designed the 2011 Serpentine Pavilion and is currently designing a house in the Devon for Alain de Botton’s Living Architecture scheme. He is exceptionally talented at creating highly atmospheric spaces through his mastery of light and choice of materials. Zumthor’s buildings, such as his small rural chapels and the Thermal Baths at Vals, are an experience for all the senses, with every detail reinforcing the essence of the building and its surroundings. Given in recognition of a lifetime’s work, the Royal Gold Medal is approved personally by Her Majesty the Queen and is given to a person or group of people who have had a significant influence ‘either directly or indirectly on the advancement of architecture’. RIBA President Angela Brady, who chaired the Honours Committee that selected the Royal Gold medal winner, said, ‘Peter Zumthor’s work renews the link with a tradition of modern architecture that emphasises place, community and material practice. His writings dwell upon the experience of designing, building and inhabitation while his buildings are engaged in a rich dialogue with architectural history. I will be delighted to present him with the Royal Gold Medal.’ This year’s RIBA Honours Committee was chaired by RIBA President Angela Brady with architects Peter Clegg, Yvonne Farrell, Professor Adrian Forty, Niall McLaughlin and Sarah Wigglesworth. Established in 1848, the Royal Gold Medal is still celebrated today. The Royal Medal online exhibition was especially created to coincide with the RIBA’s 175th anniversary and takes you through the history, winners and more. Given in recognition of a lifetime’s work, the Royal Gold Medal is approved personally by Her Majesty the Queen and is awarded annually to a person or group of people whose influence on architecture has had a truly international effect. The award is for a body of work, rather than for one building or for an architect who is currently fashionable. Previous winners include Le Corbusier (1953), Frank Gehry (2000), Archigram (2002), Frei Otto (2005), Toyo Ito (2006), Herzog and de Meuron (2007), Edward (Ted) Cullinan (2008), Alvaro Siza (2009), I. M. Pei (2010), Sir David Chipperfield (2011) and Herman Hertzberger (2012).
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DESIGN
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IDESO’s founder Marc Ruwiel
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deso is a specialist product design consultancy. For over 12 years they have helped their clients create products that people use and interact with everyday. In doing so, they have brought over 300 products to market for local and global companies, as well as entrepreneurs. Headed up by founder and design Marc Ruwiel, we got to chat to him about Ideso and his success. Tell us a little bit about yourself? I was born in the Netherlands. My parents emigrated to South Africa when I was eightyears old. My dad and I went to English classes before emigrating. I remember that one of the few English words that I had learnt was ‘umbrella’. Unfortunately, I did not have much use for it in South Africa! I went to school at CBC in Pretoria. I graduated in Industrial Engineering in Stellenbosch, but during my studies in Engineering, I discovered Industrial (product) design. I knew then that I had found what I was looking for. I actually started studying Industrial design while I was still doing National service in 1990. You founded IDESO in 1998 what were you doing before that? Yes, I had a received a bursary from Eskom for the last two years of my engineering degree. After initially working on some power stations, I ended up working for a department called Industrelek, which was an advisory service to industry. Any interesting projects you worked on while working at Eskom? I was part of the team that designed and built a number of prototype electric vehicles long before the Joule. In 1995 Eskom still had too much electricity rather than too little. How times have changed! I was also part of the team that worked on supporting Cape Town’s bid to host the 2004 Olympics. We envisaged an inner city light rail system. Approx 15 years later, our vision has been realised with the My City BRT system. What got you interested in the creative industry and product design? I started designing from an early age. I think that, like many industrial designers, I started off wanting to design cars. My parents still have reams of car designs from when I was approx 10 years old. At school, no one was aware of industrial design. I started off studying mechanical engineering and then later swopped to Industrial engineering. I chose Stellenbosch because of the oak lined trees, the bicycles and the stunning labs filled with cut up cars and aeroplanes. Only later did I discover that these were primarily reserved for post
graduate students! Completing engineering was a bit like filling a rotten tooth for me, you can’t stop half way. I had found out about Industrial design in my second or third year. I knew that I simply had to do that somehow. In hindsight, the engineering degree gave me the perfect platform. It must of been quite a daunting thing to leave your job and found your own Product Design Company? Tell us a little about the process and sleepless nights? Haha. It was a crazy time. My wife Louise and I were married in 1998. Just after our honeymoon I received a 6 month contract offer from Baygen, later Freeplay. I did the external design for the FP2000 wind up radio, which was extremely successful.
for Groot Constantia. When taking on a project do you have a specific design formula you follow? That is the great thing about design, each product is different. Each client’s needs are different. We look at each brief’s needs and answer that to the best of our capability. We are not “signature” designers i.e we do not force our own specific style on everything we do. In the South African environment, we need to be able to adapt and work on many different type of products and adapt our design to match and compliment many different brands and styles. Is there a lot of competition in the Product design field in South Africa? There are a handful of very good product design companies in Cape Town, and not many more in the rest of South Africa. I still regularly meet people who are completely surprised to learn that a specific product that they own was designed by us and manufactured in South Africa. I sincerely hope that the World Design Capital 2014 will raise the general public’s awareness of industrial design. I hope that Cape Town will become an international centre for design – that people internationally don’t only think of safaris, politics and Table Mountain when they hear the words “Cape Town”. Have you developed your own products? Although we typically do not design for ourselves, we designed the Ideso “Powerpac” concept last year. It is essentially a home trainer that allows you to generate, store and use your own energy. Did you not win a Red Dot Design award for the Powerpac? Yes! We entered the Red Dot Design awards on a whim. Not only did we win a Red Dot, but we won “Best of the Best”. These are the top 45 designs internationally out of approx 3000 entries. As far as we know, we are only the 4th South African design company to have won a Red Dot design award. Subsequently, the Red Dot awards rated us as the 11th most innovative design company in the world. When you see your small design company rated alongside international firms like Philips and Seymour Powel, you know that you must be doing something right! How do you stay creatively inspired? Have you other creative interests? Away from the studio, I prefer to switch off from design completely. My wife reads more design orientated magazines than I do! I find that thundering down a single track on a mountain bike is a great way to stimulate the creative juices later. www.ideso.co.za
I have consciously kept Ideso small and highly effective After 6 months, I was forced to go on my own. It was scary as hell! I went from lovely, but boring golden handcuffs to “right, what shall we do today?” I must say that Louise encouraged me and gave me the chance to “go it alone”. After a lot of cold calling and knocking on doors, I managed to start a viable business within a few months. A few years later I could return Louise the favour. Who make up IDESO today? We have had a core team of four designers, Anesh, Jared Vorster, Anine Kirsten and me. It is a fantastic team. I have consciously kept Ideso small and highly effective. I have seen many design companies come and go in the last 15 years. What was your first project in 1998? After the Freeplay radios and torches, a friend of ours, Ilzemarie Knoetze asked me to design a trolley for her company “black hat chef”. I made R2000! I still have the cheque somewhere. Shortly after that, Tellumat asked me to redesign the hanger on their public phones. 15 years later, I still see them around. I used to annoy my family by screeching to a halt when driving past a public phone to see whether it had “my hanger”. Over the years what project stands out? That is such a tough question. We have designed well over 400 different products over the last 15 years that have gone to into production, so it is very difficult to pick one or two. I think that one of my favourites is the post box that we did approx 10 years ago. It was for an entrepreneur who dared to dream big. Now you would struggle to find a house that does not have one. Pity that I did not negotiate a royalty agreement! Others are the 4 Way Fin System for Dean Geraghty and the Grand Constance bottle
We don’t really need to advertise. You’re doing a pretty good job for us already. Over the past 23 years, around two thousand of you have been through our doors. You walked in as a student, and left ready to hit the ground running. Now our alumni are found all over the world, often where incredible work is being created. In fact, it would be hard finding an agency in South Africa without any AAA graduates on board, in some cases even on the board. And while that says a lot about you, it says something about us too. It is through your achievements that our success is brought to life. We would therefore like to salute all of you who contribute to making us who and what we are today. Thank you, for being the greatest ad we’ve never produced.
birthplace of brilliant www.aaaschool.co.za
Registered with the Department of Education as a private higher education institution under the Higher Education Act, 1997. Registration certificate no. 2000/HE07/015
Q: How did AAA make a meaningful contribution to your career? A: “AAA has industryexposed lecturers who pass on all the experience, know-how and tricks of the trade they picked up, so I didn’t have to learn it the hard way.”
A: “AAA taught me to become truly passionate about things, to develop profound interest and create something remarkable out of this deeply rooted passion.”
Graphic Designer/Entrepreneur
Copywriter - Draft FCB
Graduated from AAA in 2012
Graduated from AAA in 2009
Achievements:
Achievements:
Won a silver Loerie Student Award for publication design in 2012. I was recently invited to be the data visualisation artist in resident at Northeastern University in Boston by Professor Albert-László Barabási, the most highly regarded network scientist in the world.
Graduated from AAA in 2005
Achievements:
A: “The lifelong friendships and connections, as well as the simulated ad agency environment and collaboration with students from different departments.” -Sean Bonthuys
-Johan Odendaal Communications Manager - Gistics Group
Digital Strategist - M&C Saatchi Abel
Graduated from AAA in 2009
Graduated from AAA in 2006
Achievements: I have been involved in Organisation Development Programmes for large corporates, including Metropolitan Health. The campaigns have resulted in significant change management. It has enabled me to fulfil my dream of making a real impact in the lives of others, through effective communication.
Business Owner - Zulus can Draw - Illustrators Collective
A: “The constant guidance from my lecturers on what makes good advertising and how to create impactful campaigns.”
Graduated from AAA in 2008
-Natalie Rose
-David Chien
Achievements: Working at Tan Brand Communications in the Netherlands, I was entrusted to run a team of creatives within a very short period of time. I have now spotted an opportunity to start my own agency, Zulus Can Draw, just a couple of years after graduating. The objective is to promote the abundance of talented illustrators which South Africa has to offer to the world.
Since graduating I have won Gold and Silver Pendoring awards, two Bronze Loeries and several Creative Circle Ad of the Month awards, in the print, TV and experiential categories. Had the pleasure of creating TV ads for some great South African brands, contributing to the campaigns that I grew up with.
A: “The skills I acquired at AAA opened up a world of possibility. Studying copywriting integrated perfectly with my previous degree in Marketing and Communications, broadening my employment opportunities.”
Copywriter - 140 BBDO
A: “AAA offers a balance and appreciation that advertising is a tool to help companies solve a commercial problem with creative solutions rather than being a personal art project.”
-Chris de Villiers
-Kim Albrecht
-Mike Pearson
Throughout my career I’ve been lucky to work with the kind of people, and at the kind of agencies, that push the envelope. Far. This has allowed me to win awards at Cannes, Clios, the One Show and D&AD, as well as many Loeries and Eagles. In 2012 I worked on the multi awardwinning Oude Meester ‘To the Masters’ campaign with actor Jamie Foxx. A great experience. I also served on the Loeries judging panel in 2012.
A: “My career in advertising was launched off the back of my AAA graduate internship – you can’t put a price on a foot in the door.”
Achievements: I imagine, inspire and bring to life meaningful ideas, ideas that people can engage with through experience, dialogues, utilities and stories.
A: “Although painting that colour-wheel was a bitch, learning to craft manually helped to finesse my work to always be up to standard.” -Romano Cardinal
Art Director - Bester Burke Copywriter - TBWA\Hunt\Lascaris Graduated from AAA in 2008
Achievements: I think it’s safe to say I’m just a copywriter who loves making ads. D&AD Nomination 2012, Silver Clio 2012, Bronze Lion 2012, Gold Eagle 2012, Silver Loerie TV 2012, Bronze Print Loerie 2011, Silver Pendoring, 8x Ad of the Month Awards. Selected to be on the judging panel for Student Loeries 2012.
Graduated from AAA in 2008
Achievements: Won 3 bronze Loeries, 3 silver Loeries, 3 silver Pendorings, 1 gold Pendoring. Featured in Lürzer’s Archive, showcased on Best Ads, featured work in Top Ten Print Campaigns of 2012 by 10and5 blog. Judged at Pendoring 2012. Helped win the CTFM pitch for Lowe in 2011. I am never boring or ordinary and that reflects in my work.
A: “Learning how to conceptualise original ideas and see them through to the end product.” -Lauren Fowler
Graphic Designer / Illustrator - Lost is a Place Too Graduated from AAA in 2007
Achievements: Featured in the House & Leisure “Under 40 people to watch” in August 2011. Worked with Urban° in 2012 on their A.I.R (Artist in Residents) campaign. Involved in illustration campaign for V&A Waterfront.
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DESIGN
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RELEASE THE KRAKEN
DESIGN, The differentiator Take Kraken Rum. New to SA shores, this brand’s rich, entertaining narrative and superior packaging go a long way towards making us believe this Caribbean black spiced rum just fell from the hull of a passing pirate ship. Charmaine Choi, of New York agency ‘Dead As We Know It’ (responsible for much of The Kraken’s launch campaign in the USA) says “The Kraken Rum brand really came to be when we developed the voice and look of it out of the packaging,” The agency developed an brilliantly animated integrated ad campaign based on
W
e love John Maeda (artist, graphic designer, computer scientist and one of the 75 most influential people of the 21st century according to ‘Esquire’) but forgive us for thinking he may be a little off the mark in thinking that “design is no longer the differentiator,” as stated in one of his more recent articles. One does not have to go far to realize that great design is highly competitive and ever more challenging to accomplish. Granted, great design is, in itself, not always sufficient. Even better? Add to it a ‘real’ and compelling brand story and watch visibility and sales soar!
Now so cultish has the brand following become that there are even Kraken games, videos, ‘Kraken ‘survival testimonials, charts that indicate the Kraken’s size, Kraken décor items and a Kraken App amongst a myriad other things. London based Stranger & Stranger were responsible for the package design, for which they’ve consistently scooped top awards. It’s no small wonder. A bold vintage-style aesthetic and double handled bottle, a great story unique and unique name help to create a memorable brand. Back this up with compelling marketing
Bottom line? Design still is, and always will be, the differentiator, undoubtedly creating significant impact on purchasers at the crucial moment when the purchase is made. mythical storytelling and the creation of a legendary sea-beast, namely the Kraken.” As legend has it, the Kraken, the most fearsome of all sea monsters, lives up to 3,000 feet below the ocean surface. This dreaded behemoth has been known to attack ships and drag god-fearing seamen to their deaths. The largest shipment of Caribbean black-spiced rum was brought down by the Kraken. The rum was named thusly, as to being as dark, strong and mysterious as the ink of the beast. “We developed an ‘accurate’ history and, quite possibly, real world from which Kraken Rum may indeed have come. We then created “scientific” movies, a scientific journal and an interactive website,” explains Charmaine.
collateral and you’ve got a winner on all levels. Bottom line? Design still is, and always will be, the differentiator, undoubtedly creating significant impact on purchasers at the crucial moment when the purchase is made. Keep on the watch for Kraken Rum at Design Indaba and see if their mantra on the bottle is true - “As seen through the eyes of imagination.” www.krakenrum.com
PRESENTS...
The First Bachelor Degree in Sound Production in Africa
The Young Guru Scholarship In partnership with SAE, Heal the Hood & Young Guru (Jay-Z’s engineer & DJ)
NOW OFFERING...
Bachelor Degree in Film Production
ANIMATION, VFx & GAMING
Animation for Film, Visual Effects, Game Art & Design, Animation for Apps & Mobile Gaming, Stop Motion
DIGITAL FILM PRODUCTION
Short Films, Documentaries, TV Commercials, Music Videos, Backpack Video Production, Film Business, Digital Content
SOUND PRODUCTION
Studio Recording, Music Producing, Live Sound, Music Business, Sound Design for Film, TV & Interactive Media
Small classes, Personalised tuition, World class facilities, Internationally recognised
Email: capetown@sae.edu Web: www.capetown.sae.edu SAE also offer short courses in Music Business, Animation, Guerrilla Video Production and Electronic Music Production in Ableton Live With Campuses Across The Globe OUR WORLD IS YOUR STAGE
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DESIGN
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STUDY AT: STUDY AT:
UDY AT:
C
areer opportunities for Sound Production in Music, Film, TV, Gaming and New Media are sky-rocketing as our domestic industry grows. As a result, the sector is seeing an increasing demand for highly trained personnel. In order to meet this demand, SAE Institute South Africa is proud to announce the launch of Africa’s first ever Bachelor Degree in Sound Production. As sound production technology becomes more affordable and accessible, there has been a massive increase in home studios, and the emergence of thousands of aspiring producers. The reality however is that very few of these producers, composers and audio engineers are equipped to meet the demands of the media industry, and essential business acumen, to earn a living from their skill. SAE Institute South Africa has raised the bar on Higher Education by launching the first ever specialised degree in sound engineering and music production in Africa, with their Bachelor of Arts in Sound Production qualification. To achieve a sustainable career in the
extremely competitive media industry, a professional requires advanced theoretical and practical skills in their chosen discipline, an analytical and creative mind, an innate awareness of the business (over and above talent and creative skill), partnered with networking and entrepreneurial savvy. The SAE curriculum addresses the art, science and technology of sound production across a wide range of applications, from music recording to live concert sound, sound production for film and television and music business. Each sub-discipline of sound production is covered in detail. In addition to the focus on the vital knowledge and skills required from a sound engineer or music producer, students are constantly exposed to the pertinent qualities and values expected of an individual in the entertainment industry with regard to professional practice, ethics and credibility, to produce graduates who can operate effectively as audio professionals, and make a meaningful contribution to the industry, economy and society. SAE also launch their first Bachelor Degree in Film Production in January. www.capetown.sae.edu
SAE has raised the bar on Higher Education by launching the first ever specialised degree in sound engineering and music production in Africa, with their Bachelor of Arts in Sound Production qualification
Cobra introduces two new future-forward kitchen mixers
D
ue to the overwhelming popularity of its existing Flex Supreme kitchen sink mixer with flexible hand spray and increasing consumer demand for other similar products, Cobra has introduced two new cutting-edge kitchen mixers – the Erie and the Huron, the latter of which also features the popular retractable hand spray. The new mixers (ER-971 and HR-971 respectively) are right on-trend with current international mixer designs, and marry the very latest in form and function to deliver two outstanding kitchen mixers that are as chic as they are sophisticated. The mixers cut elegant figures in any kitchen setting with their sweeping, arched swivel spouts and elongated single lever handles. Both are manufactured from robust dezincification resistant (DZR) brass and finished off in sleek, top-quality chrome. DZR brass is a copper alloy with more than 60% copper content, which is much higher than the vast majority of plumbing fittings currently found in the market. This composition, together with the extra grain refining processes employed during manufacture, makes Cobra DZR brass corrosion resistant and eliminates the risk of growth of certain pathogens, such as Legionella (Legionnaires disease). Another benefit of DZR brass is that the bodies of
the mixers are super strong and durable, promising years of hassle-free service. The Huron features a 1.5m flexible, retractable hose that allows the hand spray to be pulled into the desired position during use to concentrate water flow exactly where it’s needed; the hand spray conveniently retract to their original position once done. This feature is becoming increasingly sought after in the hard-working modern kitchen, where ease of use when it comes to washing fruit and vegetables and rinsing oversized crockery, pots and chopping boards has become a priority. The original Cobra kitchen mixer with retractable hand spray – the Flex Supreme (FX100) – features a standard swivel outlet and large decorative, chrome-plated spring mounted hand spray that lends an almost industrial edge to contemporary kitchens. As single lever mixers, both the Huron and the Erie have been designed for maximum efficiency in the kitchen. The lever allows for easy operation, including selecting either hot or cold water or mixing it to the preferred temperature as well as selecting the desired water flow. The two new mixers form part of Cobra’s accelerated product development programme, which aims to continually bring to market pioneering new products that meet the ever-changing needs of today’s consumers. www.cobra.co.za
Antalis encourages you to dream, explore and discover On the 15 November Antalis South Africa (Pty) Ltd proudly launched the 4th Munken Journal at a breakfast function held in Fourways, Johannesburg. The Utforskarens Journal (which means Explorer’s Journal in Swedish) is an exquisitely designed work of art. The beautiful yet informative tool allows people to discover the World as well as learn of the origins and details of Munken products. The journal set in early twentieth century focuses on a fictitious Mr. S. Ansgar, an explorer and distinguished representative of the Swedish Explorers Society. Ansgar’s journey begins in Munkedal village, home of the Munkedal Monastery which later became the iconic Munken paper mill. During his visit here Ansgar received his handbound Swedish Explorers Socierty Journal personalised by the numbers 6.3.2. These numbers were significant as Munken papers come in six different variations, three colours and two surfaces. The seven destinations Ansgar visits are portrayed using different Munken paper that echo the temperature and nature of each destination. This amazing journal contains 40 unique hand illustrations, 14 archived photos and intimate journal entries accentuated by specialised finishing techniques The journal is so realistic that there are even finger prints, ink spills and dirt smudges on the pages that were intentionally designed and printed that way. Says Graeme Futter fro Ultra Litho . After the audience was wowed with the sheer creative brilliance of the latest Munken journal Jean Lloyd, Digital Business Director MEAFT region for Kodak, boldly showcased Printeractive. Printeractive details how print interacts with other media such as web and broadcast to form an integrated multimedia campaign. Lloyd also discussed the Kodak NexPress and the diversity this offers printers. Concluding her presentation Lloyd shared news of the two excting initiatives being launched by Kodak early in 2013. Alex this to be a separate article under Graphics please “I was unsure whether the 3rd Munken Journal could be improved upon until I saw this one – it is astounding in its attention to detail and the simple brilliance of the concept. The journal was designed by The New Black; Emmawritten by Robyn A Jepson and printed by Ultra Litho. Considering we have printed only 3000 this is hot property! Thank you to everyone who was involved with making this launch and beautiful Journal an overwhelming success.” shared Caroline Coughlan, Marketing Manager of Antalis. www.antalis.com
+27 (0)28 341 0209 info@kiwinet.co.za www.kiwinet.co.za
Aluminium long-lasting elegance
Aluminium long-lasting elegance
Aluminium long-lasting elegance
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
love your taps
SINCE 1980
tel+2711 8829100 fax+2711 8828321 info@isca.co.za www.isca.co.za
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TUTORIAL
Create a seamless pattern in Illustrator CS6
Turn an object into a repeating pattern and export it for the web.
01 To get started,
open a new document in Illustrator CS6, and create a simple object. Once you’re satisfied with your design, select the object and go to Object > Pattern > Make. This will open the Patterns Options Dialogue Box, which will enable you to control how your pattern repeats.
Create a seamless repeating pattern design using the latest Adobe® Illustrator CS6 pattern-creation tool, writes Eva Csernyanszky Smart Mobile and Tablet Devices supporting higher screen resolutions are fast changing the way we view and handle design workflows. In fact, an increasing number of designers are now leaning towards working with vectorbased patterns as opposed to previously favoured bitmap textures. Not only does this enable developers to maintain high quality digital graphics, but it also eradicates the need to constantly update them – ideal in today’s fast-paced digital age.
08 Now create an Artboard that has
exactly the same size and matches the borders of this tile. Use the Artboard tool to draw a rectangle that matches the patterns boundaries.
09 Now that
04 You can also change the width and
height of your pattern. Remember to click the ‘Link’ button to ensure that your artwork remains in proportion. To fix the width and height of the artwork, simply tick the ‘Size Tile to Art’ option.
05 You can
02 Once in the Patterns Options
Dialogue Box, you have the option to change the tile type, size of the pattern, spacing, and how you view the pattern on your screen.You can even duplicate and manipulate your current design, and your pattern will automatically update to reflect the changes.
also control the vertical and horizontal spacing between each tile, as well as the overlap. This determines exactly where the tiles fall in the stacking order. Change the number of copies of your artwork until you are happy with your result. The ‘Dim Copies To’ option allows you to dim the opacity on every copy except the original artwork. You can also choose whether or not to show the tile overlay, which is the blue line that outlines the artwork.
The following tutorial will teach you how to turn any vector graphic into a repeating pattern using Adobe® Illustrator CS6, and how to export the finished artwork for web easily and efficiently. DURATION 15 minutes
06 Click ‘Done’
to move your pattern in to the Swatches Panel. Go to Window > Swatches. Click and drag the pattern from the Swatches Panel to the Artboard.
LEVEL OF DIFFICULTY Beginner
07 After selecting your artwork you will Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts. Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies. www.friendsofdesign.net
03 To change the pattern type, simply
choose from: Grid; Brick; Row; Brick by Column; Hex by Column; and Hex by Row. Each pattern type will change the look and feel of your design.
notice the blue swatch bounding box. Select that box with the Direct Selection tool and hold down the Option/Alt key to find out the exact dimensions in the Control panel.
your pattern is good to go, the final step is to save the file for web by going to File > Save for Web. For best results, be sure to select PNG24 from the drop-down menu. Select ‘Transparency’ to place a custom colour behind the pattern, and click ‘Save’.
Seagram Pearce Photography 78 Shortmarket Street Cape Town info@seagrampearce.com studio 021 422 5823 mobile 083 978 3143
www.seagrampearce.com
Tshwane University of Technology We empower people
Faculty of the Arts artsinfo@tut.ac.za | www.tut.ac.za
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Colour Matching in Adobe Photoshop
Match the colour from any image to your own, using curves only. Colour Matching in Photoshop allows you to non-destructively emulate the colour palette of any image, writes Mandy Roberts. Instagram? Histogram! With applications adding processed colour treatments with a push of a button, colour matching in Photoshop allows you to bring the integrity of processing techniques and colour treatments back to the the place that provides the ultimate control. Curves! Instead of learning to mimic one particular processed look (eg Cross Process, Bleach Bypass), this tutorial aims to teach you to analyze any image (via Tone, Colour & Saturation) and to manipulate your curves to emulate any processing technique or visual treatment. Using Photoshop’s built in Colour Matching adjustment has often proved to be limiting and destructive, the following will teach you to match like a pro! DURATION 30 minutes LEVEL OF difficulty Intermediate
TUTORIAL This tutorial will cover 3 parts. In order to recreate the look and feel of the reference, we will create 3 “maps”. (1: Tone, 2: Colour, 3: Saturation). The objective is to analyze the maps and then use Curves to emulate the tone, colour & saturation.
01 To get started, place your images in
one canvas. Position your “reference” on the left and your source image on the right. You will continuously analyze the reference image in order to treat your source image with the same aesthetic.
Mandy has been in the design industry for thirteen years and lecturing digital skills for eight years. www.cityvarsity.co..za
07 The last step to match the saturation
05 The next step is to match the colour
To do this, create a “saturation map” by adding a Selective Colour Adjustment Layer. Set the Black of all Colour Channels to -100 and set the Black of the Black, White & Neutral Channels to +100.
Adjustment Layer to Luminosity so that it only affects the tonal range of your source image and not the actual colour.
from the reference to your source image by creating a “colour map”. To do this, change the blending mode of the Colour Fill Adjustment Layer to Luminosity. (This will give you a colour map of both images, don’t be alarmed at the strange appearance.)
of the reference image to your source image.
This will create a saturation map in order for you to analyze the saturation in your reference image. White in the map will represent maximum colour saturation and black represents the minimum.
02 The first goal is to match the tone
/ luminance. To analyze our images’ luminosity, we will create a “greyscale map” in order to see only tones, no colour. To do this, add a Solid Colour Adjustment Layer, fill it with 50% Gray and set the blending mode to Colour in order to view just the luminosity (greys) in the image.
03 You can now visually analyze the
tones in each image by dragging a selection over the reference image and taking a look at the tonal range in the histogram panel. Now drag a selection over your source image and check out the tonal range in the histogram. (Ensure you’re on the Solid Colour Adjustment Layer.)
Analyze and compare these two images. Make a note of what colour in the map is expressing shadows, mid tones and highlights.
06 Add another Curves Adjustment
Layer. In my reference image, darkest shadows appear as a blue-ish purple in the map. My goal is to now allow my shadows in my source image to have the same colour. In my Curve Adjustment panel, I will select the Blue channel and adjust the curve to contain more blue in my shadows.
08 As you can see in my example, i have almost identical saturation maps.
However if your maps are vastly different, you would simply add a Hue / Saturation Adjustment Layer and adjust the saturation slider to either saturate or desaturate your source image to match your reference image. The way to get into this approach to editing and to make it part of your standard workflow is to really get to grips with understanding the histogram, and curves per colour channel. Switching between the “map” and the actual layer visual will really start to help you understand precisely where your editing is taking place.
I will now match the midtones & highlights the same way by accessing either the Red, Green or Blue Channel and adding or removing colour per channel. My midtones (in the map) are yellow/ green, so to add yellow to my midtones, I adjust the blue channel curve again, top right, by removing blue from the highlights, which will increase the yellow. Now that you’ve analyzed where the majority of your shadows, midtones and highlights should be based on the reference, we will now emulate that by adding a Curvers Adjustment Layer abouve our Source Image. In the adjustment panel, adjust the curve in order to match the tones of reference. In my example, my reference image has stronger contrast, so I added further points to the curve to match my reference.
Mandy Roberts Senior Multimedia Lecturer CityVarsity School of Media & Creative Arts
04 Set the blending mode of the Curve
My reference image is also showing a red / purple in the midtones, so I will adjust the Red channel curve to have more red in the highlights and less red in the shadows. (Standard S curve!) You can toggle the visibilty of the Solid Fill Adjustment Layer to further help you make your adjustments to each curve.
You can see that my image “colour map” on the right, matches up to my reference image on the left.
My source image matches up to my reference image, blues in the shadows, reddish midtones and yellows in the highlights! Enjoy!
Pantone 5255 (dark purple) or as close to it as possible
★★★★
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TUTORIAL
Beginners guide to photography tutorial six
Retouching
05 Again, experimentation is key.
Different layers can also be made to be semi-transparent by adjusting the opacity level. This is just above the layer palate. If your texture is too heavy, drop the opacity.
Retouching is a crucial part of photography, because it allows you to apply your personal style to images. Grab a seat at your PC/Mac today. Let’s take a break from the usual photography tutorials & look at the next step after you’ve done the hard work. Retouching is a crucial part of photography, because it allows you to apply your personal style to images. We’ll look at an awesome technique of using textures to enhance & stylize your photos. The best part of this method is you’ll get different results almost every time!
DURATION 1 hour LEVEL OF difficulty Beginner
01 Start off by chosing your photo.
This technique works well with portraits/ fashion images especially. However don’t limit yourself. Try it on everything & see what looks good. At this point you’ll need to source your textures. A fantastic resource for this is royalty free stock libraries like Stock Exchange (www.sxc.hu). For this tutorial I’ve sourced this image (http://www.sxc.hu/ photo/1411178).
06 Now we go one step further. What if 03 We need to transform the textures
so that it covers our entire image. Hit CTR/CMD+T to transform the texture layer. Rotate & enlarge using the edge bounding boxes until it covers your entire image.
you don’t want the texture to apply over the entire image, perhaps it is ruining the focus being on the face? Well its an easy adjustment! With the texture layer selected, hit the ‘mask’ button at the bottom of the layers palate. You’ll see a white box right next to the texture layer. This is an alpha mask. White = visible. Black = hidden. So by painting with a black brush on the layer mask you just created, you can hide painted areas. Brush over whatever area you don’t want the texture showing & it will go away.
07 Don’t feel limited by 1 layer of
texture. Try add more & work up a library of textures you can use in future. Just by applying a different blend mode, you can create multiple styles with the same texture.
02 In Photoshop, open up all your
textures & hero image. Drag or copy all the textures you’ve sourced onto your main image. This will put the textures on their own layers.
04 From this point onwards, there Seagram Pearce Seagram Pearce works as a freelance photographer throughout South Africa and Internationally. Honored to be awarded both local & international photographic awards such as Hasselblad Masters. Specialising in automotive & people in editorial & advertising sectors. twitter: @seagrampearce www.facebook.com/seagrampearcephoto www.seagrampearce.com
is loads of room for experimentation. Photoshop has a variety of blending methods for layers, so the kinds of effects is virtually unlimited. I always like to start with ‘Soft Light’ blend mode. Its generally a good place to start as 90% of the time it will blend well with your main image below. ‘Soft Light’ blend mode is essentially lightening the brighter areas & darken the shadows that come from your texture layer. Almost like a rough dodge & burn for those who remember the dark room days.
Texture blending is a powerful editing technique if used subtly & in conjunction with good colour grading. If you’re looking for some inspiration on photographers who effectively use textures in their post production, take a look at fashion photographer Lara Jade (www.larajade.co.uk). Get me on twitter or my facebook page for more!