ISSUE 002
CONTENTS INDUSTRIAL DESIGN EXPLAINED Get a deeper understanding of what Industrial design is and how it affects our day to day lives.
FROM IDEA TO FINISHED CAR Take a look into the process of Audi from idea to creation.
WHAT DO INDUSTRIAL DESIGNERS DO?
NDUSTRIAL DESIGNERS DEVELOP THE CONCEPTS FOR MANUFACTURED PRODUCTS, SUCH AS CARS, HOME APPLIANCES, AND TOYS. THEY OMBINE ART, BUSINESS, AND ENGINEERING TO MAKE PRODUCTS THAT PEOPLE USE EVERY DAY. INDUSTRIAL DESIGNERS CONSIDER THE FUNCTION, AESTHETICS, PRODUCTION COSTS, AND USABILITY OF PRODUCTS WHEN DEVELOPING NEW PRODUCT CONCEPTS.
LEONARDO DA VINCI Dive into the mind of Leonardo Da Vinci.
@imgur
FAMOUS INDUSTRIAL DESIGNERS Learn about some of the greatest minds in industrial design. How many do you know?
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14 8
44 12
58 14
64 INDEX 18 24
COLOUR OF THE MONTH
INDUSTRIAL DESIGN EXPLAINED
AMBASSADOR MARIALDA MEYER
FROM IDEA TO FINISHED CAR
TUTORIAL CLAY CAR
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INDUSTRIAL DESIGN EXAMPLES
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AMBASSADOR SUGASHNA GOVENDER
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REALISTIC RENDERS
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METHODS OF TECHNICAL DRAWING
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TUTORIAL TECHNICAL DRAWING
FAMOUS INDUSTRIAL DESIGNERS
AMBASSADOR ANDREA HIDE
TUTORIAL SWEET MACHINE
WHERE TO STUDY INDUSTRIAL DESIGN
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EDITOR’S NOTE Welcome to our second issue of Marsmag, we really enjoyed putting this issue together and hope you enjoy reading it just as much. This issue we decided to feature industrial design, a discipline which is not as popular as others but one which has a great future in an ever-changing world. Amongst the normal features and tutorials, we feature some of our local ambassadors who just never fail to impress us. Marialda Meyer shows us a completely unique way in which she uses STAEDTLER pencils by creating the most incredible sculptures. We also take a look behind the scenes at how Audi design their new vehicles and actually use Staedtler Fimo Clay in their process. Apart from featuring some great industrial designers we also give you the best places in South Africa to study industrial design and even have a tutorial on the basics of drawing in perspective. Remember to follow us on Facebook and we would love your comments about the mag as well as features you would like to see in the future.
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“ I want industrial design to be a public subject. I want people to love objects the way they love clothing. “
©archinect.com
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ALL YOU HAVE TO DO IS POST YOUR AMAZING ARTWORK TO OUR FACEBOOK OR INSTAGRAM AND YOU COULD BE CHOSEN AS THE NEXT AMBASSADOR! facebook.com/StaedtlerSA 6
StaedtlerSA
Set square
60˚/30˚, length 32cm
Compass set
containing compass, lead box, 6” protractor, 6” ruler, 60˚ triangle , 45˚ triangle, mechanical pencil 0.5mm, eraser in case with hinged lid
Mars ® micro carbon leads
Lead 0.5mm line width, HB degree • High break resistance due to flexible lead • Smooth-gliding lead, jet black lines
Mars ® micro mechanical pencil
Line width 0.5mm • Mechanical pencil for drawing and writing • Non-slip rubber grip zone, metal clip, push button and tip • Pocket-safe thanks to retractable metal lead sleeve
DIN A3 drawing board
With parallel drafting arm, with double-sided scale. Convenient single-hand double locking mechanism for setting at any position on the rail. Twin rail for especially smooth, even gliding of the ruler.
FIMO® professional ovenhardening modelling clay
• 85g • 55 x 55 x 15 mm • Ideal for fine detailed work including jewelry, miniatures and intricate cause • True colours mixing system for professional users
Drafting head
For use with the drawing board 661 A3. Single-handed use. Stop-and-go push button for easy setting at desired angle and freewheeling.
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OLOURS OF THE MONTH
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PEAR Green occupies more space in the spectrum visible to the human eye and is second only to blue as a favorite colour. Green is the pervasive colour in the natural world that is an ideal backdrop in interior design because we are so used to seeing it everywhere. The natural greens, from forest to lime, are seen as tranquil and refreshing, with a natural balance of cool and warm (blue and yellow) undertones.
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Orange, a close relative of red, sparks more controversy than any other hue. There is usually strong positive or negative association to orange and true orange generally elicits a stronger “love it” or “hate it” response than other colours. Fun and flamboyant orange radiates warmth and energy. Interestingly, some of the tones of orange such as terra cotta, peach or rust have very broad appeal.
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YELLOW SUNSHINE
HAPPINESS OPTIMISM BRIGHTNESS PERCEPTION CREATIVITY
Yellow is the brightest colour of the visible spectrum, and it is the most noticeable of all colours by the human eye. It means happiness and optimism; it is the colour of sun shining, or bright light and creativity. It is believed to have an influence on the left side of our brain, where deep thinking and perception dwells.
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WHAT DO INDUSTRIAL DESIGNERS DO? INDUSTRIAL DESIGNERS DEVELOP THE CONCEPTS FOR MANUFACTURED PRODUCTS, SUCH AS CARS, HOME APPLIANCES, AND TOYS. THEY COMBINE ART, BUSINESS, AND ENGINEERING TO MAKE PRODUCTS THAT PEOPLE USE EVERY DAY. INDUSTRIAL DESIGNERS CONSIDER THE FUNCTION, AESTHETICS, PRODUCTION COSTS, AND USABILITY OF PRODUCTS WHEN DEVELOPING NEW PRODUCT CONCEPTS.
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Some industrial designers focus on a particular product category. For example, some design medical equipment or work on consumer electronics products, such as computers and smart phones. Other designers develop ideas for other products such as new bicycles, furniture, housewares, and snowboards. Self-employed designers have more flexibility in the product categories they work on. Designers who work for manufacturers help create the look and feel of a brand through their designs. Other designers, sometimes called user interface designers or interaction designers, focus on the usability of a product, such as an electronic device, and ensure that the product is as simple and enjoyable to use as possible. Industrial designers imagine how consumers might use a product and test different designs with consumers to see how each design looks and works. Industrial designers often work with engineers, production experts, and market research analysts to find out if their designs are feasible. They apply The input from their colleagues’ professional expertise to further develop their designs. For example, industrial designers may work with market research analysts to develop plans to market new product designs to consumers. Computers are a major tool for industrial designers. Industrial designers use two-dimensional computer-aided design and drafting (CADD) software to sketch ideas, because computers make it easy to make changes and show alternatives. Three-dimensional CAD software is increasingly being used by industrial designers as a tool to transform their two-dimensional designs into models with the help of three-dimensional printers. If they work for manufacturers, they also may use computer-aided industrial design (CAID) software to create specific machine-readable instructions that tell other machines exactly how to build the product. Industrial designers typically do the following: Consult with clients to determine requirements for designs. Research the various ways a particular product might be used, and who will use it. Sketch out ideas or create renderings, which are images on paper or on a computer that provide a visual of design ideas. Use computer software to develop virtual models of different designs. Create physical prototypes of their designs. Examine materials and manufacturing requirements to determine production costs. Work with other specialists such as mechanical engineers and manufacturers to evaluate whether their design concepts will fill needs at a reasonable cost. Evaluate product safety, appearance, and function to determine if a design is practical. Present designs and demonstrate prototypes to clients for approval.
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MARIALDA MEYER
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Who are you and what do you do? Hi, my name is Marialda Meyer, I stay in Pretoria in the east, and I am a jeweller, by trade, I am a quantified goldsmith. Instead of gold and silver which is normally used to make jewellery, my pieces consist of colouring pencils. Why do you do what you do? I do what I do because everything I make has no map or blueprint, there is no wrong or right way when it comes to the design and manufacturing of my items. It is all just a case of trial and error. I think for me that is the biggest reason why I do what I do. It is because I can and will try each and every idea I get , it will either turn out exactly like the image I had in my head or it can turn out even better, but not at all resembling my initial idea. How do you work? I work from home, and it can get pretty labour intensive as I do not have all the bigger electrical woodworking machines. I still have to saw by hand, but from where I started, using a seventy-year-old table grinder that was almost broken it is a huge step up. What’s your background? I am a qualified goldsmith. What’s integral to the work of an artist? A good supply of quality products at a reasonable price. What has been a seminal experience? STAEDTLER’s facebook post featuring my pictures with the quote “you can do anything with STAEDTLER and a bit of creativity” and the caption from STAEDTLER saying they were blown away with my jewellery made from pencils. How has your practice changed over time? I am busier than ever. My confidence has grown and it shows in my work. I used to have pieces that were just lying around because I didn’t want to sell them. I didn’t like those, or they were from my first pieces.
What art do you most identify with? Andy Warhol’s pop art and Ndebele art. What work do you most enjoying doing? When I get to shape the pieces on the grinder after the resin has set. Especially when its something new, a new shape or new arrangement in colour schemes. What’s your strongest memory of your childhood? Barbies, I played with Barbie until age 13. Making Barbie clothes, and other accessories for barbies. What’s your scariest experience? Having to go back to being a waitress at age 35, to fund all my trial and error in the beginning. Describe a real-life situation that inspired you? My biggest inspiration ever is my sister, she has multiple sclerosis, despite this, she has been my biggest supporter throughout. Whether it’s been financially or that she is the first to like my Facebook posts. When I was 18 turning 19, in ,my first year out of school, she stayed in Secunda and once a month there was a craft market where you could only sell handmade goods. She paid for my stall and petrol there and back, I went about 3-4 times. What’s your most embarrassing moment? There are so many. These days there’s not much that would make feel embarrassed. Whats embarrassing for me, and thank goodness this happens seldom, but if I sell a piece and the client comes back with it cause it broke and having to look at a piece and know it broke because of poor craftsmanship, and I can’t believe I sold such a poorly made piece.
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What jobs have you done other than being an artist? I think its rather what jobs I did not do. I was a travelling sales rep for AutoTrader and another advertising company, I was a DSE direct sales executive with Outsurance and I am actually still qualified as a broker. I also have my diploma from Design School SA in interior decorating. And then there’s the waitressing, I did this on and of for 12 years. Up until a year ago, I was still working as a waitress to fund all my trial and error costs that came with doing this. Now I still have part-time work on occasion at a primary school with the aftercare, when any of the permanent aftercare teachers go on leave or when they are ill I stand in for them. Why art? I don’t see myself as an artist I look at myself as being more creative, and a creator. I love working with my hands. Having something tangible to hold in my hands or something I can touch or that I can admire from afar. This gives me job satisfaction. What is an artistic outlook on life? For me, it must most definitely be “one man’s garbage is another man’s treasure” I always see potential in what others want to throw out, and most times it’s not even a hours labour for a complete transformation in an item or a room. What memorable responses have you had to your work? There is a follower on Instagram - @art_of_n - his name is Nihat Ozcan from Turkey who does the most astonishing sculptures out of the lead pencil tips who wanted to order and buy a ring from me and he was telling me how great my work was, it was just such a compliment that I did send him two rings at no charge.
What food, drink, song inspires you? Sherbet, and jelly sweets can you believe it. I’ve actually walked around with sherbet in one hand and super glue in the other, and threw super glue in my mouth instead of the sherbet and that has happened on more than one occasion. When I do markets I will sometimes put those long straws with the layered colours sherbet on my table as part of my display What do you dislike about the art world? This is gonna sound horrible and I mean it in a not so horrible way. I dislike how an artist can be extremely insecure, and think other artists are always out to copy their work. There is no support amongst artists, this excludes musicians. The truth of it all is no real artist will ever steal or copy from other artists, a real artist will be inspired by your work. That’s where artists put up a wall and guards all of his or her tips and secrets which they also, in fact, got from someone who shared it with them. We are suppose to be happy for someone else’s success, not just our own. We could go so far if we helped one another. What do you dislike about your work? I hate tidying up. I don’t mind cleaning up, its the packing everything away. Nothing is ever in one place. I am easily distracted a bit ADD so I find myself working on 5 different projects. There alwasy ends up being stuff everywhere. What do you like about your work? Freedom to create, there are no rules, no blueprint. Every day I am making and creating something new that never existed, nor does anyone have what I just made, and there will never be another one exactly like it.
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Should art be funded? Yes, it should. All you hear nowadays is every kid has ADD, and it is only because they are better at creative and artistic things then maths or geography.
What research do you do? I don’t do that much. I had to do a lot on the resin in the beginning but also it came down to trial and error because so much I’ve found on resin is from other countries, where products are so different. I could never have imagined that climate had such a big role in curing your resin. What superpower would you have and why? I would wanna be Flash Gordon, tidying up would be a 10-minute job, because in 10 minutes I can create a mess that takes 10 hours to clean. Name something you love, and why. STAEDTLER pencils, second-hand shops and charity shops. What a bonus it is when those two come together and I find STAEDTLER at those shops. What is your dream project? Carrol Boyes made the soccer world cup trophy. I could think of nothing greater than doing the same out of colouring pencils for such a big event. Name two artists you’d like to be compared to. Carrol Boyes and Andy Warhol. Favourite or most inspirational place? Any hardware store and second-hand store or charity shop What’s the best piece of advice you’ve been given? That when leaving resin to cure leave it in the sun, it needs heat to activate in order to harden, they could have put that on the instructions. That’s only a tip. Best advice, do what you love and enjoy, if you love and enjoy your job you will never fail cause it will show through your work, and you will start growing and you will never stop growing because you are feeding your soul with what you love. Professionally, what’s your goal? To be a household name like Carrol Boyes. What wouldn’t you do without? My super glue, my STAEDTLER Norris Club stationery and STAEDTLER jumbo pencils.
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FROM IDEA TO FINISHED CAR High tech and handmade finish in the Audi design
At the start you have a brilliant idea, at the end a harmonious, fascinating product. The design process reflects the connection between idea and product. Audi brings together the best of both worlds in its cars: The digital design manufactory combines state-of-the-art digital visualization techniques with superb handmade precision. The C3 process is the core element in the new design workflow. Thanks to photorealistic visualization in real time, the designers can already assess the design on the screen.
Audi is constantly rolling out new models and new technologies. So the designers’ challenge is to turn more and more design concepts into series-production models in less and less time. With more than 400 employees, Audi Design now has more than twice as many employees as in 2000. At the same time, the team is processing five times more projects and is dealing with increasing technical requirements in vehicle projects. Design presentations and technical package specifications must be coordinated across the various disciplines. For this reason, the Audi Design team has developed a new design process, which combines CAD (computer-aided design), 3-D visualisation and traditional design model making as well as clay modelling. The result is high process reliability, a coherent design concept and greater flexibility for creative design ideas.
Portfolio and initial phase Normally the design process at Audi starts around five years before the launch of a new model. At the start, the designers create the basic design language and design characteristics of an entire model family. A joint technology matrix tends to form the basis for the design decisions in the basic portfolio phase. Here the designers together with colleagues from Sales and Technical Development are heavily involved in the company’s strategic product planning.
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How well does a new compact SUV fit in with an existing midsize model? What derivations are conceivable and which make sense? This matrix of different requirements – segment, configuration, design, customer and market requirements – initially gives rise to several portfolio models. With these 1:10-scale models the subsequent package still plays a secondary role. These models primarily provide a first impression of a design theme in various vehicle segments, such as with a sedan, an SUV and a coupé. The models evolve on the basis of CAD data by milling Ureol plastic or with a 3-D printer by means of rapid prototyping. The design process of a series-production model starts with the initial design phase. This phase lasts between three and four months. Here the Audi designers work in close coordination with the studio engineers, the engineers from concept development and the Sales experts. As a result, they translate the rough technical layout into a 1:1 architecture model. The focus is on those variables which determine the volume and the proportion, for instance, the wheelbase and the height of the engine hood or basic technology package and components, such as the position of vehicle sensors.
The 1:1-scale architecture model is milled from a dense polyurethane foam and then painted. The final exterior design does not play a role with this model. It provides designers with an initial comparison of their design ideas with the future product. The model also allows modifications to be evaluated which become necessary due to technical requirements. Insights from the architecture model provide designers with a reliable basis for the subsequent sketch phase. As such, the exact technical specifications do not restrict the designers’ creativity, but rather guide the designers in the direction of what is technically feasible. Once the technical requirements have been clarified, the designers can give free rein to their creativity. Thanks to the precise technical specifications, the designers can produce suitable concept designs from the outset. The design they are working on comes to life faster than before; the design quality is even higher. Draft phase In the subsequent design briefing, designers and Sales experts develop a joint leitmotif in words and images. This entails finetuning the package information and the basic knowledge acquired thus far. Teams from Audi Sales, which analyze the market, competition and the customer expectations, provide important input. In the sketch phase, which lasts around two months, the designers traditionally work with pen and paper and digitally with electronic drawing boards. Several exterior designers work with each other in a spirit of friendly competition, normally seven for the interior, and eight or nine for the exterior. The best exterior idea makes it into the next process phase, the C3 process.
Digital design phase The digital design phase is tailored to the concept of the new Audi Design Centre. It consists of three components: CAD, concept, clay milling – or “C3 process” for short. The process delineates a new form of collaboration between CAD modellers and exterior designers. The CAD architecture model from the initial design phase provides the basis for the new design concepts. The CAD concepts appear in real time on the 1:1 LED screen in photorealistic quality and can be checked for their consistency and rapidly transferred to a physical 1:1 reference model. “With the high-end visualisation of the C3 process, I am confident I can already assess a design digitally,” says Marc Lichte. The high computing power of a computing cluster enables the latest design versions to be computed and presented photo-realistically in a matter of seconds. The direct transfer of the digital design image to a physical reference model enables the photorealistic representation in the digital model and physical 1:1 volume model to be compared continuously. The clay reference model also serves as a physical basis for discussion between designer and CAD modeller and as a “three-dimensional sketchpad.” The connection of digital modelling and clay milling in the C3 process facilitates faster development of the final design concept without compromising the quality of detail or decision-making reliability. The process also provides flexible, rapid reactions to change requests. As such, the new design process is an important contribution to the corporate strategy in terms of digitalisation and sustainability.
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The current computing power makes photorealistic representations possible in real time and allows design concepts to be assessed digitally. The new Audi Design Centre offers the optimum conditions: Five LED walls with presentation areas of 5.5 meters (18.0 ft) up to 11 meters (36.1 ft) wide and very high resolution show new models accurately in every detail. The computing cluster is used jointly by Audi Design, Surfaces Development, in other words, the interface between Design and Construction, and the data control model (DCM), and enables visual simulations of the design data in real time. This cluster consists of 480 interconnected nodes, and its computing power is equivalent to the performance of around 4,300 notebooks.
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The visualisation software for the representation on the LED wall works in accordance with the ray-tracing principle. Using this vector-based ray process, optical effects such as light, shade, reflection and refraction are computed and displayed correctly from a physical perspective. Whether Barcelona on a sunny September day at 7 p.m. or Cape Town in January around midday with a cloudy sky – the software shows the new Audi models in every required lighting situation and in any possible backdrop. It reproduces precisely the depth of the paintwork and the degree of sheen of the surfaces.
The computing power enables virtual models to be viewed photo-realistically in real time or also enables them to be rotated in various views or driven in various scenarios after a short animation time. Thanks to the computing cluster, the designers can digitally add a wider side sill for a new model and immediately see the effect on the digital model: Changes in terms of proportions, overhangs and shadows can be visualised virtually instantly; any discrepancies are discovered well before the physical clay model is put together. Process reliability increases substantially as a result. The 3-D visualisation also provides dynamic driving shots and driving simulations. vDEV models (virtual Design Experience Vehicle) are created for this purpose. Thanks to their level of detail, these animated driving models already provide a virtual impression of whether a design concept is coherent and how it behaves dynamically in a virtual driving scenario. The vDEV models can, for instance, complete their laps on the Audi test track in Neuburg. All the physical circumstances are incorporated into the simulation, such as bumps in the road and body movements. In this way, all the design details can be checked for coherency on the driving model – from the shadow through to light reflection with different driving and weather conditions. In the interior too, increased visual simulations enable the even more precise use of materials such as paints, leather and cloths. The further enhanced display quality will also allow final assessments on the digital model in future. Audi’s C3 process combines the best of two worlds: The CAD milling machine is faster than its human counterpart, it works with accuracy down to a tenth of a millimetre, and it does not need any breaks. A CAD modeller develops the data model on the computer; the milling machine transfers their specifications to the clay model. The new Design Centre houses 20 of these machines with swivelling milling heads. In accordance with the C3 process, the eyes and hands of the designers and modellers are responsible for the final finish, the decisive quantum of emotion. Their craftsmanship is indispensable for Audi in the manufacture design phase. Manufacture design phase The permanent comparison between data and clay model helps the handmade manufacture create a more solid foundation. Above and beyond all change steps, the clay model serves as a physical reference, also for the discussion between modellers and designers. Thus it is possible to discuss new design versions in the team at short notice on the digital model and on the physical model and to incorporate changes quickly. Conversely, change requests can be transferred rapidly from the clay model to the CAD model. Audi’s clay and CAD modellers transform the design confirmed in the C3 process into a handcrafted model in the next stage. The invisible frame of the clay models consists of a steel frame with height-adjustable suspension, wooden panels and a body made out of rigid foam. The overlying layer of industrial plasticine is around 30 to 40 millimetres (1.2–1.6 in) thick. As long as this clay is stored in the laboratory furnace it is as soft as warm butter. It hardens so quickly in the air of the modelling hall that the modeller can work it using various modelling tools. Attachments – from the Singleframe grille, the wheels, to the light module – are created using stereolithography from liquid synthetic resin.
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SCULPT YOUR OWN
CLAY CAR
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WHAT YOU WILL NEED
STEP 3: USING THE BALLS YOU MADE WITH YOUR DARKER COLOURS, YOU CAN NOW ADD THE CARS TIRES.
- STAEDTLER FIMO PROFFESIONAL CLAY - CHOPSTICKS - SOMETHING TO WORK ON
STEP 1: PREPARE YOUR FIMO CLAY BY WARMING IT IN YOUR HANDS, WHICH WILL MAKE THE FIMO CLAY SOFT AND EASIER TO WORK WITH. ROLL YOUR DARKER COLOUR IN TO BALLS, WHICH WILL BE USED LATER ON TO MAKE YOUR CARS TIRES.
BY PRESSING THEM GENTLY TO FLATTEN THEM INTO A TIRE SHAPE. YOU CAN NOW ADD THE TIRES ONTO YOUR CAR, AGAIN PRESSING THEM GENTLY TO STICK TO YOUR LIGHTER COLOUR CLAY.
STEP 4: USING A SCULPTING TOOL, OR A PAIR OF CHOPSTICKS. ADD DETAIL, USING YOUR PREFFERED CAR AS A REFERENCE. *YOU CAN USE WATER TO YOUR TOOLS JUST TO SOFTEN THE CLAY MAKING IT EASIER TO WORK WITH
NOW ROLL YOUR LIGHTER COLOUR INTO 1 BALL AND 1 RECTANGLE, WHICH WILL BE USED TO MAKE THE SHELL OF YOUR CAR.
STEP 5: USING WHITE FIMO CLAY CUT OUT YOUR WINDOWS, USING THE CAR YOU PREFFER AS REFERENCE. APPLY THE WINDOWS ONTO THE SHELL OF YOUR CAR USING YOUR TOOLS AND WATER. STEP 2: WITH THE RECTANGLE THAT YOU MADE, YOU CAN NOW START TO MODEL THE CAR OF YOUR CHOICE, USING YOUR HANDS. MAKING SURE THAT YOU HAVE MADE MARKINGS FOR WHERE YOUR TIRES ARE GOING TO BE.
STEP 6: ONCE YOU HAVE COMPLETED ALL THE STEPS YOU CAN NOW BAKE YOUR CAR IN THE OVEN PRE-HEAT YOUR OVEN TO 130 C AND BAKE FOR 30 MINUTES. ONCE BAKED LEAVE TO COOL FOR 10 MINUTES.
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SOME OUTSTANDING PRODUCT DESIGN 26
THE CHOCOLATE LAMP Santiago, Chile Food as inspiration and a modular design, such as the Rubik cube, were the elements that led Chilean industrial designer Pedro Pablo Herrera Daniel to create his Chocolate Design collection. The Chocolate Lamp is the first product developed with the modular concept in mind. The lamps are made of thermoformed acrylic, using a laser cut technique. The base and the vertical structure are made of black and white metal. The Chocolate Lamp is composed of 6 backlit modules with RGB LED ribbon, which provides light in more than 10 different shades and intensities. The design aimes to provide warmth and joy to homes. A hanging lamp and a wall fixed version are in the stage of development. In March 2017, the design was awarded with Bronze by the ePDA (European Product Design Awards) in the category lighting, floor lamps. Previously, it was shown at IDS Toronto in January 2017, as part of the Studio North show.
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The chocolate collection also features coffee tables and cabinets. These products are made of wood with a plastic laminate finish or of metal, painted with electrostatic colour. About Pelo HD Pedro Pablo is the founder and director of Pelo HD design studio. With offices in Santiago de Chile, the studio is dedicated to the creation of new product design concepts. His team is made up of interior and fashion designers, all sharing the company’s collaborative approach. Furthermore, the company offers furniture manufacturing for retail and interior design projects. Independent projects, such as the chocolate line, are becoming part of their portfolio.
www.pelohd.com
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SUBVERSIVE, ETHICAL, ECOLOGICAL, POLITICAL, HUMOROUS...
THIS IS HOW I SEE MY DUTY AS A DESIGNER.
PHILIPPE STARCK 29
THE FIRST URBAN COMPACT BIKE Wien, Austria
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The VELLO bike is a high-performance handmade bicycle designed especially for urban commuting. It uses top-quality components and combines intelligent technologies with a unique design. Its magnetic folding system enables the rear wheel to be brought forward with a rotary movement - within a second and without needing to bend. Folded to half of its size, the VELLO bike can be wheeled along, into small elevators or the public transportation system. A specially developed and patented foldable mudguard protects the clothing in all weather conditions. To prevent theft, the bike is branded with a personal codification system that is linked to the profile of the owner on the VELLO website.
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The impetus for the design came from the everyday challenges one encounters in highly populated cities, such as theft, the need to stow the bike into small spaces, or bringing the bike into crowded public transportation systems. “The bike includes a lot of innovations which I couldn’t find from the shelf, so I needed to develop them myself” explained the designer, “I hope they will set new standards in the bike industry”. The designer created three VELLO bike models to accommodate the various needs of the city dweller. VELLO Urbano is the classical version with a comfortable saddle, 8 speeds and a moustachehandlebar with cushioned handgrips that allow for relaxed riding. For all-rounders, Vello Rocky smoothens the jolts of the city jungle: with its 10-speed and top-quality trekking bike components, even parks and rocky paths can be explored effortlessly. VELLO Speedster is made to race in the city: 10-speed high-performance racing bike components, narrow high-pressure tires and racing bike handlebars allow for an aerodynamic riding position and minimal rolling resistance. What started as a contemporary and sophisticated reinterpretation of a folding bicycle, has evolved into an award winning design product that is now ready for the market. The three models of the VELLO bike are available at vellobike.myshopify.com or at selected retailers.
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About Valentin Vodev: Valentin Vodev is an Austrian product designer with Bulgarian roots who has been fascinated with mobility products ever since his childhood. He holds a Master’s degree from the University of Applied Arts in Vienna and from the Royal College of Art in London. Many of Valentin’s mobility products have won internationally acclaimed design prices, such as the International Bicycle Design Award (three-time winner), the Incheon Design Price in the category “green design” and the Dyson Award (International finalist). For him, design is a cocktail of logic, aesthetics and art and converting ideas into products a metamorphosis from the common to the unexplored, a discovery through which he can define new functions and forms.
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#STAEDTLERTWISTER D N A T S
N I W O T E C N A H AC
0 0 0 0 R1 LER
T D E A T S H WIT
I SAW SUZIE THE SCHOLAR SITTING IN THE STAEDTLER STATIONERY SHOP STARING AT THE STAEDTLER STATIONERY STAEDTLER, STAEDTLER, STAEDTLER
HOW TO ENTER. FILM YOURSELF SAYING THE SUZIE SCHOLAR TONGUE TWISTER AND SHARE IT ON STAEDTLER’S FACEBOOK AND INSTAGRAM PAGE, WITH THE HASHTAG #STAEDTLERTWISTER, AND STAND A CHANCE TO WIN R10 000. COMPETITION ENDS 30 NOVEMBER 2018 34
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When I am working on a problem, I never think about beauty but when I have finished,
IF THE SOLUTION IS NOT BEAUTIFUL, I KNOW IT IS WRONG. Buckminster Fuller
©wired.com
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GOVENDER
Sugashna Who are you and what do you do? My name is Sugashna Govender. My friends call me Sigyn. I’m a 26 year old self-taught artist from Gauteng, Pretoria.I use a variety of mediums such as paint, ink, colour pencils and pastels but I’m most comfortable with Pigment Liners and Graphite pencils. My style leans towards fantasy, realistic portraits and surrealism. Why do you do what you do? Art is a way to express ‘me’. From a young age, I’ve always been motivated by the beauty of fictional literature, gaming concepts and animated movies- there’s a wondrous magic to it and art is a way to convey my own kind of magic and share it with the world.
What’s integral to the work of an artist? Inspiration and passion. There is nothing more beautiful than doing something you’re absolutely passionate about. Art is an expression of you. It’s the voice of the artist as music is to a musician. For me, nothing can be found as a difficult challenge if I’m excited to attempt it.
What role does the artist have in society? I think artists’ play a huge role in society. They’re the architects who design the beautiful cities we live in for example, they are a piece of the puzzle that teaches you a valuable lessons in your favourite animated movies or the creators of those breathtaking sculptures at historical places that preserve our cultural How do you work? I dedicate at least an history. An artist is responsible for interpreting hour or two to sketching and drawing at their version of beauty and inspiration to their night. With art being a hobby, I look forward audience. to returning home after a day’s work to do an activity I love. I draw motivation from What has been a seminal experience? instrumental contemporary music. I’ve had the opportunity to assist with projects with friends from Ingress Communities. (Ingress What’s your background? I was born in is augmented reality gaming by Niantic best Dundee, Kwa-Zulu Natal and moved to known for their release of Pokémon Go). I Pretoria at the age of 16 and completed designed a logo for the EBL (Enlightened Grade 12 at Hoërskool Uitsig in Centurion. I Bundesliga- league) a German community studied a course in HR Administration with that tests the skills of its gamers and various Intec. medals and apparel had been created with it. My biggest experience had been being I am the youngest sibling of four, with two a lead concept artist of the Ingress Portal nieces and a nephew. I love my brother and Luminescence Projects held in Californiasisters. My eldest niece is super supportive of the Luminescent Heart 2017 that inspired my artistic abilities and a huge inspiration global collaboration by designing a lifethat fuels me. size steampunk heart and Project Liminal Continuum- May 2018 by assisting in concepts What jobs have you done other than of an infinity illusions and interactive being an artist? I am a sales consultant art posters. for a watch company called Farah Watches and previously worked as a supervisor for a supermarket.
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How has your practice changed over time? I used to do a lot of fan art from pop culture? With plenty of practice, I’ve learned to draw without the use of references and create my own original designs. Practice is important but allowing your imagination to run free is even more so.
What’s your scariest experience? I had nearly lost my right hand when I was 9 years old. A pot of boiling oil had fallen onto myself and ended up with severe burns that rendered my right hand paralyzed for months. Thinking of it now, I probably would have never been able to do the art I am capable of if I had lost my hand.
What art do you most identify with? Surrealism and fantasy. I love sketching strange What’s your favourite artwork? worlds, oddities and fictional characters. Of my own- My first acrylic painting of Jacob Basically, anything ‘out of this world’ Frye from Assassin’s Creed Syndicate and my concept work with Project Luminescent Heart What work do you most enjoying doing? was based on a steampunk heart design. A I enjoy working with pigment liners and life size sculpture was created as the final pencils. Graphite pencils are a great way to piece which was an interactive heart that create realistic art. Especially portraits. For could actually beat because of the gears my concept work, I love STAEDTLER Pigment and cogs within it. Liners, they’re great for creating illustrations Of others- I’m hugely inspired by works of Dino and intricate detailed designs, especially on Tomic and Kerby Rosanes. I have discovered paintwork. Themba Mkhangeli’s ballpoint pen work ever since becoming an ambassador and his work What’s your strongest memory of your is amazing. childhood?My grandfather. We were the best of friends and he always invested his time on Describe a real-life situation that inspired me. I remember a time he had taught me to you?I have been very lucky to have conversed draw a field with a river and a bridge on with many people from different backgrounds, kiddies’ chalkboard when I was 4, and birds cultures and circumstances from all over the that looked like the letter ‘m’. He had passed world. I had been deeply moved by topics away when I was 13 but I know he would be and circumstances of mental wellness and proud of what I achieved today. issues that revolve around depression, anxiety, PTSD and other forms of mental illness. It’s What themes do you pursue? surprising how little is mental awareness is I love steampunk and Pre-Victorian styles. taught to society. I’m currently inspired to I have also taken a liking to cryptography create a series of designs that give light to and encryptions. I had in created a series of these issues. posters that contained various hidden codes within the image that led to stories and What food, drink, song inspires you? I am a literature about the scene of the artwork. huge fan of electrical violinist, Lindsey Stirling. Her style, music and dance style is absolutely phenomenal.
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What’s your most embarrassing moment? I don’t really think I have an embarrassing moment I can truly recall. I do however, have a terrible memory when it comes to remembering faces and cars! I could greet a customer and assist them, and when they return 10 minutes later, greet them again as if they arrived for the first time.
What do you dislike about your work? I used to dislike my work in the past. I always felt that what I created never lived up to my expectation to what was in my mind’s eye. I’ve learned that, it isn’t the right mindset Why art? Art expresses yourself. It tells your to be in. If you keep putting your pencil to story. Your journey. It has the ability to interact paper, you keep improving. with those around you, your Communities. Touch hearts, touch emotions. It can bring What do you like about your work? smiles to the faces of others, and sometimes Deep vibrant colours and very intricate move them to tears. To me, that’s an extremely details. Drawing details is absolutely relaxing powerful and beautiful thing. such as fibers on clothing and hair. Pigment Liners and Mars Lumographs are great to What is an artistic outlook on life? achieve it, I love matching complementary Enjoy everything about your journey throughout colours together. Teals and reds, Blues and life. Travel and immerse yourself in unique yellow, greens with violet. surroundings and appreciate it. Give your best to everything you do and more importantly, Should art be funded? Absolutely! Art is do your best to assist and motivate others. more than something pretty to look at. It’s a foundation to innovative ideas and even What memorable responses have you had science. Imagine solar powered designs on a to your work? I received a card and a locket pavements that could power streetlights or a from the overseas project leader that read: sculptures that could provide clean water to “You have inspired thousands with your art. rural areas. Art is a way to think out of the Never forget the light you brought into all of box, that leads to innovative ideas which can our lives. Thank you for your talent, your heart lead to better and healthier living conditions and your friendship”. in areas and communities. (I would certainly love to attempt the solar powered street light What do you dislike about the art world? idea by the way!) The idea that to consider yourself as an artist, means you need to study it. You don’t. What makes you angry? We as humans, You are already an artist and all you need tend to want to see circumstances with the is practice. idea that there is only one way to do things. This is not the case. It gets to me that we don’t attempt to influence others to pursue their own ideas and creativity.
see South Africans involved in the process of What research do you do? On an artistic making great digital games. I would like to level, I love to experiment so it plays as my certainly be a part of it and showcase our actual research to learn new techniques and skills one day. ideas. What superpower would you have and Name three artists you’d like to be compared why?Considering I am a big fan of Marvel’s to. I don’t have artists that I would want to be Loki played by Tom Hiddleston I would say compared to in general, but I think all artists I would love to have the ability to create would want to be represented as famous illusions. artists that had shaped history in particular one day. For me that would be Leonardo Da Name something you love, and why? Vinci. He was a polymath who excelled and Good literature and theatrical plays. Especially shaped history in various categories of art well written fictional books based in ancient and science- as I am an artist who enjoys historical eras. Coriolanus had been my cryptography and steampunk styles. favourite known play by William Shakespeare and my last read book was the Mistborn Favourite or most inspirational place? series by Brandon Sanderson. I spend time at a little area near where I work in the morning. It’s a serene place with Name something you don’t love, and why. a small garden and a fountain. It’s a beautiful Routine. I find myself annoyed when I tend to place to think and focus. follow the same pattern over and over again. Constant change keeps your mind fresh with What’s the best piece of advice you’ve ideas and you tend to learn new things. been given? “You are responsible for the person you want What is your dream project? to be”. - It means that your goals and dreams I have 2: the first is that I want to be able are never too impossible and farfetched to to create designs that could change lives or be real. So do the things that could bring conditions, similar to engineering, however I you closer to your goals. believe that concepts and designs have the ability to spark ideas. Such as innovative Professionally, what’s your goal? ideas that could help researchers, scientists I want to further my career in art and study and various facilities to discover new methods digital art. I would love to showcase South to solve problems whether that be in space African talent in the CG art and digital gaming technology, digitally, technological aspects or industry. Also I want to travel and experience even eco-friendly ways to assist nature and different cultures and lifestyles around the wildlife. world- I think that travel has a huge exciting background and it would be amazing to gain The second would be concept designs in different inspirations to create something with digital gaming. It’s a huge environment and South African fusion flair. it’s an area that is massively growing. I rarely
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Idustrial Designer Leonardo da Vinci was a true genius who graced this world with his presence from April 15, 1452 to May 2, 1519. He is among the most influential artists in history, having left a significant legacy not only in the realm of art but in science as well, each discipline informing his mastery of the other. Da Vinci lived in a golden age of creativity among such contemporaries as Raphael and Michaelangelo, and contributed his unique genius to virtually everything he touched. Like Athens in the age of Pericles, Renaissance Italy is a summit in human history. Today, no name better seems to symbolize Renaissance age than Leonardo da Vinci. Leonardo da Vinci was born in a Tuscan hamlet near Vinci. He began a nine-year apprenticeship at the age of 14 to Andrea del Verrocchio, a popular sculptor, painter and goldsmith who was an important figure in the art world of the day. At Verrocchio’s busy Florence studio, the young Leonardo likely met such masters as Sandro Botticelli while working beside fellow apprentices Domenico Ghirlandaio, Pietro Perugino and Lorenzo di Credi. Verrocchio, who had learned his craft under the master Donatello, was the officially recognized sculptor for the Medici family, the rulers of Italy during this era. Under Verrocchio’s tutelage, da Vinci probably progressed from doing various menial tasks around the studio to mixing paints and preparing surfaces. He would have then graduated to the study and copying of his master’s works. Finally, he would have assisted Verrocchio, along with other apprentices, in producing the master’s artworks. Da Vinci not only developed his skill in drawing, painting and sculpting during his apprenticeship, but through others working in and around the studio, he picked up knowledge in such diverse fields as mechanics, carpentry, metallurgy, architectural drafting and chemistry. In 1473, when he was more than halfway through his studies with Verrocchio, he completed Landscape Drawing for Santa Maria della Neve, a pen and ink depiction of the Arno River valley. It is the earliest work that is clearly attributable to da Vinci. Leonardo da Vinci’s drawings would become an essential part of his legacy. Da Vinci sketched prolifically, planning inventions, exploring human anatomy, drawing landscapes, and blocking out plans for paintings such as The Virgin of the Rocks and his sole surviving mural, The Last Supper.
Much of his other creative output during his time with Verrocchio was credited to the master of the studio although the paintings were collaborative efforts. Over the years, historians have closely examined such Verrocchio masterpieces as The Baptism of Christ and The Annunciation to weigh in on which specific figures da Vinci was responsible for. In the “Baptism of Christ,” which dates to 1475, experts speculate that one of the angels is da Vinci’s own work, while in “The Annunciation,” produced within the same time period, experts detect the work of the apprentice artist’s brush in the angel’s wings and the background. In fact, historians x-rayed “The Annunciation” to definitively distinguish between Verrocchio’s heavier brush strokes with lead-based paint from da Vinci’s lighter, water-based paint strokes. Although a member of the Florence painters’ guild as of 1472, the artist continued his studies with Verrocchio as an assistant until 1476. The influences of his master are evident in the remarkable vitality and anatomical correctness of the Leonardo paintings and drawings. After leaving the Verrocchio studio to set up his own, da Vinci began laying the groundwork for his artistic legacy. Like his contemporaries, he focused on religious subjects, but he also took portrait commissions as they came up. Over the next five years or so, he produced several notable paintings, including Madonna of the Carnation, Ginevra de’ Benci, Benois Madonna, Adoration of the Magi, and St. Jerome in the Wilderness. The latter two pieces are unfinished. Leonardo da Vinci received a commission to paint his “Adoration of the Magi” from Florence church elders who planned to use it as an altarpiece. This artwork is historically significant by virtue of the innovations da Vinci made that were unique among the art conventions of the 1480s. He centered the Virgin and Christ child in the scene whereas previous artists had placed them to one side. Da Vinci improved on standard practices of perspective by making changes in clarity and colour as objects became increasingly distant. Unfortunately, he did not complete the commission due to a better offer from the Duke of Milan to become the resident artist at his court. While in Milan, the artist called upon his varied interests and knowledge to create stage sets and military designs for the Duke as well as paintings. Early in his tenure at court, da Vinci produced his first version of Virgin of the Rocks, a six-foottall altarpiece also called the “Madonna of the Rocks.” In this painting, which dates to 1483, the artist experiments with blending the edges of objects in indistinct light to create a sort of smoky effect known as sfumato, a technique the artist would continue to develop in his future works.
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It was perhaps because of his desire to fine-tune this technique that his other surviving painting from his years in Milan, The Last Supper, deteriorated so quickly. The artist used oil-based paint on plaster for this scene of Jesus and his apostles at the table because his customary water-based fresco paints were difficult to blend for the sfumato effect he sought. Within only a few decades, much of the painting had flaked away from the wall in its location at the Santa Maria del Grazie convent. The canvas of Leonardo da Vinci’s “Last Supper” that now hangs in the Louvre is, in large part, a reproduction of the failed fresco. Upon the French invasion of Milan, the artist returned home, via Venice and Mantua, to Florence. His reputation preceded him, and he was lauded by old friends and up-and-coming artists captivated with his innovations in art. During this final era of his life, da Vinci completed a greater number of paintings than he had thus far. When he resettled in Florence in 1500, the artist made preliminary progress on his painting, Virgin and Child with Saint Anne,” which he would set aside unfinished, not to be completed for another 10 years. Leonardo began creating his most well-known and replicated work, Mona Lisa, a couple of years later when he received a commission from Francesco del Giocondo to paint his wife. The precise date of completion for “Mona Lisa” is still in question, but many historians agree that da Vinci began the masterpiece in 1503. Leonardo da Vinci also accepted a commission for a mural to be installed in the Hall of 500 at Palazzo Vecchio in Florence. The subject was a battle scene at Anghiari, and the painting depicted a tangle of muscular horses and warriors. It was, however, destined to be unfinished. Contemporary master Michelangelo received a commission to paint the Battle of Cascina on the opposite wall, also a work left unfinished. Nothing of da Vinci’s battle scene survived, except for a copy by artist Peter Paul Rubens and Leonardo’s own preliminary sketches. In approximately the same period, the artist created his second version of the painting, “Virgin of the Rocks,” which was likely a commission for installation in a chapel at Milan’s church of San Francesco Maggiore. Chief differences between the two versions include colour choices, lighting and details of composition.
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Leonardo returned to Milan in 1506 to accept an official commission for an equestrian statue. Over the course of this seven-year residency in the city, the artist would produce a body of drawings on topics that ranged from human anatomy to botany, plus sketches of weaponry inventions and studies of birds in flight. The latter would lead to his exploratory drawings of human flight machine. All of his drawings during this time reflected da Vinci’s interest in how things are put together and how they work. Upon his departure from Milan in 1513, Leonardo spent time in Rome. In October 1515, King Francis I of France recaptured Milan. The monarch had conferred upon him the title of premier architect, artist and mechanic to the king. In 1516, he entered Francis’ service, and then journeyed to his last place of residence near the Fontainebleau court of French King Francis I. Many historians believe Leonardo completed his final painting, St. John the Baptist, at his rural home in Cloux, France. This masterwork exhibits his perfection of the sfumato technique. Leonardo died at Clos Lucé, on 2 May 1519 at the age of 67. The cause is generally stated to be recurrent stroke. Francis I had become a close friend. It was recorded that the king held Leonardo’s head in his arms as he died, although this story, beloved by the French and portrayed in romantic paintings by Ingres, may be legend rather than fact. He was buried at Chapel of Saint-Hubert, Amboise, France. Within the artworks created by his own circle of peers, the influence of Leonardo’s paintings and drawings is readily evident. Raphael and even sometime rival Michaelangelo adopted same of da Vinci’s signature techniques to produce similarly active, anatomically realistic figures. His innovative breaks from the artistic standards of his day would guide generations of artists that followed. Although da Vinci painted the customary religious scenes of his era, such as the Magi and the Madonna and child, his unique placement of key figures, his signature techniques and his improvements upon perspective were all previously unheard of. In The Last Supper, the way in which he isolated Christ at the epicenter of the scene and made each apostle a separate entity, yet at the same time united them all in the moment, is a stroke of genius that subsequent artists throughout history would strive to replicate.
To the present day, art enthusiasts worldwide consider the iconic “Mona Lisa” to be among the greatest paintings of all time. Her image continues to appear on items ranging from T-shirts to refrigerator magnets, and rather than trivializing the import of the masterpiece, this popularity serves to immortalize Leonardo paintings and drawings. They still remain at the forefront of people’s hearts and minds centuries after his death. Just like William Shakespeare on literature, and Sigmund Freud on psychology, Leonardo’s impact on art is tremendous. Throughout his life, Leonardo da Vinci avoided the intrigues of worldly ambitions and vanity. He was a reserved and withdrawn man, not concerned with glory, and yet absolutely sure of the value of his abilities. Along with a small band of contemporary Renaissance figures, Leonardo da Vinci become the center of a movement of artists that has permanently enriched western culture.
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They say a picture is worth a thousand words. Well, what if you don’t have a picture, and the words you do have just aren’t quite enough to show your clients why you should be the one designing their next building? This is the question all architects face when presenting clients with designs for unbuilt works. Before the introduction of computer aided graphics and visualization, architects relied on pencil and pen renderings to showcase what would some day in the future manifest itself in a building. Thankfully, for the sake of us all, times have most certainly changed.
These days, you don’t have to look far to find someone capable of producing renderings, animations, and other varieties of 3D visualization that you’d be hard-pressed to tell apart from the real thing. The things professional artists are doing with programs like Rhino, VRAY, Maxwell and the like are simply staggering. However, for many architecture firms, investing a portion of the design or marketing budget to this flavour of high-end visualization fails to get properly justified. If you already have clients, and are doing enough work to get by on promises, napkin sketches and a decent body of work, the need to sell them on a new and interesting design idea might not register. I’d argue that even if you don’t think photorealistic renderings can bring something to your office your reputation can’t already provide, you should probably start investing in them anyway.
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It’s all about growth, and being able to demonstrate your abilities to a market or clientele that is currently a bit above your pay grade. If you rely solely on your reputation, you run the risk of painting yourself into a professional corner that doesn’t exactly lend itself to vertical mobility. If you want better clients and better projects with bigger budgets and more creative freedom, you have to be able to show proof of your ability to handle something other than what’s hanging in your corner office.
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Photorealistic renderings provide a one to one proof of concept, and have the ability to sell your designs even if you don’t have a built up body of work to support that particular project type. Never designed a library? Enter a competition, design the hell out of it, and create the imagery and experiential renderings necessary to show the jury why you deserve their attention. People have earned massive commissions on far less, and if you have the design chops to do good work, it will show through if properly visualized. An architect is only as good as their ability to communicate their ideas. For construction itself, that ability manifests itself in a detailed stack of construction drawings and plans that show exactly how that building comes together. For design review, competition, and client progress meetings, that ability comes down to “what does it look like and how much does it cost.” And if you’re savvy and talented enough to provide them with architecture - actual architecture - they might not even care how much it costs. This is where photorealism truly shines. There is no wiggle room, no fudging or using of your imagination. It is what it is, and can be given a sense of truth in appearance a pencil and markers and vellum never could. Your designs won’t only have a sense of materiality, colour, and light, but a human quality of scale that inspires disbelief, opens checkbooks, and most importantly instills trust in your ability to deliver in the end. And it’s in trust that your business relationships will allow the architecture to be built as initially conceived. Your renderings and photorealistic visualizations will afford you the latitude to follow through with the design intent and construct something worthy of the idea. Of course, beautiful photorealistic 3D renderings aren’t exactly falling from the sky. It takes the right person or team of people to do this kind of work, which requires its own special blend of talent and education. Luckily, there are plenty of resources that allow architects to keep their own teams small, and outsource their rendering work through job finding services like Easy Render. It’s never been easier to have a capable 3D rendering artist at your disposal, and there’s really no excuse not to get them on board today. We are reaching a new standard of design communication, and soon enough architects and design firms will be expected to show rather than simply tell. Invest in high-level renderings and visualization, and see your portfolio grow into new and interesting architectural avenues. 46
Credit: https://www.easyrender.com/3drendering/how-photorealistic-rendering-cansell-your-next-design
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Technical drawing, drafting or drawing, is the act and discipline of composing drawings that visually communicate how something functions or is constructed. Technical drawing is essential for communicating ideas in industry and engineering. To make the drawings easier to understand, people use familiar symbols, perspectives, units of measurement, notation systems, visual styles, and page layout. Together, such conventions constitute a visual language and help to ensure that the drawing is unambiguous and relatively easy to understand. Many of the symbols and principles of technical drawing are codified in an international standard called ISO 128.
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REVIT
Sketchup
nanoCAD
Microstation Hand PowerDraft
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CAD
TurboCAD
Vectorworks ZWCAD
Draftsight
Chief Architect
BricsCAD
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LEARN TO DRAW IN
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PERSPECTIVE
What you’ll need: - Triplus fineliner - 24 mars lumograph pencils - Mechanical pencil - Traditional eraser - Architects ruler - Angled ruler - Paper
Step 1: Make two 30˚ lines from the middle Step 2: Combine all three lines you just of the page. On the left line measure made at the top as well as at the bottom. 100mm then draw a line up that measures 45mm. On the right side measure 50mm, then draw the upward line of 45mm again. Draw the 45mm line inbetween the two 30˚ lines.
Step 3: On the top right side of the line measure half of the line which will be 25mm, then measure a guideline upward of 25mm.
Step 4: Combine the two corners of the right side to the guideline. Where you made the combination make a 30˚ line which measures up to 100mm, at the end of that line combine it to the end of the far left side.
Step 6: To liven up your sketch be creative and add windows with your own 30˚ lines and height lines as well. Get your architect on and be creative.
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@imgur
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dam Whitney Savage is an American industrial design and special effects designer/fabricator, actor, educator, and television personality, known as one of two cohosts of the Discovery Channel television series MythBusters and Unchained Reaction. His model work has appeared in major films, including Star Wars Episode II: Attack of the Clones and The Matrix Reloaded. He is a prominent member of the skeptic community. He lives in San Francisco with his twin sons and wife.
@archdaily
@time
FAMOUS INDUSTRIAL DESIGNERS Who are the most famous industrial designers in the world?
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ir Jonathan Paul Ive is an English designer and the Senior Vice President of Design at Apple. He oversees the Apple Industrial Design Group and also provides leadership and direction for Human Interface software teams across the company. Ive is the designer of many of Apple’s products, including the MacBook Pro, iMac, MacBook Air, Mac mini, iPod, iPod Touch, iPhone, iPad, iPad Mini, Apple Watch and iOS 7. Steve Jobs considered Ive to be his “spiritual partner at Apple,” while Fortune magazine stated in 2010 that Apple design motifs Ive’s designs have “set the course not just for Apple but for design more broadly”.
@archdaily ichard Buckminster “Bucky” Fuller was a neofuturistic architect, systems theorist, author, designer and inventor. Fuller published more than 30 books, coining or popularizing terms such as “Spaceship Earth”, ephemeralization, and synergetic. He also developed numerous inventions, mainly architectural designs, and popularized the widely known geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres. Buckminster Fuller was the second president of Mensa from 1974 to 1983.
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“WHAT USUALLY HAPPENS IN THE EDUCATIONAL PROCESS IS THAT THE FACULTIES ARE DULLED, OVERLOADED, STUFFED AND PARALYZED SO THAT BY THE TIME MOST PEOPLE ARE MATURE THEY HAVE LOST THEIR INNATE CAPABILITIES.”
- BUCKMINSTER FULLER
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loyd Groff Copeman was a prolific American inventor who devised the first electric stove and the flexible rubber ice cube tray, among other products. Copeman was raised by his Canadian parents on a farm in Hadley Township, Michigan which was later incorporated into Farmer’s Creek, Michigan - located approximately 20 miles east of Flint, Michigan. He studied engineering at the former Michigan Agricultural College, now Michigan State University in East Lansing, Michigan
@mycitymag
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aarten Baas is a Dutch designer. In June 2002, Baas graduated from the Design Academy with a series of burned furniture called “Smoke.” The Smoke series was adopted in the collection of Dutch label Moooi. Thanks to successful presentations in Milan, London and Paris, Smoke is known worldwide. Smoke furniture has been purchased by museums and collectors such as Lidewij Edelkoort and Philippe Starck.
@architectuur
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arco Zanuso was an Italian architect and designer. He was one of a group of Italian designers from Milan shaping the international idea of “good design” in the postwar years. Trained in architecture at the Politecnico di Milano university, he opened his own design office in 1945. From the beginning of his career, at Domus where he served as the editor from 1947–49 and at Casabella where he was editor from 1952–56, he helped to establish the theories and ideals of the energetic Modern Design movement. As a professor of architecture, design and town planning at the Politecnico from the late 1940s until the 1980s, and as one of the founding members of the ADI in the 1950s, he also had a distinct influence over the next design generation coming out of Italy.Mario Bellini Mario Bellini is an Italian architect and designer. He graduated from the Milan Polytechnic - Faculty of Architecture in 1959 and began working as an architect himself in the early 1960s. He is the winner among others of 8 Compasso d’Oro and prestigious architecture awards including the Medaglia d’Oro conferred on him by the President of the Italian Republic. Like many other Italian architects, his activities range from architecture and urban planning to product and furniture design.
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om Dixon, OBE is a self-taught British designer. He is currently the Creative Director of the brand ‘Tom Dixon’ specialising in Lighting, Furniture and Accessories. His work been acquired by museums across the globe including the Victoria and Albert Museum, Museum of Modern Art New York and Centre Georges Pompidou, Paris.
@chambernyc
@odernistlighting
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olen Niu is an American Industrial Designer who received his Bachelors of Science in Industrial Design from the Art Center College of Design located in Pasadena, California. His company, Nolen Niu, Inc., provides services including corporate branding, product design for consumer electronics and furniture. Niu’s corporate office is located in Beverly Hills with a studio and showroom located in Hollywood,California.
@touchofmodern
@artcenter
@architonic
“IT IS VERY IMPORTANT TO ESTABLISH YOUR OWN POINT OF VIEW AND DEVELOP YOUR OWN DISTINCTIVE DESIGN PERSONALITY AND AESTHETIC.”
- TOM DIXON 57
ANDREA HIDE Who are you and what do you do? My name is Andrea and I am a grade 10 student at Jeppe Girls High school. Why do you do what you do? My passion is art because there is no set way in which you have to do something. How do you work? I enjoying listening to music while working on my art pieces. What’s your background? I am self-taught, with my art techniques being refined by my art teacher What’s integral to the work of an artist? I think that every artist needs to enjoy the piece that they are working on or there is no point in working on it. What role does the artist have in society? Artists provide a different perspective on everyday items so that the public can show interest to them. They bring colour to a very dull world.
What has been a seminal experience? Painting for an ad completion when I had only practised painting on skulls had helped me gain more courage using paint for art pieces. How has your practice changed over time? I previously only enjoyed working with grey pencils and creating grayscale art but now I have become more confident in working with various art methods and mediums. What art do you most identify with? I find that I prefer doing art that tells a story or has meaning to the piece created. What work do you most enjoying doing? I enjoy any piece of art that challenges me. I enjoy learning and experimenting with the different methods that are new to me. What’s your strongest memory of your childhood? I remember being very young and drawing on my mother’s floors with pencils. I also used to draw on the windows of our home using toothpaste. 58
What’s your favourite artwork? Girl with a pearl earring by Johannes Vermeer. The Mona Lisa by Leonardo da Vinci. Describe a real-life situation that inspired you? I was walking in the shopping centre when a man approached me and asked if I do art and had given me art tips for the shading with pencils. What’s your most embarrassing moment? I am not embarrassed easily with regards to my art. What jobs have you done other than being an artist? As I am a student, I hope to sell my work one day Why art? There are no restrictions or anything that can hold you back in terms of thinking. What is an artistic outlook on life? Life is not black and white, it is full of beautiful images as well.
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What memorable responses have you had to your work? When I was complimented in grade 8, I had been amazed as I thought the work that I did was not good enough. What food, drink or song inspires you? Listening to my favourite artists such as Ed Sheeran, Daughtry, Nickelback, BTS, Shawn Mendes and many more artists, while drinking a warm coffee with a small chocolate at the same time. What do you dislike about the art world? I do not like being pressured into a deadline as I fear that I would mess up any piece of the work that I am doing. What do you like about your work? The art pieces that I have done represent me in different ways and I feel that my creativity and passion for my work shines through. Should art be funded? Yes! What makes you angry? People that say that the history of art should not be taught to art students. What themes do you pursue? As I am a young art student I do not have a favourite theme as yet. I have a keen interest in work that can be found in the medieval art and in more recent art. What’s your scariest experience? I have never been afraid to attempt anything new and cannot recall anything that has scared me. 60
What research do you do? When I decide on a theme, I would go look at the background of the theme and if it has any traditional images that should be in the art piece. What superpower would you have and why? I want the ability to use all natural elements to my will. Name something you love, and why. Music because there is meaning in the words that artists use. Name something you don’t love, and why. I don’t like using colour pencils as I find the shading a bit difficult to do but I am determined to use them for more art pieces. What is your dream project? To do an art piece that will change someone’s life Name three artists you’d like to be compared to. I do not wish to be compared to any artist but I would love to be known for any piece that I will create in the future. Favourite or most inspirational place? I love to go to places that are quiet and are filled with positive energy. I also find that watching or even reading my favourite series help with inspiration. What’s the best piece of advice you’ve been given? Art can be done in a rush and art can be done over time but art is never perfect. It is only perfect if you believe it is. Professionally, what’s your goal? I would like to have my own art gallery one day. What wouldn’t you do without? My music and my art supplies.
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MAKE YOUR OWN
SWEET MACHINE
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TUTORIAL
WHAT YOU WILL NEED
- 2 SQAURE CARD BOARD BOXES - STAEDTLER PERMINENT FINELINER - SOMETHING TO WORK ON - CRAFT KNIFE - MASKING TAPE -STAEDTLER NORIS GLUESTICK - PARENT’S HELP
STEP 1: PREPARE YOU 2 CARD BOARD BOXES, BY WIPING THEM DOWN WITH A DAMP CLOTH. THIS WILL HELP THE GLUE TO ATTACHE ITSELF TO THE CARDBOARD
STEP 2: USING YOUR CRAFT KNIFE, AND A PARENTS HELP. CUT OUT THE TOP OF YOUR BOX LEAVING A PERFECT HOLOW SQUARE. THIS WILL ACT AS THE OPENING OF YOUR SWEET MACHINE. KEEP THE CUT OUT FOR LATER ON.
STEP 3: USING YOUR CRAFT KNIFE CUT OUT 3CM FROM THE BOTTOM OF YOUR BOX. THIS WILL ACT AS THE DESPENSARIE OF YOUR SWEET MACHINE. ONCE THAT IS COMPLETED MEASURE OUT THE INSIDE OF YOUR BOX LEAVING 2CM WHERE YOUR DESPENSARIE IS, THIS WILL ACT AS A SHELF THAT WILL HOLD ALL OF YOUR SWEETS, MAKE SURE TO USE ALOT OF GLUE AS WELL AS AMSKING TAPE TO RE-ENFORCE YOUR SHELF
STEP 4: USING YOUR CRAFT KNIFE YOU CAN NOW CUT A 2CM (HEIGHT). THIS IS WHERE YOU WILL BE PUSHING YOUR SWEETS OUT NTO THE DISPENSARIE PART OF YOUR SWEET MACHINE. MAKE SURE THAT THE CUT OUT IS EXACTLY THE SAME HEIGHT AS YOUR SHELF IN ORDER TO PUSH THE SWEETS OUT.
STEP 5: USING YOUR CUT OUTS THAT YOU HAVE LEFT EARLIER, YOU CAN NOW MAKE A DRAW FOR YOUR DISPENSARIE, WHERE YOU WILL COLLECT YOUR SWEETS. WITH WHAT IS LEFT OF YOUR CUT OUTS YOU CAN NOW MAKE A “PUSHER” MEASURING THE WIDTH OF YOUR BOX , THIS WILL HOLD YOUR “PUSHER” IN PLACE, DONT FORGET TO ADD A HANDLE TO YOUR PUSHER. YOU CAN NOW USE THE STAEDTLER ACRYLIC PAINT TO PAINT YOUR MACHINE TO YOUR CHOICE.
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INDUSTRIAL
A bachelor's degree is a hallmark of higher education. It is given to those who dedicate three to seven years studying a specific program. A bachelor's degree can be earned in a variety of disciplines in the arts and sciences. Industrial design is an area of study that is focused on enhancing the form and function of mass-produced items. Individuals who enjoy drawing, engineering, styling, marketing, and manufacturing may be interested in studying industrial design. Below is a list of the top places to study Industrial Design internationally. Art Center College of Design Rhodes Island School of Design Carnegie Mellon University Virginia Polytechnic Institute
DESIGN
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If you cannot afford to study internationally, but need a place right here in South Africa, there is definitely great courses available. The Department of Industrial Design, at the University of Johannesburg, offers a Bachelor of Arts in Industrial Design. The Department also offers a BA Honours in Industrial Design Degree for those who have already successfully completed a Bachelor of Arts in Industrial Design. Also available at the University of Johannesburg, is a MTech in Industrial design. Having obtained this qualification, students will be able to conduct independent research with minimal guidance in an industrial design-related field and contribute to knowledge production in that field. The research problem, its justification, process and outcome are reported in a dissertation and other research reports that comply with the generally accepted norms for research at this level. Cape Peninsula University of Technology (CPUT) as well as Design Centre also offers diplomas in Industrial design. What school subjects do you need to study Industrial design? National Senior Certificate meeting diploma requirements for a diploma course. Each institution will have its own minimum entry requirements. Students are selected on the basis of a portfolio, a practical entrance examination and an interview. Drawing as well as creative abilities are considered very important. Compulsory Subjects: Mathematics Recommended school subjects: Physical Sciences, Visual Arts, Information Technology, Engineering and Graphic Design.
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FOR MORE INFORMATION YOU CAN CONTACT THE INSTITUTIONS. SABS Design Institute Private Bag X191 Pretoria,0001 Tel: (012) 428-6326 Fax: (012) 428-6456 www.sabs.co.za
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University of Johannesburg PO Box 17011 Doornfontein, 2028 Tel: (011) 406-2911 www.twr.ac.za
Cape Peninsula University of Technology (CPUT) PO Box 652 Cape Town, 8000 Tel: (021) 460-3911 www.ctech.ac.za
JONATHAN IVE
Design is the most immediate, the most explicit way of what products become in people’s minds.
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facebook.com/StaedtlerSA
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EDITED AND COMPILED BY TREND FORWARD
StaedtlerSA
