DESIGN> magazine (edition 11, 2008/9)

Page 1

no.11 > BRAND





PREFACE > 5

PUBLISHER’S NOTE We have pulled off the impossible by re-developing a previously ‘small magazine’ that attempted to be the voice of the design industries, into an innovative and allencompassing communication platform. Design > has been the most challenging and exciting project that I have ever realised in my entrepreneurial career. It drove through my neural network like the lights on the M1 highway at night. The brilliance is inexplicable, defiant of traditional media, crawling with information gateways, logical, technological, pioneering. Coffee, smoke, cokes with the other Design > folks. Pushing a virtual deadline, clicking through time and space all over the place. In the end I can sit down, relax in all those ‘traditional’ magazine reading places, with my laptop (Lap – Top as not in LapAzine >) and read in the traditional page turning way, a great magazine. You may find it slow, fast, you may become impatient with the loading time, or just have slow access to the web. Technology, such as the first time print came into being, has advantages and disadvantages.

An ode to Design > Collective pieces fall apart then come together My design, your design, our design Ever changing, challenge forever Ego bringing collapse, decline, sublime

The development process has been made possible by our endorsers, founding sponsors and of course some of the leading design thinkers in South Africa. I want to thank everyone for their time, dedication, enthusiasm and belief.

Arrive, Alive – Juiced up with Fuel in your Engen, Mac – PC Merc or Prada Adorn yourselves with Adobe, or Quark in your Spark Rise above the waves – Radio – TV – Satellite Xmas Dish or Design Clerk Mind – Surf or Body Turf, beats having Nada

Design > is necessary for several reasons, it offers individuals, institutions, companies and South Africa as a brand, the opportunity to enjoy individualism with a national intent. Its development has included and considered every possible design discipline, every voice from school designer to the icon, all brand, advertising and PR activities for business, all institutions and of course allows parties and opinions to remain vibrant within their own realms. Thus elevating the Design > industries/consciousness into a milky way like site – ght, where every star can shine in its own piece of African shrine. The platform has allowed for the development of discipline specific magazines, dedicated to both the institution representative of the discipline, its members and the overall market, business-to-business and the consumer, which operates or sh-operates within each discipline. Its application allows for creativity beyond traditional media.

Juice, coffee, brand, consumer scanned Toothbrush-tee, products flood Summer labels, instantly tanned Crawling through the expense of free pitching blood

Design > is = serial Constant Moving Groovin I have always been quite shy of the world, intro mixed extro. Design > has been my own rising and shining. Design > started five years ago, but is only beginning today. It has been a Brand In > Formation, wheeling and dealing in the corridors of the Design > world. I am proud of its making, enamoured by its Design > ers and in awe of my compatriots, who have encouraged me. <

$BNFSPO #SBNMFZ %&4*(/ > $&0


Inspired

by

almost

anything.

www.bluprintdesign.co.za

+27 (0)12 346 7788


FOREWORD > 7

THE CHANGE WE NEED Welcome to DESIGN

> 11 ,

which focuses on the theme: ‘BRAND’. The recently concluded US presidential election race attracted great interest from around the world not only for its political importance but also because of the innovative and eloquently executed branding campaign devised by the Obama camp. Almost overnight, Barack Obama became one of the most recognised brands in the world and his team managed to etch slogans such as “Yes we can”, “Change can happen”, “The change we need” and “Change we can believe in” into the minds of millions. These are powerful messages because they speak the language of our time. The Obama messages merged the concepts of ‘change’, ‘active engagement’ and a ‘team of rivals’ working collaboratively to achieve common goals. Against the backdrop of a seriously tainted image of the US, internationally, and a global economic crisis, these messages have become the mantras of aspiration for billions of citizens around the planet because they spark a new wave of optimism in a gloomy world. This new wave of optimism also relates to the design professions and even though it is not as a direct result of the US elections, we have seen many developments implying positive change in 2008. On the global front, the International Federation of Interior Architects (IFI) officially joined the International Design Alliance (IDA) and recently moved their secretariat to Montreal to be in close proximity to its peers, the International Council of Graphic Design Associations (Icograda) and the International Council of Societies of Industrial Design (Icsid). This move implies more cohesive collaboration among the international bodies, to ensure that the voices of designers are united, to empower the growth and strengthen the position of the design professions.

Locally, some of the most prominent stakeholder organisations collaborated for the first time to map the local landscape in a pilot research project resulting in the publication of the IDA World Design Survey – South African findings. The collaboration was timely, as the stakeholders have traditionally operated in silos and the final report would, hopefully, serve as a foundation to map an integrated national strategic plan for the development of the South African design economy. This project is further augmented by the collaboration between the South African Communication Council (think) and Sappi in another research study, the Sappi State of Design report, which measured the opinions of 400 communication and marketing managers regarding their perceptions of the industry. The results provide ample food for thought regarding the industry’s strengths and weaknesses and provide valuable indicators for future development. Closer to home, this first digital edition of DESIGN> magazine is another example of radical and positive change. Even though it is in its infancy, this first digital edition offers a metadisciplinary communication platform that serves most design disciplines and peripheral services and stakeholders. The publishing team has gathered editorial contributions from more than 25 writers from five continents. It is a good start but watch this space, as the team has many more ambitious plans for the future. <

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Copyright © 2008 DESIGN > in formation (Pty) Ltd. DESIGN > in formation is produced by DESIGN > in formation

(Pty) Ltd. All material is strictly copyrighted, with all rights reserved. No material may be reproduced in part

or whole without the express permission of the publisher. No responsibility will be accepted for unsolicited

material. The publisher accepts no liability of whatsoever nature arising out of or in connection with the

contents of this publication. The publisher does not give any warranty as to the completeness or accuracy of its

contents. The views and opinions expressed in DESIGN > in formation are not necessarily those of the publisher,

its endorsers, sponsors or contributors.

CREDITS PUBLISHER & CEO >

ADMINISTRATION & ACCOUNTS >

Cameron Bramley cameron@designmagazine.co.za

Candice Beattie, Michelle Swart

GROUP EDITOR >

Roy Clucas

Bev Hermanson bev@designmagazine.co.za

LAYOUT & DESIGN >

DESIGN EDITOR >

COVER DESIGN >

Jacques Lange

CONTRIBUTORS > Sarah Beswick, Robert L. Peters, Brenda Sanderson, Andrea Springer, Leslie Wolke, Christopher Scholz, Holger Mühlbauer, Andre du Toit, Christopher Scholz, Claudia Berndt, Dean Armstrong, David Abrahamse, Dewald Rosema, Errieda du Toit, Glenda Venn, Roy Clucas, James Hemphill, Des Laubscher, Roy Marcus, Randy J Hunt, Tamarind Houghton, Lorrine Araujo, Vanessa Lawrence

SALES DIRECTOR > Jaime-Lee van Sittert

PRODUCTION ASSISTANTS > Vanessa Koekemoer, Roché Artz, Diana Griffiths

CHIEF DESIGNER >

Roy Clucas Design Process Roy Clucas Design Process

COVER PHOTOGRAPH > Hat designed by > Albertus Swanepoel. Photographer > Bell Soto http://bellsoto.com/ Model > Irina/NY Models Wardrobe > Eddie Marquez Hair > Brian Buenaventura Make up > Nives Riddles Photographic shoot produced and cast by > Andrey T

PUBLISHED BY > Design Information (Pty) Ltd. 27 Darter Road, Fourways Tel: +27(0) 82 882 8124 Fax: +27 (0) 86 678 8448 www.designmagazine.co.za


The Publisher and Editorial Board of DESIGN > in formation Magazine express their deep appreciation and gratitude to the founding sponsors who have collectively enabled DESIGN > in Business to expand its scope and G

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accessibility - via conversion to the digital form - so that it can be accessed globally on the Internet. Acknowledgements are further extended to the office bearers of the endorsing bodies listed at the right.


5 >

PREFACE › By Cameron Bramley

32 >

DESIGN PHILOSOPHY › Cohesion counts

50 >

ARTS & CRAFTS › The mark of the master crafter

78 >

CREATIVE PAPERS › Adding personality to your brand

7 >

FOREWORD › By Jacques Lange

36 >

INTELLECTUAL PROPERTY › Make a stand for your brand

56 >

BUILT ENVIRONMENT › Making the city legible

84 >

PAPER › The power of ideas, the permanency of paper


CONTENTS 15 >

16 >

FOREWORD › By Des Laubscher

FASHION › Albertus Swanepoel makes major headway in New York

42 >

46 >

E N J O Y R E L A X

DESIGN PROMOTION › SABS Design Institute: Design Excellence Awards 2008

DESIGN PERSPECTIVE › Designer ironies

64 >

72 >

GREEN DESIGN › Cradle-to-cradle the best solution

COMMUNICATION DESIGN › As creatures of small but growing business origins we speak

90 >

96 >

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PRE-PRESS › Chicken or the egg: who hold responsibility for pre-flight? › All you need to know about JDF

PACKAGING › An air of distinction

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102 >

RETAIL › Your image is your brand and your brand is everything

132 >

PRODUCTION DESIGN › The brilliance of Johan Engels

168 >

INTERNATIONAL NEWS › Discussing the challenges of the development of national design policies › Nodes, connections and currents in contemporary communication design › On Designism › World Design Capital Bid

106 >

EXHIBITIONS › Leading by example

150 >

DIGITAL › The boardroom goes digital

186 >

BOOK REVIEWS › Decoding design › Intrigue: The graphic designer’s code


CONTENTS 112 >

120 >

BRAND MANAGEMENT › Credibility: Africa’s ultimate trading platform

EDUCATION › Final year clearance sale: Sappi ThinkAhead Awards 2008 › Genuine value - a responsibility for design education establishments › Making the Difference the Woolworths way

152 >

162 >

INDUSTRY NEWS › IDA World Design Survey: South Africa findings › The Sappi State of Design research results: a Think initiative › Brands - their weight in gold

DESIGN: THE BIG PICTURE › Ranking country brands

193 >

202 >

DESIGN IN LIVING › James Hemphill at home – Keeping it simple

PRESSROOM LINK



FOREWORD > 15

BRAND THE BELOVED COUNTRY

IN ONE VOICE It remains a dream to have one united body representing all the different disciplines in design in South Africa. This dream could soon become a reality as Peter Kersten, the former Managing Director of BNO, the multidisciplinary professional design body in the Netherlands visits us this year. He is specifically coming to South Africa to help generate the structures to form an Institute of Design in our country. Why unite 5 separate associations into one? 1. Increased memberships lead to => better financial resources => > Better operational quality leads to => respect, glamour, attraction. > M o re c l o u t evo ke s m o re l eve ra g e = > w i t h government. 2. More disciplines under one roof leads to => encouragement for innovation. > Interdisciplinary cross-fertilization leads to => competence improvement. > Harmonisation of business practices among design disciplines is encouraged by commissioners. Further Effects One design association => positive image effects: > more leverage towards government (economic affairs; culture; education; foreign affairs); > one voice towards sister associations (advertising, architecture, PR, management consultancy); > more stature amongst commissioners; > a clear “What’s in it for me” proposition for new members; serious/respectful partner for education and training institutes. One design association => positive professional effects: > cross- fertilization of design knowledge and design culture between disciplines; > ‘education permanent’ => ‘BNO Academy’, BNO ‘Back to school’;

> >

business performance barometer among members; tailor-made design research programmes.

One design association => positive organisational effects: > better housing on appropriate location; > space for exhibitions and events; > flexible allocation of financial resources at peak situations; > flexible allocation of human resources at peak situation. In consultation with Peter, he had the following suggestions to make in formulating the new body and these will be the criteria he wishes to use to stimulate dialogue and consultation: > first agree on common (higher) departure points; > establish your long term positioning in relation to your prime target group => Pro association? Federation? Community? > keep the departure points simple and close by (‘What’s in it for me’ for future members); > avoid discussing structures in the beginning; > assign on a (limited) fee basis, an excellent consultant. Furthermore, he suggests the following: > Be daring! > Take advantage of your ‘previously disadvantaged position’ > Do it! So how can we afford to cover his expertise and costly consultation fee? Very simple. Peter is being sponsored by PUM, Netherlands Senior Experts, who will pay him a consultation fee and cover his airfare and other traveling expenses. We have to provide accommodation and a place where he can work. I have put these structures in place. I believe we are now very close to creating our design umbrella and then we can move forward and really brand our beloved profession both locally and abroad.

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16 > FASHION


Albertus Swanepoel MAKES MAJOR HEADWAY IN NEW YORK #Z +BDRVFT -BOHF

South African fashion design has frequently attracted the international limelight in recent years but the country has not yet delivered a major international star. That however changed on 17 November this year, when the Council of Fashion Designers of America (CFDA) and VOGUE announced the recipients of the fifth annual awards from the CFDA/VOGUE Fashion Fund at Skylight Studios in New York, USA.

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VIEW VIDEO CLIP http://video.style.com

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Hats designed by > Albertus Swanepoel. Photographer > Bell Soto (http://bellsoto.com) Model > Irina/NY Models Wardrobe > Eddie Marquez Hair > Brian Buenaventura Make up > Nives Riddles Photographic shoot produced and casted by > Andrey T.



leonardo da vinci 1452 - 1519 painter, inventor, visionary, mathematician, philosopher and engineer

if he’d been a bit younger he’d have been an alumnus An MSc in the Management of Technology and Innovation, takes today’s business manager into the beyond. It’s essential to every manager, of whatever qualification or position in the company; crucial to students seeking increased business competence; the very essence of achieving competitive supremacy globally.

visit www.davinci.ac.za The Da Vinci Institute for Technology Management (Pty) Ltd - Registered with the Department of Education as a private higher education institution under the Higher Education Act, 1997. Registration Certificate No. 2004/HE07/003


perfect for everyone with bright ideas An MSc in the Management of Technology and Innovation, takes today’s business manager into the beyond. It’s essential to every manager, of whatever qualification or position in the company; crucial to students seeking increased business competence; the very essence of achieving competitive supremacy globally.

visit www.davinci.ac.za The Da Vinci Institute for Technology Management (Pty) Ltd - Registered with the Department of Education as a private higher education institution under the Higher Education Act, 1997. Registration Certificate No. 2004/HE07/003


32 > DESIGN PHILOSOPHY

One of the most important elements of design is, in fact, design philosophy. No longer centred around the manufacturing of products, design now encompasses making the correct statement in the marketplace and achieving ‘ buy in’ from the end user.

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36 > INTELLECTUAL PROPERTY

“A product is something that is made in a factory; a brand is something that is bought by a customer. A product can be copied by a competitor; a brand is unique. A product can be quickly outdated; a successful brand is timeless.� - Stephen King ( WPP Group, London)

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38 > INTELLECTUAL PROPERTY

THIS PAGE > A good name can serve as a substantial barrier against market entry of a competitor’s product once it is established like McDonald’s “I’m lovin’ it” (in a myriad of languages)

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THIS PAGE > The purpose of trademarks is to distinguish the goods of one person from the same goods produced by another person. Accordingly, one knows that a luxury car featuring four interlocking circles is an AUDI, of which we can expect certain things. We may prefer purchasing a luxury vehicle with a three-point star in a circle on the hood, knowing that a MERCEDES BENZ has other qualities.

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PACKAGING 40 > INTELLECTUAL PROPERTY

THIS PAGE > Examples of some of unusual trademarks are the colour pink for Aerolite’s roof insulation (and attached to that, we all know the slogan trademark ‘THINK PINK’). Ordinarily fibreglass roof insulation is a dull grey, so if one sees pink fibreglass roof insulation, one knows it must be a product emanating from Aerolite.

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OPPOSITE PAGE > We all know the Weber kettle braai: its distinctive shape is also the subject of trademark rights. The COCA-COLA contour bottle is an example of a container mark which has become so popular that bottles dating back to the 1910s have become collectors’ items.

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SABS Design Institute: Promoting South African design ingenuity

South Africans are known for their ingenuity

with the SABS Design Institute behind it, has

when it comes to designing products to solve

established a proud tradition of promoting indig-

specific problems or to meet special needs.

enous design.

For the past almost 40 years product designers have been lauded for their inventiveness by an

This year 14 design excellence award winners

award scheme that has placed South African

were honoured at a function held in Johannes-

products on the map.

burg on 30 October. As is the case every year, the SABS Design Excellence Awards entries

The South African Bureau of Standards (SABS)

were adjudicated by industry experts and en-

Design Excellence Awards scheme was estab-

tries fell into one of six categories.

lished in 1969 to recognise the achievements of South African product designers, while also

Although the product designs are not in compe-

encouraging local product design and manu-

tition with one another, the panel of adjudicators

facture and promoting international competi-

annually vote for one product that has grabbed

tiveness of local products. This award scheme,

their imagination. This year’s Chairman’s Award


(1)

(2)

(3)

(4)

(1) Orga8 and Orga15 Modular Filing System, Orgafile (Pty) Ltd. (2) MES Butterfly Range Single Switch Socket Outlet, Bardo Consulting Services. (3) Easy Sleepers, CADA Kids. (4) Kiddo Safety Finger Toothbrush, Kiddo Dental Enterprises (Pty) Ltd.

winner was the Orga8 and Orga15 Modular

On the other end of the spectrum product de-

Filing System, an eco-friendly office storage so-

signs making life just a little easier also received

lution that can be combined in different ways.

awards. The 4 Secs Condom Applicator as-

The components are made of recycled material

sists in the quick effortless fitting of a condom

and the compact design takes up less space than standard storage units. South Africans have excelled in product design for the mining industry and this year was no exception. Two mining products received de-

in a safe and correct manner and is an updated version of the condom applicator that received a SABS Prototype award several years ago. Easy Sleepers are infant travel support pillows that keep a child’s head in an upright position

sign excellence awards – the Autorock, a mini

in a car seat and the Kiddo Safety Toothbrush,

support drill rig for drilling steeply angled rock

made of soft, gum-friendly material, fits snugly

bolt holes in narrow mine stopes and the

over a child’s or an adult’s finger and has soft

Cheetah Sump Pump, a pneumatic pump for

protrusions to clean teeth.

getting rid of water sludge underground.


(5)

(6)

(7)

(8)

(9)

(10)

(5) 4 Secs Condom Applicator, …XYZ. (6) Quaddro Scissor Jack, Quaddro Technologies (Pty) Ltd. (7) Modular Traffic Light System, Modular Traffic Light Systems. (8) Cheetah Sump Pump, Cheetah Technologies. (9) Enermax Plus, Strike Technologies (Pty) Ltd. (10) Wiremate Wizard, Wiremate (Pty) Ltd.

Product designs that present solutions to spe-

South Africans are also known to make an in-

cific problems experienced in society also re-

genious plan to come up with a solution to a

ceived excellence awards. The Modular Traffic

specific problem. The Wiremate Wizard is one

Light System is a collapsible traffic light that

such solution. It is a pull cord system that uses

offers very low impact resistance and causes

a hand pump to draw pull cord through elec-

no injuries to motorists and minimal damage to

trical conduits in seconds. Then there is the

pavements and vehicles on impact. Then there

Quaddro Scissor Jack. This innovative mech-

is the ExpoScreens Quick Lock, a compact

anical jack with a central coil spring assembly

device used to lock screens of exhibition stands.

feature provides extreme structural support

The Move-eez is a storage and movement

and safety to the user in the load lifting and

system for hanging apparel that improves logis-

lowering process.

tics in a variety of environments. The Vacuform Truck Bunk Bed is a moulded unit that fits be-

Every year sees an increased focus on product

low the bunk bed mattress in long-distance

designs in the information technology and elec-

trucks to provide additional packing space.

trical engineering categories. The Enermax Plus


(11)

(12)

(13)

(14)

(11) ExpoScreens Quick Lock, ExpoScreens CC. (12) Autorock Drill Rig, Stratabolt (Pty) Ltd trading as Minova RSA. (13) Vacuform Truck Bunk Bed, Vacuform 2000 (Pty) & Nissan Diesel SA (Pty) Ltd. (14) Move-eez, BEE Green Logistics CC.

is a three-phase energy and demand meter that

a SABS Design Excellence Award, designers

measures four quadrants of power and energy,

can look forward to receiving a certificate and

whereas the MES Butterfly Range Single Switch

using the 2009 SABS Design Excellence Award

Socket Outlet is used in a domestic light fitting

logo on the award-winning products and on

environment.

literature, advertising material and letterheads associated with the product. Other benefits in-

Next year will see this illustrious design award

clude possible media coverage, a publication

scheme’s 40th anniversary. The closing date

featuring all the winners and taking part in the

for registration is 8 May 2009 and the final sub-

SABS EXPO in October 2009.

mission of compulsory information is on 12 May 2009. By entering their products and receiving

T: F: E: W:

+27 (0) 12 428 6326 +27 (0) 12 428 6546 design@sabs.co.za www.sabs.co.za www.designinstitute.org.za


46 > DESIGN PERSPECTIVE

Irony, like the mysterious Dark Matter, pervades all around...as we balance tottering on the brink of who knows what?

DESIGNER IRONIES #Z 3PZ $MVDBT

*

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ENJOY REL AX


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What does any of this have to do with design? -FU NF QVU JU UIJT XBZ .FUBQIPS TBUJSF BOE CMBDL IVNPVS IBWF CFFO QPUFOUMZ QPJOUFE BOE NVDI TVQQSFTTFE NBOZ UJNFT CFGPSF *HOPSBODF BOE IPSNPOFT IBWF USJHHFSFE DBUBTUSPQIFT XIFSF QFBDFGVM EFNPDSBDZ TIPVME IBWF QSFWBJMFE %FTJHO JT BCPVU OFX TPMVUJPOT OPU PME IBCJUT BOE HSVEHF NBUDIFT 8IFO UIBU GBDU JT JHOPSFE UIF SBJOCPX GBEFT UP HSFZ *OOPWBUJPO JT QJMMPSJFE USJCBM CFDPNFT USPVCMF FWFO XJUIJO 0MZNQJBO QBSBNFUFST 0S JU JOUFSGFSFT XJUI DPOTUJUVUJPOBM MBXT PS CFDPNFT 3FQVCMJDBO 1BSUZ TMPHBOT PS BQQFBST VOEFS PUIFS USBOTQBSFOUMZ QPMJUJDBM BVTQJDFT -JLF GPPUCBMM 6OJUZ JO EJWFSTJUZ +BOFF 1B FL DBCBOHB NVIMF TFF NF PO $BSUF #MBODIF TQFOEJOH ZPVS NPOFZ 5IJT JSPOJD QFOUBNFUFS TUVGG NFTTFT XJUI UIF DSFBUJWF QSPDFTT .Z PXO NPTU DFSUBJOMZ HFUT TDSBNCMFE &WFO XIFO * UBLF UIF QJMMT SFHVMBSMZ 'PSUVOBUFMZ UIJOL IBT CFFO JOTUSVNFOUBM JO BTTFNCMJOH B TUVEZ PG UIF 4UBUF PG %FTJHO JO 4" TP * XJMM QPJOU ZPV JO UIBU EJSFDUJPO BOE OPU ´SFHVSHFµ UIFJS ¾OEJOHT IFSF BT * IBE OBVHIU UP EP XJUI JUT QSPEVDUJPO BOZXBZ " WBMJE BOE NPTU OPCMF TUBSU BOE B QFSTQFDUJWF XIJDI XF XJMM CF XFMM TFSWFE UP DPOUJOVF SFDPSEJOH )PXFWFS EVNCFE EPXO JU NBZ IBWF UP CFDPNF

REL AX

48 > DESIGN PERSPECTIVE

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UIFJS PXO CFJOH POF JNBHJOFT PCMJWJPVT PG TVDI BDDVTBUJPO -JWF BOE MFU MJWF TBZ *

ENJOY

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>

CONTACT ROY CLUCAS ( RCDP ) TEL > +27 (0) 11 880 2947 EMAIL > roy@designprocess.co.za


50 > ARTS & CRAFT

It’s out with the designer-brand and in with the mark of the master crafter. From a township shack to chic shops in Soho, South African craft is going places.

MARK OF THE MASTER CRAFTER CZ &SSJFEB EV 5PJU

*

O UIF FSB PG NPSF PG UIF TBNF EFTJHOT XJUI TQJSJU BOE B TUPSZ UP UFMM BSF UIF POFT UIBU TUJS UIF JNBHJOBUJPO BOE FNPUJPO *O B XBZ UIJT JT B CSFBL GSPN UIF CJH CSBOE OBNFT UP UIF PODF PGG FYQFSJFODFT PGGFSFE CZ JUFNT NBEF CZ UIF IVNBO IBOE FTTFOUJBMMZ B OPO CSBOE 5IF FYDFTTFT PG UIF T BOE UIF TUZMF GJSTU BQQSPBDI PG UIF T IBWF CFFO SFQMBDFE CZ UIF FSB PG FNPUJPO JO EFTJHO 8IBU QFPQMF XBOU OPX JT UP NBLF FNPUJPOBM DPOOFDUJPOT BOE UP CF TVSSPVOEFE CZ UIJOHT UIBU NFBO TPNFUIJOH .PSF UIBO FWFS XF XBOU UP CF DPNGPSUFE CZ CFBVUZ CZ RVBMJUZ HSFBU DSBGUTNBOTIJQ BOE FDP DPOTDJPVT EFTJHO


Imiso pinch bowls > Pinch bowls capture the energy of their maker.


52 > ARTS & CRAFT THIS PAGE > Decorex patron Stephen Falcke incorporated craft pieces he selected from the South African Handmade Collection with modern designer items. Here a group of white giraffe wood carvings illustrate how craft has moved from the curio category into highdesign. A fresh, bright apple green colour palette brought a touch of humour to the interior. IMAGE Credit > Decorex SA


THIS PAGE > The interior of the Mzansi Collection Store, with its shelves showcasing all South African products. The Mzansi Collection store, currently in its pilot phase, provides a sophisticated setting for small and emerging enterprises to gain access to a high end market.

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54 > ARTS & CRAFT 1SPKFDUT BT QSJWBUF FOUFSQSJTF QBSUOFS JT CPSO PVU PG UIF DSBGU JOEVTUSZµT FOPSNPVT QPUFOUJBM GPS KPC DSFBUJPO BOE UIF HFOFSBUJPO PG JODPNF GPS QFSJ VSCBO BOE SVSBM DPNNVOJUJFT &DP DPOTDJPVT CZ OBUVSF 4PVUI "GSJDBO DSBGUFST BSF BEFQU BU GPSNJOH PME NBUFSJBMT JOUP HPSHFPVT OFX TIBQFT BT UIFZ ¾OE EFTJHO JOTQJSBUJPO JO UIF PODF EJTDBSEFE 8IJMF 4PVUI "GSJDBµT EJWFSTF DSBGU PGGFSJOHT BSF JOEJWJEVBMJTUJD UIFZ TIBSF B DPNNPO CPOE ° DSFBUJOH FNPUJPOBMMZ FYQSFTTJWF XPSL ESBXJOH PO IFSJUBHF GPS JOTQJSBUJPO 5IF GVTJPO PG USBEJUJPOBM DSBGU UFDIOJRVFT BOE IJHI EFTJHO JT FWJEFOU JO IBOHJOH MBNQT JOTQJSFE CZ CFBWFSµ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° BMM IJHIMZ DPMMFDUBCMF IFBSUGFMU JUFNT ¾MMFE XJUI TVCTUBODF BOE UIF DSFBUJWF TQJSJU PG UIFJS NBLFST $SFBUJOH NBSLFU BDDFTT GPS TNBMM BOE FNFSHJOH FOUFSQSJTFT UIF .[BOTJ $PMMFDUJPO JT BJNFE BU IJHI FOE MPDBM BOE JOUFSOBUJPOBM DPOTVNFST BOE DPSQPSBUF HJGU CVZFST BOE IBT B XIPMFTBMF BSN XIJDI TFMMT UP PUIFS SFUBJMFST BOE TUPDLJTUT <

THIS PAGE > Art that changes lives > Bambanani bowls by Zizamele Ceramics form part of the Mzansi Collection.



56 > BUILT ENVIRONMENT

Ronald Shakespear:

MAKING THE CITY LEGIBLE #Z -FTMJF 8PMLF

“Some clients will ask me for a boat. What they actually need is to cross a river.” > Ronald Shakespear


3

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Durand Maternity Hospital Symbol (1979). “This symbol was designed to help build a warm and friendly brand, capable of symbolizing the act of giving birth. The client was negative at first, believing it emphasised the cardiologic aspect above the birth aspect. Yet it was gradually accepted and eventually became the hospital’s visual identity.” Design > Ronald Shakespear

Leslie Wolke interviewed Ronald on a recent trip to Buenos Aires. -8 :PV FOKPZ TIBSJOH JOTJHIUT GSPN B XJEF WBSJFUZ PG TPVSDFT GSPN "MBO 'MFUDIFS UP .BSJMZO .POSPF 5IFZ BSF BMXBZT EFMJHIUGVM FOUFSUBJOJOH BOE UIPVHIU QSPWPLJOH CVU IPX EP UIFTF OBSSBUJWF TLFUDIFT DPOWFZ ZPVS QIJMPTPQIZ 34 %FTJHO JT B DPNQMFY FWFOU XIJDI XF OFFE UP DPOTJEFS GSPN UIF QFSTQFDUJWF PG PUIFS EJTDJQMJOFT BOE LOPXMFEHF &TUBCMJTIJOH DPOOFDUJPOT IFMQT VT TFF BOE VOEFSTUBOE * GFFM DPNGPSUBCMF XJUI DPOOFDUJPOT .Z TUPSJFT BOE NZ CPPLT BSF

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58 > BUILT ENVIRONMENT

Stork Pictogram (1978). “The pictographic system for Buenos Aires Municipal Hospitals was originally designed for Durand Hospital, but later adopted for the entire hospital system. We proposed the stork as a popular icon related to maternity care. But some administrators are not ready for innovative changes. One hospital director sombrely told me, ‘Dear Mr. Shakespear, you must know that babies are not brought by storks.’ I still believe that storks bring babies. So do people.â€? Design > Ronald Shakespear/RaĂşl Shakespear

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Buenos Aires Underground (1995-2007). “We rescued the colloquial term ‘Subte’ in the understanding that collective memory required it. Surveys and focus groups reinforced that choice. We also discovered that people use expressions such as ‘I take the green one’ or ‘I take the red one.’ This clearly shows the value attributed to their preferred subway lines.� Design > Ronald, Lorenzo, and Juan Shakespear. Photo > A. Calderone

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60 > BUILT ENVIRONMENT

America 92 Exhibit (1992). “We designed 25 thematic macro arrows for the wayfinding program for the 500 Anniversary of America Discovering Exhibition held in Buenos Aires in 1992. The scale of the signs allowed the crowd to perceive them pretty well, at the same time providing enrichment and amusement to the fair.� Design > Lorenzo and Ronald Shakespear

This article first appeared in segdDESIGN magazine, and was republished with permission. About the Author > Leslie Wolke, SEGD, is an associate principal with fd2s in Austin. She spoke with Ronald on a recent trip to Buenos Aires.


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MORE ABOUT THE SOCIETY FOR ENVIRONMENTAL GRAPHIC DESIGN (SEGD) www.segd.org




64 > GREEN DESIGN

CRADLE-TO-CRADLE THE BEST SOLUTION #Z %FBO "SNTUSPOH

One of my favourite hobbies is fly fishing. Just being able to be out there amongst nature is tremendously regenerating. But it can also be distressing to witness the degradation of the environment – the pollution, absence of insect life, the condition of the fish, the impact on the plant life. Perhaps this is why, for me, carrying the ‘green’ flag through to everything in day-to-day life is so important.


THIS PAGE AND PREVIOUS PAGE > Glass and aluminium partitions allow greater use of natural daylight in the corporate environment, resulting in considerable savings in energy consumption

5

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66 > GREEN DESIGN

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THIS PAGE AND PREVIOUS PAGE > Ergosystems’ Green Screen is 98% recyclable


68 > GREEN DESIGN

THIS PAGE > Crushed product, ready for recycling

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> >

To measure your carbon footprint www.whatsmycarbonfootprint.com

About 3 Form’s environmental initiatives http://www.3-form.com/about-path_to_zero.php


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72 > COMMUNICATION DESIGN

AS CREATURES OF SMALL BUT GROWING BUSINESS ORIGINS WE SPEAK #Z +BNFT )FNQIJMM JO DPMMBCPSBUJPO XJUI 5BNBSJOE )PVHIUPO


The brand, branding and brand equity have become increasingly important components of contemporary cultures and the economy and are now being described as ‘cultural accessories and personal philosophies’. In non-commercial contexts, the marketing of entities which supply ideas or promises rather than product and services (e.g. political parties or religious organisations) may also be known as ‘branding’.

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74 > COMMUNICATION DESIGN

...the traditional role of the graphic designer is changing and is being driven to take on greater responsibility.

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PVS SBX DSFBUJWF UBMFOU *O BO JEFBM XPSME XPVME XF BT HSBQIJD EFTJHOFST OPU XBOU UP EFWFMPQ HSFBU EFTJHO QJFDFT PO BO PO HPJOH CBTJT 4IPVME ZPVS BOTXFS CF ZFT UIFO JO SFMBUJPO UP CSBOE PVS PCKFDUJWF XPVME CF UP DSFBUF UIF NPTU CFBVUJGVM MPHP NBSLT UIBU XPVME GPSN UIF CBTJT PG XIBU XF XPVME IPQF UP CF TVDDFTTGVM CSBOET 5IF MJGF PG UIF CSBOE VOGPSUVOBUFMZ MFBWFT UIF SFBMN PG UIF EFTJHOFS BU TPNF TUBHF BOE NPWFT JOUP UIF IBOET PG UIF NBSLFUFST BOE TUSBUFHJTUT 5IFSF JT TUJMM OPUIJOH NPSF CFBVUJGVM UIBO HSFBU EFTJHO UIF XPSLJOHT PG TIBQFT BOE MFUUFSGPSNT JO UIF EJNFOTJPO PG TQBDF BOE UIF SFTVMUJOH CBMBODF BOE TZNNFUSZ UIFZ DSFBUF 1FSJPET PG EFTJHO BOE EFTJHO USFOET XJMM DPNF BOE HP CVU USVF EFTJHO XJMM BMXBZT SF¿FDU SBX DSFBUJWF "U UIF FOE PG UIF EBZ UIF SPMF UIBU B EFTJHOFS QMBZT JT HFOJVT BOE UIJT EFTJHO XJMM MBTU JOEF¾OJUFMZ SFBMMZ PG IJT IFS PXO NBLJOH *U JT UIF SFTQPOTJCJMJUZ PG UIF DBQJUBMJTU ESJWFO EFTJHOFS UP SFTFBSDI BOE %FTJHO JT DVSSFOUMZ HPJOH UISPVHI B QIBTF PG VOEFSTUBOE UIF JOUFOEFE SPMF PG UIF MPHPNBSL CFJOH SFWFSUJOH CBDL UP DPNQMFUF TJNQMJDJUZ B SFTVMU PG EFWFMPQFE 5IF CVEHFU TIPVME BMMPX GPS B EFUBJMFE B CPNCBSENFOU PG JOGPSNBUJPO 5IJT XJMM QSPCBCMZ QMBO BOE B UFBN PG SFMFWBOU QMBZFST UP CF QVU JO BGGFDU UIF XBZ JO XIJDI FBDI CSBOE JT IBOEMFE CZ QMBDF UP HVJEF UIF CSBOE UP NBSLFU 5IF HSBQIJD UIF TUSBUFHJTUT 1FSIBQT B TJNQMJGJDBUJPO PG UIF EFTJHOFSµT SPMF JT QMBZFE JO UIF DPODFQUJPO BOE FBSMZ CSBOE BOBMZTJT XJMM BMMPX UIF CSBOE UP DSFBUF JUT PXO EBZT PG UIF CSBOEµT MJGF "T HSBQIJD EFTJHOFST XF FOFSHZ PO JUT KPVSOFZ UISPVHI MJGF TUSVDUVSF UIF NBSLFUBCJMJUZ PG UIF CSBOE JUT MPPL BOE JUT GFFM UIF MBOHVBHF XJUI XIJDI JU UBMLT UP JUT 8JUIPVU HSBQIJD EFTJHO UIF NPEFSO CSBOE XPVME NBSLFU JT JU CFBVUJGVM JT JU CPME JT JU BOHSZ JT JU CBE OPU CF BT XF LOPX JU #SBOEJOH JT B EJSFDU SFTVMU PG DBQJUBMJTU IVOHFS 1BSU PG JUT TVDDFTT JT EVF UP UFNQFSFE IPX EPFT JU MJWF UIF CSBOEµT BFTUIFUJD UIF XBZ JU DPNNVOJDBUFT )PXFWFS FWFO UIPVHI XF IBWF FWPMWFE JOUP HSFBUFS XJUI JUT BVEJFODF PO B WJTVBM MFWFM 4P XJUI NPEFSO DPOUSJCVUPST UP UIF PWFSBMM TVDDFTT PG UIF CSBOE XF CSBOEJOH HSBQIJD EFTJHO QMBZT B DSJUJDBM SPMF JO TIPVME CF DBVUJPVT PG EJTUBODJOH PVSTFMWFT GSPN BOE JT JOUSJDBUFMZ MJOLFE UP UIF MPOH UFSN HPBM PVS DPSF GVODUJPO BOE SVOOJOH UIF SJTL PG EJMVUJOH PG FBDI CSBOE < XJUIPVU UIF DPOUSJCVUJPO PG UIF FWFS QSFTFOU DBQJUBMJTN #VU BU UIF TUBSU PG B CSBOEµT MJGF UIF HSBQIJD EFTJHOFS QMBZT B DSJUJDBM SPMF JO GPSNVMBUJOH B LFZ DPNQPOFOU PG IPX UIF CSBOE XJMM JOUFSBDU XJUI JUT JOUFOEFE NBSLFUT BOE BVEJFODFT )BWJOH TBJE UIJT DBO XF UIFO GBJSMZ BTL UIF RVFTUJPO XIBU JT HSFBU EFTJHO JO SFMBUJPO UP CSBOEJOH XJUIPVU UIF FWJMT PG DBQJUBMJTN NJTMFBEJOH UIF QSPDFTT 5IFSF BSF NJMMJPOT PG HSFBU MPHPNBSLT BSPVOE UIBU KVTU IBWFOµU IBE UIF DIBODF PS SBUIFS ¾OBODJBM CBDLJOH UP TUJNVMBUF UIFN JOUP CFDPNJOH HSFBU CSBOET #VU UIFSF BSF BMTP NBOZ GBJMFE CSBOE BUUFNQUT XIFSF GJOBODF IBTOµU CFFO UIF QSPCMFN CVU SBUIFS CBE QMBOOJOH BOE BO JOBDDVSBUF SFBE PG UIF NBSLFU


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the same but new

With all the qualities you have come to expect from this leading business paper, Opale’s latest range of papers now also offers striking new characteristics and an important new environmental accreditation. We look forward to showing you the new range from Opale. Please expect a call from your Antalis Sales Representative, to set up an appointment. For further information, contact us on: marketing.print@antalis.co.za or +27 11 688 6000


78 > CREATIVE PAPERS

ADDING PERSONALITY TO YOUR BRAND Creative papers, if chosen correctly, can add huge value and prestige to the image and identity of a company or individual’s broader business communication. They are used in the high value end of the market and are consequently mostly expensive, although there are also a number of economical offers available.


*

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80 > CREATIVE PAPERS

Environment 8JUI UIF NPWF UPXBSET QSFTFSWJOH PVS XPSME BOE UP FOTVSF TVTUBJOBCMF XFMM NBOBHFE GPSFTUT QBQFS NBOVGBDUVSFST IBWF EFWFMPQFE B XJEF SBOHF PG FOWJSPONFOUBMMZ GSJFOEMZ QBQFST TVDI BT SFDZDMFE QBQFST UIBU DPNF GSPN FJUIFS PS QBSU PG QPTU PS QSF DPOTVNFS XBTUF 5IFTF EBZT NPTU QBQFS NJMMT POMZ VTF QVMQ UIBU DPNFT GSPN TVTUBJOBCMF XFMM NBOBHFE GPSFTUT UIBU DBSSZ UIF 'PSFTUSZ 4UFXBSETIJQ $PVODJM '4$ BDDSFEJUBUJPO 5IF $IBJO PG DVTUPEZ $P$ DFSUJ¾DBUJPO QSPWJEFT B HVBSBOUFF BT UP UIF QSPEVDUJPO PG UIF '4$ DFSUJ¾FE QSPEVDUT $P$ JT UIF QBUI UBLFO CZ SBX NBUFSJBMT GSPN UIF GPSFTU UP UIF DPOTVNFS JODMVEJOH BMM TVDDFTTJWF TUBHFT PG QSPDFTTJOH USBOTGPSNBUJPO NBOVGBDUVSJOH BOE EJTUSJCVUJPO 5IF QVMQ JT BMTP &MFNFOUSZ $IMPSJOF 'SFF &$' XIJDI NFBOT UIBU UIF QVMQ JT CMFBDIFE XJUIPVU UIF VTF PG DIMPSJOF HBT )PXFWFS TPNF DIMPSJOF EJPYJEF JT VTFE QMVT PUIFS OPO DIMPSJOF CBTFE DPNQPVOET TVDI BT PYZHFO .PTU QBQFST BSF OPX BMTP BDJE GSFF UP FOTVSF MPOHFWJUZ NBLJOH UIF QSPEVDUT NPSF TVJUBCMF GPS BSDIJWBM TUPSBHF

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84 > PAPER

THE POWER OF IDEAS, THE PERMANENCY OF PAPER #Z #FW )FSNBOTPO

Paper continues to hold its own as an essential communication medium, while print and electronic technologies merge and intermesh in the media mix.


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86 > PAPER

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90 > PRE-PRESS

General rule in the print business: “There is never enough time to do it right the first time, but there is always time to reprint the job several times.”

CHICKEN OR THE EGG - Who holds responsibility for pre-flight? #Z %FXBME 3PTFNB

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92 > PRE-PRESS

Printers around the world have – for years – sought to speed up production, step up reliability and improve the quality and flexibility of output. As cost and time are seen to be of major importance in this industry, the development of Job Definition Format (JDF) heralded a new era of workflow automation.

ALL YOU NEED TO KNOW ABOUT JDF #Z %FXBME 3PTFNB

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The purpose of JDF

JDF – looking ahead

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102 > RETAIL

YOUR IMAGE IS YOUR BRAND AND YOUR BRAND IS EVERYTHING #Z %BWJE "CSBIBNTF

Image is very important in retail, from eye wear to shoes, and if a company can get people to own their brands, they have then achieved the status icon. Products like clothing and accessories have achieved this very well, retailers have too, to a much lesser degree.

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EXHIBITIONS > 107

The quality of exhibitors and the way they continue to lift their game is a key factor in building an exhibition’s brand image

LEADING BY EXAMPLE #Z &SSJFEB EV 5PJU

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PREVIOUS PAGE > TOP > Exhibitions need to provide for visitors’ insatiable appetite for trendspotting. Here By Dezign interpreted the Soft Goth trend fresh from the European catwalks in their interior design, winning the Sanlam Styleshaper Award. Picture Credit > Decorex SA BOTTOM > Do-good decor for the ethical consumer. Picture Credit > Decorex SA


108 > EXHIBITIONS OPPOSITE PAGE > TOP > The Laurie Owen stand, marrying glamour with organics Waste is becoming the ultimate sin. Using detergent bottles Heath Nash brings beauty to recycling. IMAGE Credit > Decorex SA BOTTOM > Showcasing African design without the clichés, Decorex provides a launching platform for new brands such as Design Africa, winner of the Decorex Joburg Overall Best Stand Award. IMAGE Credit > Design Africa

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A VISION CREATED BY A VISIONARY.

Designed By

Cobra presents the world’s most desirable taps, the Tapno range. Lovingly crafted by a man ahead of his time. Brian Steinhobel, one of the world’s leading designers, has created this range to be more than simple taps, but functional works of art that add a touch of style to any home.


Visit our new showroom in Bryanston, c/o Main Road & Bryanston Drive, Bryanston, Tel: 011875 7400, or Cape Town, M5 Business Park, 2A Camp Road, Maitland, Tel: 021 510 0970 For your nearest Cobra stockist call 0861 21 21 21 or visit www.cobra.co.za e-mail: marketing@cobrawatertech.co.za Member of the Dawn Group


112 > BRAND MANAGEMENT

Word of mouth: possibly the most powerful and persuasive communication tool in Africa. Companies looking to expand into Africa cannot afford to take this for granted. Ensuring positive individual customer experiences no matter one’s industry or business is critical in order to create the ultimate platform for trading in Africa: credibility.

CREDIBILITY : AFRICA’S ULTIMATE TRADING PLATFORM #Z -PSSJOF "SBVKP

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PACKAGING > 115


116 > BRAND MANAGEMENT

Case study > Coca-cola in South Africa Coca-Cola is one of South Africa’s major investors. It began an extensive programme of long-term investment in the country after 1994. In 1997 the company announced its intention to expand business and began a R1.2 billion infrastructure expansion programme, designed to penetrate the country’s markets. This programme has become one of the strategic elements used to create trust, 5IJT NPSF TUSBUFHJD DPNNVOJDBUJPOT GPDVT BMTP and subsequently a trading platform that JODPSQPSBUFT UIF BDUVBM NFEJB DIPTFO BOE VTFE extends beyond the country’s borders into 8IJMF 4PVUI "GSJDB IBT CFFO DPNQBSBUJWFMZ TMPX the continent. 8JUI UIF HMPCBM ¾OBODJBM DSJTJT DBVTJOH DPOTVNFST UP CFDPNF NPSF EJTDFSOJOH BCPVU UIFJS QVSDIBTFT BOE UIF DPNQBOJFT UIFZ ´DIPPTFµ UP EP CVTJOFTT XJUI DPNQBOJFT BSF SFUIJOLJOH CPUI IPX UIFZ DPNNVOJDBUF XJUI UIFJS NBSLFUT BOE XIBU UIFZ DIPPTF UP TBZ "EWFSUJTJOH BOE DPSQPSBUF NFTTBHJOH BSF NPWJOH BXBZ GSPN UBMLJOH ´BUµ DMJFOUT BT B SFTVMU BOE FOHBHJOH JO 13 JOTUFBE GPDVTJOH SBUIFS PO NVUVBM SFMBUJPOTIJQ CVJMEJOH

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One of the key elements of this strategy has been creating alliances – partnerships with various stakeholders, including bottlers. Coca-Cola Southern Africa (CCSA) assists with overall business development, working in tandem with bottlers to promote product awareness, and helping launch the marketing and advertising programmes designed to ensure brand recognition. More importantly in terms of trust creation however, CCSA also provides managerial and technical assistance to these smaller companies, promoting production and distribution efficiency, quality control and personnel training. In this way, it helps them to realise continuous growth and economic profitability, relying primarily on local managerial and technical labour. As such, Coca-Cola has effectively created a chain of exceptional brand ambassadors throughout the country, with their personal testimonials about the company impacting directly on the perceptions of the communities within which they live and interact. CCSA is therefore harnessing ‘word of mouth’ as a means of establishing corporate credibility – a key objective when it comes to doing business in Africa.


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REFERENCES > ICT Infrastructure > Africa’s Achilles Heel. By Mercy Wambui, Communication Officer, ECA Zulu Oral Art. By H.C. Groenewald The Global and the Local with a Focus on Africa. By Beverly Stoeltje Overlooking the economic impact of the mobile phone in Africa. www.emergingfutureslab.com Economic impact of Coca-Cola on South Africa. Moore School of Business, University of Carolina


greenside design center excellence in design through excellent facilities



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The best up-and-coming communication designers were celebrated in style on 26 November this year as Carfax in Newtown played host to the seventh annual Sappi Thinkahead Awards.

FINAL YEAR CLEARANCE SALE – THE SAPPI ThinkAHEAD AWARDS 2008 #Z 4BSBI #FTXJDL

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THIS PAGE > Work by Barbara Cilliers, a fourth-year student from the University of Pretoria, who was the recipient of the Gold Award for Best Portfolio. >Visual exploration of type.


122 > EDUCATION

THIS PAGE > Work by Barbara Cilliers, a fourth-year student from the University of Pretoria, who was the recipient of the Gold Award for Best Portfolio. > Environmentally friendly packaging.


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THIS PAGE > Work by Barbara Cilliers, a fourth-year student from the University of Pretoria, who was the recipient of the Gold Award for Best Portfolio. > Currency design.


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126 > EDUCATION

To talk about branding and education in the same breath can be very dangerous. Ideally you would like your prospective client, the student, to have done their homework and become part of the family of an institution through a process of questioning and trust. Trust in the quality and value they feel in registering to further their education. This kind of trust is not built on aggressive marketing, branding and salesmanship which can be very misleading and end with a useless piece of paper and the sponsor being over a hundred thousand Rand poorer. It would also be true to say this kind of misleading gamesmanship does not only apply to education, but to any service or sales business in any field.

GENUINE VALUE – A Responsibility for Design Education Establishments #Z %FT -BVCTDIFS

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MAKING THE DIFFERENCE THE WOOLWORTHS WAY Design education for a more creative and productive society

All competitive businesses require creative thinkers. This is the Woolworths philosophy that gave birth to the Woolworths ‘Making the Difference through Design’ programme.

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132 > PRODUCTION DESIGN


Few designers can claim fame for being a ‘master of gloom’. Production designer, Johan Engels is one of those few and his work often drives theatre critics to lyrical frenzy when they write about his stage and costume designs.

ABOVE > Johan Engels PREVIOUS PAGE >

Francesca di Rimini, 2004 Director > David Pountney and Christopher Alden Set Designer > Johan Engels Opera North, Leeds

THE BRILLIANCE OF Johan Engels #Z +BDRVFT -BOHF

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134 > PRODUCTION DESIGN

LEFT > Beethoven Ballet , 2000 Choreography > Renato Zanella Set and Costume Designer > Johan Engels Wiener Staatsoper Ballet RIGHT > A誰da , 2001 Director > Graham Vick Costume Designer > Johan Engels Opera Cagliari, Sardinia



136 > PRODUCTION DESIGN

OPPOSITE PAGE > Djamileh , 2004 Director > David Pountney and Christopher Alden Set Designer > Johan Engels Opera North, Leeds

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138 > PRODUCTION DESIGN THIS PAGE AND OPPOSITE > Don Carlos , 2007 Director > John Caird Set Designer > Johan Engels Canadian Opera Company, Toronto



140 > PRODUCTION DESIGN

OPPOSITE PAGE > Die Fledermaus , 2004 Director > Janice Honeyman Set and Costume Designer > Johan Engels Cape Opera, Artscape, South Africa

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THIS PAGE AND OPPOSITE > Khovanshchina , 2007. Director > David Pountney Set Designer > Johan Engels Welsh National Opera, Cardiff


PRODUCTION DESIGN > 143


THIS PAGE AND OPPOSITE > Maskerade , 2005 Director > David Pountney Set Designer > Johan Engels Bregenzer Festspiele, Austria


PRODUCTION DESIGN > 145


146 > PRODUCTION DESIGN

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All imaged published with the permission of Johan Engels.


THIS PAGE > Spartacus , 2002 Choreography > Renato Zanella Set and Costume Designer > Johan Engels Wiener Staatsoper Ballet


150 > DIGITAL

THE BOARDROOM GOES DIGITAL #Z "OESF EV 5PJU

When it comes to more subtle forms of corporate branding, the boardroom can play a pivotal role in conveying the ethos of an organisation.

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152 > DESIGN : THE BIG PICTURE

In the FutureBrand travel and tourism Country Brand Index, South Africa ranked in the top 10 for both ‘Authenticity’ and ‘Value for Money’. This indicates that South Africa is a country brand that shows great promise and strikes a chord with a wide variety of travellers.

RANKING COUNTRY BRANDS

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154 > DESIGN : THE BIG PICTURE

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The 2008 Country Brand Index reports a number of emerging trends in travel and tourism that include: Changing landscape 8JUIJO UIF JOEVTUSZ UIFSF IBT CFFO B TJHOJ¾DBOU TIJGU JO UIF DPVOUSJFT UIBU BSF FYQFSJFODJOH SFBM UPVSJTN HSPXUI 5SBEJUJPOBM UPVSJTN ´IPUTQPUTµ BSF CFJOH PWFSTIBEPXFE CZ SJTJOH TUBS EFTUJOBUJPOT *O UFSNT PG SFHJPOBM QFSGPSNBODF "GSJDB "TJB 1BDJ¾D BOE UIF .JEEMF &BTU BSF FYQFSJFODJOH IJHIFS HSPXUI SBUFT UIBO UIF BWFSBHF XPSME EFNBOE $IJFG BNPOH UIF DIBOHJOH MBOETDBQF DJUJ[FOT BSF

CFDPNJOH NPSF PVUTQPLFO BCPVU UIF CSBOET UIFJS DPVOUSJFT BSF BMJHOJOH XJUI UP QSPQFM UPVSJTN GSPN CSBOEJOH FGGPSUT UP MPHPT UP LFZ NFTTBHJOH 5IF EFTJSF PG NBOZ USBWFMMFST UP TFFL BVUIFOUJD WBDBUJPO FYQFSJFODFT IBT MFE UP B SJTF JO QPWFSUZ USBWFM WJTJUJOH QPWFSUZ TUSJDLFO BOE PS QPMMVUFE QMBDFT BOE DPNNVOJUJFT UIBU TIPXDBTF B SFBMJUZ PUIFSXJTF VOTFFO PO BO VQNBSLFU FYQFEJUJPO

Specialised travel on the rise 3BQJE HSPXUI JO GPSNFSMZ OJDIF USBWFM BOE UPVSJTN RELIGIOUS TOURISM - 3FMJHJPVT QJMHSJNBHFT BSF NBSLFUT DPOUJOVFT UP CF B USFOE XJUIJO UIF JOEVTUSZ BHBJO CFDPNJOH JODSFBTJOHMZ QPQVMBS BNPOH JODMVEJOH USBWFMMFST 'PS JOTUBODF UIF 7BUJDBO MBVODIFE UIF XPSMEµT ¾STU BJSMJOF GPS $BUIPMJD QJMHSJNT 4QFDJBMJTFE RISE OF WOMEN - 8PNFO BSF USBWFMMJOH NPSF G SF R V F O U M Z X J U I P V U N F O B O E X P N F O P O M Z SFMJHJPVT UPVST BSF DBUFSJOH UP PSUIPEPY CFMJFWFST UPVST BOE SFUSFBUT BSF CFDPNJOH JODSFBTJOHMZ LUXURY FLYING UPGRADES - 3FTQPOEJOH UP OFFE QPQVMBS 8PNFO DPNQSJTF PWFS IBMG PG BEWFOUVSF NBOZ BJSMJOFT IBWF EFWFMPQFE HSFBUFS ¿JHIU PQUJPOT USBWFMMFST XPSMEXJEF BOE TFSWJDF DMBTTFT UP DBUFS UP UIF MVDSBUJWF MVYVSZ GRANDCHILD ON BOARD - "GGMVFOU SFUJSFFT JO UIF USBWFM NBSLFU 5IFTF JODMVEF 'JSTU BOE #VTJOFTT 6 4 $BOBEB BOE +BQBO BSF USBWFMMJOH NPSF BOE $MBTT POMZ BJSQPSU UFSNJOBMT BT XFMM BT OFX NPSF )BMG PG WBDBUJPOJOH CBCZ CPPNFST BSF OPX BOE JNQSPWFE VQQFS DMBTT TFDUJPOT JO BJSQMBOFT USBWFMMJOH XJUI UIFJS HSBOEDIJMESFO JOEJDBUJOH B OFX JOUSPEVDFE CZ MFBEJOH DBSSJFST TVDI BT 4JOHBQPSF TFHNFOU PG NVMUJ HFOFSBUJPOBM USBWFM "JSMJOFT BOE &NJSBUFT "JSMJOFT "EEJUJPOBMMZ UIFSF FINITE TRAVEL - 5IFSF JT B SJTF JO QFPQMF WJTJUJOH BSF B WBSJFUZ PG OFX BMUFSOBUJWFT UP DPOWFOUJPOBM BJS QMBDFT UP TFF TQFDJFT BOE FDP TZTUFNT UIBU BSF USBWFM UIBU QSPWJEF HSFBUFS ¿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


156 > DESIGN : THE BIG PICTURE

South Africa’s performance 5IF $#* SBOLFE 4PVUI "GSJDB JO UIF UI PWFSBMM QPTJUJPO JO DPVOUSZ CSBOE SBOLJOH ° TVSFMZ B EJTBQQPJOUJOH QFSGPSNBODF JO UIF NJOET PG NPTU 4PVUI "GSJDBOT BOE EF¾OJUFMZ GPS UIF *OUFSOBUJPOBM .BSLFUJOH $PVODJM *.$ XIP JT SFTQPOTJCMF GPS NBOBHJOH UIF DPVOUSZµT CSBOE QSFTFODF )PXFWFS 3JOB 1MBQMFS UIF MFBE BVUIPS PG UIF TUVEZ DPNNFOUFE UIBU ²4PVUI "GSJDB SBOLFE JO UIF UPQ GPS CPUI ´"VUIFOUJDJUZµ BOE ´7BMVF GPS .POFZµ *U JT B DPVOUSZ CSBOE UIBU TIPXT HSFBU QSPNJTF BOE TUSJLFT B DIPSE XJUI B WBSJFUZ PG USBWFMMFST ³

BOE PUIFS PSHBOJTBUJPOT UIBU IFMQ HPWFSO BOE SFHVMBUF FTUBCMJTIFE DPVOUSZ CSBOET 5IFTF HSPVQT PGUFO BDU BT DVTUPEJBOT PG UIF CSBOE TFSWF UP ESJWF JOWFTUNFOU BOE JOUFHSBUF NBSLFUJOH FGGPSUT 5IFZ BMTP EFNPOTUSBUF UIF OFFE GPS DPVOUSZ CSBOEJOH UP CF BO POHPJOH FGGPSU BOE OPU B MJNJUFE TDPQF QSPHSBNNF UIBU TUPQT PODF B CSBOEJOH FYFSDJTF JT DPNQMFUF ³ *O UIJT DPOUFYU UIF *OUFSOBUJPOBM .BSLFUJOH $PVODJM 4" JT GFBUVSFE BT POF PG UISFF DBTF TUVEJFT BT BO JOUFSOBUJPOBM CFODINBSL

5IF $#* SFQPSU BMTP IJHIMJHIUFE 4PVUI "GSJDB BT B SFDFOU QIFOPNFOPO PG µBEWFOUVSF USBWFMµ PS ´EBSL UPVSJTNµ XIJDI ²SFGFST UP UIF QSPQFOTJUZ PG USBWFMFST UP DIPPTF EFTUJOBUJPOT XJUI B LOPXO EBOHFS PS UISJMM GBDUPS "GUFS UIF UFSSPSJTU BUUBDLT JO /FX :PSL UIF DJUZ CFDBNF UIF MFBEJOH EFTUJOBUJPO GPS #SJUPOT UP WJTJU 4JNJMBSMZ JO CPUI #BMJ BOE 4SJ -BOLB ± QPTU CPNCJOHT BOE QPTU UTVOBNJ SFTQFDUJWFMZ ± TBX JODSFBTFT JO UPVSJTN CPPLJOHT BGUFS BO JOJUJBM ESPQ " DPNCJOBUJPO PG NPUJWFT JODMVEJOH SFWFSFODF WPZFVSJTN B EFTJSF GPS TPNFUIJOH PVU PG UIF PSEJOBSZ BOE UIF UISJMM PG DPNJOH GBDF UP GBDF 'VSUIFSNPSF UIF $#* TUBUFT UIBU ²" HSPXJOH USFOE XJUI EFBUI TFFN UP JODSFBTF UIF UPVSJTUTµ EFTJSFT JOEJDBUJOH UIF JNQPSUBODF PG OBUJPO CSBOEJOH JT UP WJTJU DPVOUSJFT XFMM LOPXO GPS UIFJS MBDL PG TBGFUZ UIF DSFBUJPO PG ´0GGJDF PG #SBOEµ #SBOE $PVODJMT BOE TFDVSJUZ³ 4PNF SFTVMUT JO 4PVUI "GSJDBµT GBWPVS GFBUVSFE JO UIF $#* SFQPSU BSF UIBU ²*O UIFJS RVFTU GPS BO BVUIFOUJD FYQFSJFODF USBWFMMFST IBWF SFDFOUMZ CFFO TFFLJOH PVU EFTUJOBUJPOT TVDI BT 4PXFUP 4PVUI "GSJDB .VNCBJ *OEJB BOE 3JP EF +BOFJSP #SB[JM GPS FYQFSJFODFT UIBU FYQPTF UIFN UP QPWFSUZ TUSJDLFO DPNNVOJUJFT PS QPMMVUFE BSFBT ´1PPSJTUTµ GJOE FYQFSJFODFT UIBU OPU POMZ BQQFBM UP UIFJS FNQBUIZ GPS UIF EJTBEWBOUBHFE CVU HJWF UIFN FYQPTVSF UP B SFBMJUZ UIBU JT OPU BWBJMBCMF JO VQTDBMF USJQT UP FYPUJD EFTUJOBUJPOT ³


"DDPSEJOH UP UIF TUVEZ ²BO JOUFSFTUJOH QIFOPNFOPO JT DPVOUSJFT XIFSF UIF EFTJSF UP WJTJU JT IJHI BOE FYDFFET UIF QFSDFQUJPO PG TBGFUZ CZ B TJHOJ¾DBOU EFHSFF ± CZ B GBDUPS PG PS NPSF 5IF MJTUFE EFTUJOBUJPOT SFQSFTFOU B TIJGU JO UIF DPMMFDUJWF USBWFM FUIPT BT TBGFUZ VTFE UP CF BO BCTPMVUF QSFSFRVJTJUF GPS UIF NBKPSJUZ PG USBWFMFST 4BGFUZ TUJMM SBOLT BT POF PG UIF NPTU JNQPSUBOU ESJWFST PG UIF EFTJSF UP WJTJU B DPVOUSZ IPXFWFS GPS UIFTF DPVOUSJFT PUIFS GBDUPST DMFBSMZ PVUXFJHI TBGFUZ 8IJMF JO SFBMJUZ UIF SJTL PG FYQMPSJOH UIFTF DPVOUSJFT NBZ CF NJOJNBM UIFZ BSF TUJMM QFSDFJWFE BT CFJOH VOTBGF 8IBUµT NPSF USBWFM UP UIFTF DPVOUSJFT JT HSPXJOH BU NPSF UIBO EPVCMF UIF SBUF GPS EFTUJOBUJPOT XIFSF UIF QFSDFQUJPO PG TBGFUZ FYDFFET UIF EFTJSF UP WJTJU CZ NPSF UIBO ³ 5IF DPVOUSJFT BSF *TSBFM ,FOZB 3VTTJB &HZQU 4PVUI "GSJDB

Study methodology 'VUVSF#SBOE IBT EFWFMPQFE B UISFF UJFSFE FWBMVBUJPO TZTUFN GPS SBOLJOH DPVOUSZ CSBOET 5IJT *OEFY JODPSQPSBUFT HMPCBM RVBOUJUBUJWF SFTFBSDI FYQFSU PQJOJPOT BOE SFGFSFODFT SFMFWBOU TUBUJTUJDT UIBU MJOL CSBOE FRVJUZ UP BTTFUT HSPXUI BOE FYQBOTJPO 5IF SFTVMU JT B VOJRVF FWBMVBUJPO TZTUFN UIBU QSPWJEFT UIF CBTJT PG PVS SBOLJOHT

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158 > INDUSTRY NEWS

IDA WORLD DESIGN SURVEY – SOUTH AFRICAN FINDINGS

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The IDA (International Design Alliance) World Design Survey pilot project can be said to be the most significant and extensive research study ever undertaken on the South African design sector.


160 > INDUSTRY NEWS

IThe scope of the project

IDA World Design Survey Pilot Project – South African findings 5IF *%" 8PSME %FTJHO 4VSWFZ BJNT UP NBQ UIF HFOFSJD EFTJHO TFDUPS JO UXFMWF DPVOUSJFT PS FDPOPNJD EFWFMPQNFOU DPNNVOJUJFT ° BT B QJMPU QSPKFDU ° UP EFUFSNJOF UIF DPOUSJCVUJPO PG UIF EFTJHO FDPOPNZ BOE UIF MFWFM PG TUSBUFHJD FOHBHFNFOU PG EFTJHO BT B TPDJP FDPOPNJD BOE DVMUVSBM EFWFMPQNFOUBM JNQFSBUJWF BU HPWFSONFOU MFWFM 5IF *%" 8PSME %FTJHO 4VSWFZ QJMPU QSPKFDU UIVT BJNT UP DSFBUF B DMFBSFS VOEFSTUBOEJOH PG UIF HMPCBM EFTJHO TFDUPS

The scope of the South African Design Survey was to map the characteristics of the South African design sector. Within the scope of the project, the following four questions were addressed: > What are the structure/systems that define the design economy in South Africa and what changes could lead to the recognition and promotion of design’s contribution to the overall economy in the long run?;

> Who are the participants in the design economy, what are their numbers and what is needed by particular populations, to 'JWF PG 4PVUI "GSJDBµT NPTU QSPNJOFOU PSHBOJTBUJPOT support their successful participation in the FOHBHFE JO EFTJHO QSPNPUJPO BOE QSPGFTTJPO long term?; NBOBHFNFOU GPSNFE B QBSUOFSTIJQ BOE TVCNJUUFE B DPNNPO &YQSFTTJPO PG *OUFSFTU BT B SFTFBSDI > QBSUOFS PO CFIBMG PG 4PVUI "GSJDB 5IJT QBSUOFSTIJQ XBT TVCTFRVFOUMZ FMFDUFE UP QBSUJDJQBUF JO UIF *%" 8PSME %FTJHO 4VSWFZ QJMPU QSPKFDU

How can approaches to governance, as well as particular programmes, services and initiatives strategically contribute to the enduring growth of capacity within the design community to foster and promote design’s contributions in the long term, and what are viewed as impediments/stumbling blocks/constraints?; and

5IF 4VSWFZ 3FQPSU TFSWFT BT BO PVUMJOF GPS UIF FOTVJOH SFTFBSDI DPOEVDUFE BT UIF 4PVUI "GSJDBO QBSUOFSTIJQ TUJQVMBUFE JO JUT &YQSFTTJPO PG *OUFSFTU UIBU ²UIF BDUVBM SFTFBSDI TFSWJDF XPVME CF PVUTPVSDFE UP BO FYUFSOBM DPOUSBDUPS XIJMF UIF 4"#4 %FTJHO *OTUJUVUF XJMM NBJOUBJO UIF > How does design contribute to QSPKFDU PWFSTJHIU JO DPMMBCPSBUJPO XJUI JUT QSPKFDU socio-cultural development? QBSUOFST ° %&'4" *EFB4" *%% UIJOL BOE PUIFS DPOTVMUBUJWF TUBLFIPMEFST³ The overall objectives of the study have

been to develop an understanding of:

>

> the national design economy; ACCESS THE FULL REPORT HERE DESIGN WEBSITE

> design’s strengths and contributions to the national economy; and


> design’s socio-cultural contribution to development

The research methodology to effectively address the aim and objectives of the study was a two-tiered approach. This covered:

)PXFWFS GPS QVSQPTFT PG UIJT TUVEZ UIF EFTJHO TFDUPS IBT CFFO EF¾OFE BT ²"OZ QFSTPO BOE PS PSHBOJTBUJPO GVODUJPOJOH XJUIJO UIF EJTDJQMJOFT PG DPNNVOJDBUJPO EFTJHO FYDMVEJOH BEWFSUJTJOH NPUJPO HSBQIJDT BOJNBUJPO BOE OFX NFEJB EFTJHO JOEVTUSJBM EFTJHO JODMVEJOH HMBTT BOE DFSBNJDT JOUFSJPS EFTJHO BOE NVMUJEJTDJQMJOBSZ EFTJHO ³

> exploratory research; > descriptive research; > in-depth interviews; > telephonic interviews; and

The challenges encountered during the research included: > The lack of availability of respondents due to work pressure; > the availability of secondary data; > a general lack of a clear understanding of and knowledge about the design sector amongst all its stakeholders; and > a lack of structure and organisation within the sector – no single definition or classification system exists. %FTJHO TUSBEEMFT OVNFSPVT TFDUPST PG UIF FDPOPNZ BOE HFOFSBUJOH POF TJOHMF EF¾OJUJPO XPVME OPU CF QPTTJCMF XJUIPVU B TUSJOHFOU DPOTVMUBUJWF QSPDFTT JODMVEJOH HPWFSONFOU BOE QSJWBUF TFDUPS TUBLFIPMEFST "OPUIFS QPJOU PG DPODFSO JT UIBU UIF QSJWBUF TFDUPS HFOFSBMMZ VTFT UIF UFSN EFTJHO XIFSFBT UIF QVCMJD TFDUPS SFGFST UP JOOPWBUJPO JO BMM PG¾DJBM DPNNVOJDBUJPO BOE QSPHSBNNFT 5IJT JOEJDBUFT B DPOGVTJPO SFHBSEJOH UIF VTF PG UIF UFSNT ´JOOPWBUJPOµ BOE ´EFTJHOµ 5IJT GVSUIFS DPNQMJDBUFT HFOFSBUJOH EBUB BOE PS JOUFMMJHFODF BCPVU HPWFSONFOUµT JOWPMWFNFOU JO BOE GPDVT PO EFTJHO JO QBSUJDVMBS

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162 > INDUSTRY NEWS

THE STATE OF SA DESIGN #Z (MFOEB 7FOO ° $IBJSQFSTPO PG 5IJOL

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Ultimately, as in all business, we are responsible for the value perception we create of our industry.

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164 > INDUSTRY NEWS

FIGURE 3 > Design challenges in South Africa

The Sappi State of Design Research 2008 – Key findings

FIGURE 8 > Business performance and design: % Great/ moderate influence (On Rated)

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FIGURE 13 > Measurement of return on design investment

FIGURE 30 > Design industry’s suitability to communicate design value to other stakeholders

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166 > INDUSTRY NEWS

A recent study conducted among German branded goods manufacturers shows that CEOs assign an average of 67 % of their companies’ value to their brands.

BRANDS – THEIR WEIGHT IN GOLD $ISJTUPQIFS 4DIPM[ $IBJS BOE )PMHFS . IMCBVFS 4FDSFUBSZ *40 1$ #SBOE WBMVBUJPO

*

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Invitation to participate

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This article first appeared in ISO Focus magazine and was republished with permission.

>

VISIT THE ISO WEBSITE www.iso.org/isofocus

> ABOUT THE AUTHORS: Christopher Scholz is Chair of ISO/PC 231, Brand valuation and to the German mirror committee at DIN. He is Deputy Director General of the German Brands Association MARKENVERBAND, where he is responsible for all legal, industry-trade and brand valuation issues. Christopher Scholz has a legal background and is accredited to the German bar as attorney-at-law. Dr. Holger Mühlbauer has specialised in service standardisation since 1996 and is involved in a number of ISO and CEN projects related to services. He is Secretary and/or project editor of several service related ISO committees. Dr. Mühlbauer’s professional background is in law.


168 > INTERNATIONAL NEWS

The international conference ‘Shaping the Global Design Agenda’, the last major event organised by the Organising Committee of Torino World Design Capital, aimed to offer a significant contribution to the understanding of design as an essential component in national strategies, to stimulate the development of sustainable economic and cultural growth.

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170 > INTERNATIONAL NEWS

> Michael Thomson, president of The Bureau of European Design Associations (BEDA). Photo > courtesy of www.torinoworlddesigncapital.it

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> Conference Speakers (top L-R): Andrea Bairati, Song Weizu, Ibrahim Al Jaidah, Peter Drรถll (bottom L-R): David Kester, Fumio Hasegawa, Giorgiana Penรฒn Orlich, Yrjรถ Sotamaa.

> Icsid President, Carlos Hinrichsen handing over the WDC ceremonial plaque to the Deputy Mayor of Seoul, Kwon Young-Gull. Photo > courtesy www.torinoworlddesigncapital.it

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The bid process for the WDC 2012 designation was officially launched on the first day of the conference. Interested cities are encouraged to obtain more information and download the application form from the official World Design Capital website > www.worlddesigncapital.com


172 > INTERNATIONAL NEWS

NODES, CONNECTIONS AND CURRENTS IN CONTEMPORARY COMMUNICATION DESIGN #Z #SFOEB 4BOEFSTPO

Multiverso: Icograda Design Week Torino 13-19 October 2008

5

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Branding of Multiverso: Icograda Design Week Torino designed by Lucia Roscini from Zup.


174 > INTERNATIONAL NEWS

Branding of Multiverso > Icograda Design Week Torino designed by Lucia Roscini from Zup.

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> Exhibition visitors. Photo > © Raffaele Mariotti, www.raffaz.net

> Exhibition visitors. Photo > © Raffaele Mariotti, www.raffaz.net

> Panel discussion. Photo > © Raffaele Mariotti, www.raffaz.net

> Carlo Ratti is an Italian architect and engineer who practices in Turin, Italy and teaches at the Massachusetts Institute of Technology (MIT), USA. Photo > © Raffaele Mariotti, www.raffaz.net

> Mario Piazza during panel discussion. Photo > © Raffaele Mariotti, www.raffaz.net


176 > INTERNATIONAL NEWS

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> Student workshop leaders Thomas Castro, Jeroen Barendse and Dimitri Nieuwenhuizen from Lust. Lust is a graphic practice that maps new terrains for graphic design, for software, and for new audiences. Photo > Michal Steckiw.

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> Cristina Chiappini, Event curator and Scientific coordinator, AIAP Vice-President, and Silvia Sfligiotti, Scientific coordinator. Photo > Giò Fuga

> Icograda President Don Ryun Chang. Photo > Š Raffaele Mariotti, www.raffaz.net

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> AIAP President, Beppe Chia. Photo > Š Raffaele Mariotti, www.raffaz.net

> Panel discussion. Photo > Š Raffaele Mariotti, www.raffaz.net


178 > INTERNATIONAL NEWS

> Politecnico di Torino, the venue of the Multiverso: Icograda Design Week Torino. Photo > Michal Steckiw.

Between the lines

Where from here?

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> Students presenting their workshop results. Photo > © Raffaele Mariotti, www.raffaz.net

> Pierre Di Sciullo from France. Photo > © Raffaele Mariotti, www.raffaz.net

> Mateus Santos, Founder and Creative Director of Brazilian-based design and animation studio Lobo. Photo > © Raffaele Mariotti, www.raffaz.net

> Saki Mafundikwa, graphic designer, typographer and design educator from Zimbabwe. Photo > © Raffaele Mariotti, www.raffaz.net

Design thinking can create unpredictable results. Global engagement can create unpredictable design. With these two paths in front of us, their intersection holds promise that together we might discover a different way forward.


180 > INTERNATIONAL NEWS

ON DESIGNISM #Z 3BOEZ + )VOU

This October, the Art Directors Club (ADC) hosted the third edition of “Designism”, an event exploring the role of creatives in social activism and responsibility to instigate change. Randy J. Hunt writes his review of the event’s proceedings for DESIGN 21 Social Design Network. %FTJHOJTN XBT UIF UIJSE JOTUBMMNFOU PG UIF BOOVBM FWFOU IPTUFE CZ UIF "SU %JSFDUPST $MVC JO /FX :PSL $JUZ PO 0DUPCFS 5IF FWFOU TFSJFT XBT DPODFJWFE CZ #SJBO $PMMJOT UIF CSBOE CVJMEJOH NBTUFSNJOE GPSNFSMZ PG 0HJMWZ #*( BOE OPX $0--*/4 BT B GPSVN UP IJHIMJHIU BOE BEESFTT EFTJHO GPS TPDJBM BDUJPO *UµT XPSUI OPUJOH UIBU $PMMJOT XBT UIF BSDIJUFDU CFIJOE UIF 8F $BO 4PMWF *U CSBOE GPS "M (PSFµT "MMJBODF GPS $MJNBUF 1SPUFDUJPO

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182 > INTERNATIONAL NEWS

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About DESIGN 21 %&4*(/ 4PDJBM %FTJHO /FUXPSLµT NJTTJPO JT UP JOTQJSF TPDJBM DPOTDJPVTOFTT UISPVHI EFTJHO *U DPOOFDUT QFPQMF XIP XBOU UP FYQMPSF XBZT UIBU EFTJHO DBO QPTJUJWFMZ JNQBDU PVS DPNNVOJUJFT XBZT UIBU BSF UIPVHIUGVM JOGPSNFE DSFBUJWF BOE SFTQPOTJCMF

Photo > Luke Wolagiewicz

About the author

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MORE ABOUT DESIGN 21 www.design21sdn.com

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About the Art Directors Club 'PVOEFE JO /FX :PSL JO UIF "%$ JT B TFMG GVOEJOH OPU GPS QSP¾U NFNCFSTIJQ PSHBOJTBUJPO XIPTF NJTTJPO JT UP DPOOFDU QSPWPLF BOE FMFWBUF DSFBUJWF WJTVBM DPNNVOJDBUJPOT QSPGFTTJPOBMT BSPVOE UIF XPSME

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ABOUT THE ART DIRECTORS CLUB www.adcglobal.org


184 > INTERNATIONAL NEWS

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The aim of the World Design Capital project is to promote and encourage the use of design to further the social, economic and cultural development of the world’s cities. In this spirit, the designation honours those cities that use design to revitalise and reinvent their urban environment. The World Design Capital is a biennial designation awarded to cities to showcase their design merits with national and international audiences.

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186 > BOOK REVIEW

DECODING DESIGN: Understanding and using symbols in visual communication "VUIPS .BHHJF .BDOBC 1VCMJTIFE CZ )08 #PPLT 3FWJFXFE CZ 3PCFSU - 1FUFST

“Our culture has lost touch with the archetypal principles that underlie simple numbers and shapes, principles that lie deep within the unconscious and have a psychological and spiritual impact on us.â€? A longtime designer and teacher immersed in symbolism and visual literacy, she delivers the leitmotif with fervent zeal: “As designers, it is our responsibility to create conscious and lucid communications. We can’t afford to contribute to information junk‌â€? - Maggie Macnab 5IJT FOHBHJOH EFTJHO UIFPSZ CPPL GVMžMMT JUT TUBUFE QVSQPTF UP ²DPOOFDU VT CBDL JOUP UIF MBOHVBHF PG OBUVSF UP SFWJWF PVS VOEFSTUBOEJOH PG TPVSDF BOE UP DSFBUF DPNNVOJDBUJPOT UIBU ÂżPX VOPCTUSVDUFE CZ BO JOUFMMJHFODF UIBU IBT MPTU JUT XBZ JO UIF XPSME Âł " RVPUF BUUSJCVUFE UP (BMJMFP (BMJMFJ TVNT UIF BVUIPSÂľT JOUFOUJPOT JO ²EFNZTUJGZJOH BOE EFDPEJOHÂł WJTVBM MBOHVBHF¹²:PV DBOOPU VOEFSTUBOE UIF VOJWFSTF XJUIPVU MFBSOJOH žSTU UP VOEFSTUBOE UIF MBOHVBHF JO XIJDI JU JT XSJUUFOŠ³ XJUIPVU XIJDI ²XF XBOEFS JO B EBSL MBCZSJOUI Âł

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About the reviewer > Robert L. Peters is a graphic designer and the founding principal of the awardwinning design consultancy Circle, based in Winnipeg, Canada. He is a former president of the International Council of Graphic Design Associations (Icograda, 2001-2003), a foreign feature correspondent for Communication Arts magazine, author of the book Worldwide Identity (published by Rockport), a Fellow of the Society of Graphic Designers of Canada (GDC), and an Honorary Member of the Brno Biennale Association.

Republished with permission by Communication Arts Š2008 Coyne & Blanchard, Inc. All rights reserved. This book review first appeared in July 2008 Illustration Annual .

> > >

FOR MORE INFORMATION VISIT www.robertlpeters.com

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188 > BOOK REVIEW

INTRIGUE: the graphic designer’s code 8SJUUFO BOE EFTJHOFE CZ +BO &SBTNVT BOE FEJUFE CZ $BSM -BNQSFDIU 1VCMJTIFE CZ $ZCFSHSBQIJDT 3FWJFXFE CZ +BDRVFT -BOHF

Books published on South African communication design are rare to find. Sporadically, awards annuals or company showcases see the light, but few books exist that delve into the thinking and creative processes – with substantial depth of discourse – on local communication design and designers. Intrigue: the graphic designer’s code is one of those rarities that present the career accomplishments, philosophies and work of a highly regarded South African designer - Jan Erasmus.


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190 > BOOK REVIEW

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B DP FRVBM DPMMBCPSBUJPO 0UIFS NPSF PCUSVTJWF TVCUFYUT EFBM XJUI &SBTNVTµ NVMUJEJTDJQMJOBSZ BQQSPBDI PG QSBDUJDF XIFSF IJT NVMUJQMF SPMFT BT QIPUPHSBQIFS JMMVTUSBUPS UZQPHSBQIFS JOGPSNBUJPO EFTJHOFS BOE NVMUJNFEJB EFTJHOFS FOHBHF JO NVMUJMBZFSFE DPOWFSTBUJPOT 5IFTF IJHIMJHIU IJT EJWFSTF QSPGFTTJPOBM JOUFSFTUT BOE UBMFOUT BOE DSPTT SFGFSFODF PWFS NVMUJQMF DIBQUFST BOE EFTJHO EJTDJQMJOFT "T UIF CPPL VOGPMET UIF SFBEFS EJTDPWFST UIBU &SBTNVT JT B DPNQMFY UIJOLFS XIP TFFLT DSFBUJWF BOE JOUFMMFDUVBM JOTQJSBUJPO JO UIF EPNBJOT PG QPQVMBS DVMUVSF B MFTTFS JOUFSFTU BOE UFDIOPMPHZ B QSJNBSZ DVSJPTJUZ TVQQPSUFE CZ BO JOUFSFTU JO TDJFODF ° IF HSBQQMFT XJUI QIJMPTPQIZ QTZDIPMPHZ TPDJPMPHZ NBUIFNBUJDT BOE QIZTJDT BNPOH PUIFST

*OUSJHVF UIF HSBQIJD EFTJHOFSµT DPEF EPDVNFOUT UIF ZFBSOJOH PG BO JOEJWJEVBM UP TIBSF IJT JOUFMMFDUVBM FOHBHFNFOU XJUI UIF EFTJHO QSPGFTTJPO BOE JUT NVMUJQMF EJNFOTJPOT XJUI PUIFST TQFDJ¾DBMMZ ZPVOH EFTJHOFST 5IJT JOJUJBUJWF OFFET UP CF FNCSBDFE CZ UIF 4PVUI "GSJDBO EFTJHO DPNNVOJUZ XIP TIPVME JEFOUJGZ BOE FODPVSBHF JUT EFTJHO IFSPFT UP SFDPSE UIFJS IJTUPSJFT BOE UIFPSZ *OUSJHVF QSFTFOUT B QPXFSGVM XBZ GPS VT UP DFMFCSBUF MPDBM EFTJHO IJTUPSZ GBDJMJUBUF SFTFBSDI BOE GPTUFS EJTDPVSTF JO BO JOUFHSBUFE NBOOFS < This review first appeared in Image & Text and is republished with permission. Image & Text is an accredited academic journal published by the University of Pretoria.




194 > DESIGN IN LIVING

KEEPING IT SIMPLE - Hemphill #Z #FW )FSNBOTPO

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Whether it’s the system of keeping things simple and uncluttered or the systematic team effort that wins a yacht race, James Hemphill’s lifestyle will always honour the systems.


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“There must be an aesthetic appeal to the home,” says Hemphill. “But simplicity is equally important. The simpler and less cluttered your environment is, the more you can focus on the important things.” "GUFS ZFBST IBWJOH POMZ XPSLFE GPS UIJT DPNQBOZ JO JUT EJGGFSFOU HVJTFT )FNQIJMM IBT CFFO BCMF UP HSPX XJUI JUT FWPMVUJPO *O UIF QSPDFTT IF IBT IBE UP EFWJTF BMM UIF TZTUFNT IJNTFMG ²3FMJBCJMJUZ DPOTJTUFODZ BOE TFSWJDF BSF WJUBMMZ JNQPSUBOU JO B DSFBUJWF CVTJOFTT 5IF TZTUFNT IBWF UP CF USBOTQBSFOU FOPVHI UP FOBCMF VT UP EFMJWFS UIBU ³ IF FMBCPSBUFT 5IFO PODF UIF XPSL JT PWFS GPS UIF XFFL JUµT EPXO UP UIF 7BBM %BN XIFSF )FNQIJMM JT $PNNPEPSF PG UIF "FPMJBOT :BDIU $MVC "MPOH XJUI DZDMJOH DPMMFDUJOH TDVMQUVSFT BSUXPSLT BOE TJMWFS IJQ ¿BTLT TBJMJOH JT POF PG IJT QBTTJPOT )BWJOH UIF MVYVSZ UP HFU BXBZ GSPN UIF DJUZ CV[[ PVU PO UP UIF XBUFS UP CMPX BXBZ UIF DPCXFCT BOE QVU UPHFUIFS B UFBN BOE B TZTUFN UIBU XJMM XJO UIF SBDF ° UIBUµT UIF VMUJNBUF TBUJTGBDUJPO <