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DESIGNTIMES south africa’s creative resource

/08 ILLUS.


Kris Hewitt, better known as Kronk was born in Harare, Zimbabwe, but moved to South Africa at an early age to begin his career as an illustrator.


Tim Flach

This award-winning photographer has spent years investigating the magical and mysterious bond we have with animals.

2012 Issue No.45 ZAR 15 EUR €2, UK £2, US $3



The Eli and Edythe Broad Art Museum, designed by Zaha Hadid Architects is located at the northern edge of the Michigan State University campus.

Loerie Award Winner

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You may have heard of King Kong, well he’s just a big monkey compared to King Kronk aka Kris Hewitt. Kronk, the South African illustrator extraordinaire responsible for our cover, spills the beans on illustration and his success with KidRobot. Philippe Starck swept us off our feet with his unique broom chair (see what we did there?). It’s not actually a broom or even made of brooms as the name might imply, in fact it’s made of dust and factory waste. While it may not go down in the dusty old history books we still thought it was pretty slick. Talking about history, we went back in time to chat to Joe Ablas, motion picture stills photographer, to discuss his work for the History Channel and the future of stills photography. Staying behind the lens we review Tim Flach’s More Than Human photo project. If cute critters are your thing be sure to looks out for his upcoming book of the same name. Finally one of our favourites, the graduate showcase, highlights some incredible emerging talent. Enjoy! Mark Rosenberg

Invisible bookend

Seeing is believing isn’t it? Maybe not. With this new piece “the invisible bookend” Paul Cocksedge asks the question: would you want to own something, when all you can see is what it does, not what it is? Invisible Bookend is a lightweight, freestanding object suitable for any desk, shelf or even floor which requires no mechanical fitting. It easily holds more than a meter and a half’s length of books, of all shapes and sizes. Paul says: “I wanted to discover if other people would enjoy as much as I do seeing books displayed without any other object to distract attention from them. This is a design which is not about appearance, only function. That’s the beauty of it.”


Mark Rosenberg Roxy Rosenberg Ryan Ali Steven Rosenberg Kerrythe Mahaffey Zachariah King


Eva Csernyanszky, Herman Manson editors illustration by Chris Valentine



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Tandym Print

Architecture for dogs Architecture for Dogs invented by pet owner architects and designers, is a very touching collection of architecture and new medium furniture, which make dogs and their best friends (us) happy. By looking at the diagrams on www.architecturefordogs. com, people all over the world can make these items themselves. Dogs are people’s partners, living right beside them everyday, but they are also animals that, through crossbreeding, people have created in a multitude of new breeds. Reexamining these close partners with fresh eyes may be a chance to reexamine both human beings themselves and our natural environment. As their first project, Architecture for Dogs present 13 pieces of architecture. The pieces are cleverly designed ingenious structures, and because it’s free to download the blueprints, if you find one you like, they invite you to make it yourself for your dog. One such example showed on their website is the Wanmock which was designed by Koichi Suzuno and Shinya Kamuro of Torafu Architects

in Japan. The Jack Russell Terrier, which was once a hunting dog, has been bred to have a more gentle nature. Looking more closely at this dog, which partners well with humans, Koichi and Shinya found its favourite place to relax was on its owner’s clothes. The smell of its owner, and the touch of fabric makes the dog feel more at ease. They then tried to think how they could create a special place for the dog. Koichi says: “we designed a piece of furniture that incorporates its owner’s clothes into the structure. Using the stretch properties of fabric, we covered a wooden frame with the clothes of its owner. The garment hangs under the dog’s body in the same way as a hammock does. Depending on the user’s DIY skills, we came up with two types of frames, either from plywood or deck material”. Wanmock is the perfect height for owners to reach out and touch their dogs easily while sitting on the sofa, bringing them closer to each other.

Migrate sweet 16

The latest edition of Migrate, the official magazine of the Loeries, is now available at Exclusive Books and CNA stores. The latest issue explores interpretations of the theme ‘Sweet’. Does success really smell sweet? Is victory like eating a mouthful of sugar, or more like a bowl of strawberries drenched in whipped cream? Pick up this issue to see the works of fifteen year old art student, Hannah Human, who has a passion for doodling on things she shouldn’t, and admire the first collection of French fashion designer Sabine Ducasee – the former paediatric haematology nurse who made a radical career change in Shanghai. Roanna Williams, creative director of Migrate, shares her thoughts about the latest Migrate issue, “The time has come to put your feet up and indulge in Migrate’s Sweet issue. It’s like opening up a box of chocolates filled with delicious treats from Mexico, Lithuania, Italy, Canada, England, United States of America, Bulgaria, Morocco, China and, of course, South Africa. Expect to be inspired by the bittersweet executions and attention to detail. It’s sweet! Bru!” You can satisfy your sweet tooth and grab a copy of Migrate for just R35 at Exclusive Books and CNA stores nationwide. Sweet!

Levity task lamp Levity task lamp from Doug Mockett & Company is the latest winning entry for the Product Innovation Awards (PIA) hosted by Architectural Products. Levity is truly in a class all by itself in the world of directed task lighting – telescoping arms with omni-directional movement and directed LED lighting with the ability to hide away flush with the table when not in use AND incorporates power outlets into the base of

the unit! Judged by a panel of architects, interior designers, lighting designers and veteran A/E/C writers, Levity had universal acclaim across the diverse board of judges. Overwhelming critical acclaim has surrounded the Levity since its debut, and now being officially recognized by the PIA is simply a testament to its influence in the design world.

iPad mini

Apple recently introduced the iPad mini, a completely new iPad design that is 23% thinner and 53% lighter than the third generation iPad. The new iPad mini features a stunning 7.9-inch display, FaceTime HD and iSight cameras, ultrafast wireless performance and an incredible 10 hours of battery life, every inch an iPad, yet in a design you can hold in one hand. iPad mini features the same number of pixels as the original iPad and iPad 2, so you can run more than 275,000 apps designed specifically for iPad.

3 million iPads

Apple sold three million iPads in just three days since the launch of its new iPad mini and fourth generation iPad, double the previous first weekend milestone of one and a half million Wi-Fi only models sold for the third generation iPad in March. This makes it a all time record for Apple. Apple is actually struggling to keep up with the high demand and has seen launch dates around the world been postponed.

Love Jozi

Love Jozi’s 15th t-shirt range follows the launch of South Africa’s newly designed banknotes. Johannesburg has always had its mind on its money and its money on its mines. Old money can be staid and heavy, new money can be tacky and bright. Old money thinks it’s better, new money doesn’t care. This solid collection of new and old Love Jozi designs looks back and ahead, celebrating the city’s love affair with money.



How much do you love design? Enough to spend three years perfecting a single project? That’s how long it took Yair Shimansky to develop My Girl™, the first South African patented diamond cut and the world’s first square diamond with a diamond-shaped table. Call it perfectionism, call it obsession, but the end result is a diamond that delivers the perfect balance of brilliance, fire and scintillation with every move you make. (Trust us, the image above does the real item hardly any justice at all.) So exacting is the cut that over 50% of the diamond’s original weight is sacrificed to achieve its perfection. And that after Mr Shimansky has sorted through thousands of carats before selecting the small handful of rare crystal-shaped rough diamonds that could hold station as a My Girl™ diamond. It’s not just diamonds that Mr Shimansky refuses to compromise on. He uses only virgin metal in the creation of his jewellery, because that’s the purest form. He is the only jeweller in South Africa to agitate his metals with a molecular vibrator while it’s molten, a process that aligns the molecules and makes the metal denser and, therefore, stronger. (Something that’s especially important when it comes to soft, highcarat gold or platinum.) Once you’ve bought your immaculately crafted piece from Shimansky, you are welcome to bring it in in at any time to have it cleaned and refreshed for free. After all, as Mr Shimansky himself will tell you, if it bears his name, it has to be perfect.





ris Hewitt, or better known as Kronk was born in Harare, Zimbabwe, but moved to South Africa at an early age. He attended Bergvliet High School in Cape Town where he annoyed all of his teachers by constantly drawing on anything in front of him. He spent much of his time at school sanding desks! After matriculating he went to Cape Peninsula University of Technology, specializing in Graphic Design and Illustration. We ask Kronk a few questions about his awesome illustration. He is also responsible for this issues cover art. Why the name Kronk? Well I have always wanted a nickname, and this is unfortunately something that is bestowed onto you by others. The first company I worked for after college, called Lunch, bestowed Kronk onto me. It came about after I spoke to them about Crumping or Krunking, which I accidently called Kronking. We used Kronking as a verb for kicking ass on projects, being the only designer naturally the name Kronk followed. It was actually also a bit of a diss the guys used to remind me of how silly I could be by mispronouncing cool or current things. I suppose it kinda stuck and it starts with a K, and everyone always misspells Kris, but never Kronk. What got you into illustration? Well, I have been drawing, scrawling and doodling on almost everything from a very young age. I was always encouraged by my folks, even when people told them I was not normal because of the things I drew. At school I loved doing art and by chance I went to a graphic design studio for a job shadow. I just liked that the guys wore jeans and tees, and never shaved. I hate shaving and love being creative, so it was a great fit. The idea of illustrating for a living only really presented itself at college, where I learned you could do art for commercial gain or clients. Describe your illustration style? I have an illustration style that is not really rooted in a specific style, but I do


focus heavily on messaging or narrative. I like to produce work that is ideas based, so I use my designer brain to formulate concepts and then tackle the style. This is why I classify myself as Graphic Artist, a person who applies graphic design logic to artistic magic. We’ve all heard the line “Form follows function� and in my case that pretty much sums up my style. To categorize it, I would say I have vector, hand-drawn, graphic, loose, geometric, pop-art, punk and street art sensibilities with an unrelenting focus on details. Have you always worked for yourself? No, I have worked at Lunch (now defunct), which specialized in really below the line, guerilla and creative advertising solutions. They pushed me to explore my own creativity and thinking, and in a lot of ways it was a weird place to work, but I began to push graphic artistry there. Thereafter I worked at Amicollective. They furthered my illustration side and because of the diverse projects, pushed me to explore many styles and mediums. Both were a great grounding, but I have always in some way done my own things after hours. I now currently work for myself, which I hope to be able to do as long as I am breathing. Tell us about your work for Kidrobot? I honestly just mailed them. In 2006, they were still a relatively small company, so I think I got in at the right time. I had just bought my first Dunny toy (the most popular vinyl toy globally) and I reckoned I had the skill and talent to do one too. So, I sent them some wooden toys I did for an exhibition and of these, they loved the Gingerman toy I did. They asked if we could put this onto a Dunny and that is pretty much where we began. Your Tree Hugger set of vinyls for Kirobot sold out in one day making R650 000, I hope you saw some of that. Was this a start to your success? Well I think the Gingerman Dunny was the real start, that sold really well and to this day is a prized piece in any collection. The Tree Huggr set (referred to above) was my second release. It features my Yeti character and in some ways I think that is why it was successful, because it was personal. Money on toys however, is not at rock star levels, but it is decent and selling out pieces never hurts. For me, I was just stoked when they told me I was getting a cut of the sales. I was happy to do it for free, because I am so passionate about it. I am driven by passion, and I think that will always translate into success if you are patient. It is always exciting to see South African talent on the international playing field. We hope it serves to encourage younger designers to get out there. Now send that email to your heroes that you want to work with, you never know what might happen.



Tobias van Schneider


obias van Schneider was originally born in Germany where he lived for about 12 years, after moving to Austria where he spent the rest of his childhood and schooling. More recently Tobias moved to Stockholm where he has been based for the last four months and is already on his way to New York were he plans to stay during 2013. You are a self-taught designer! Yeah, I’m completely self-taught and I actually never studied anything. When I dropped out of school I instantly started working at a computer/hardware company doing an apprenticeship as a computer scientist. I did this for about 2 years after I made the decision to become a Software Engineer at the same company. I was a really bad Software Engineer because I always put much more time into actually designing the interface or spending way too much time improving the usability of my software pieces. Eventually I became the first designer at this company designing their Branding Materials as well as the Software Interfaces. How did you teach yourself? I can’t really tell if it’s easy or not because I can’t compare it to the “traditional” way since I never experienced it. For me the whole learning process felt pretty natural and normal - I’m still learning everyday like most of us. I’m really thankful for having an amazing community around me, I basically grew up with the Internet hanging around in IRC Chats and Forums for Designers where I learned most of it. Do you do the coding as well? Unfortunately not anymore. I try focusing more on the design & concept part of my projects. Since I have some background in development as well, I prefer working really close with developers to achieve better results in general. I like being well informed about the tech world and especially working as an Interactive Designer I feel that this is a requirement rather than just a “nice to have”. What project stands out for you and why? From my current portfolio I would say it’s definitely Graz Secrets App and .Mail App.The reason for Graz Secrets App is because we did everything internally at les Avignons. The concept, design, CMS, content etc. I like to handle those kind of projects where you have full control over the end result and you can work with a lot of different talented people on one single project. Dotmail App is the same, it’s a side project of myself. How do you stay inspired and creative? From a top view there are two main things that inspire me and help me stay creative. Travel a lot and meet a new people. Always when I travel and meet new people, I get pushed & motivated. Doing loads of side projects. Without personal side/fun projects I could not survive. This new breed of hybrid designer/coders are leading the way in efficient successful and ever more complex projects. For a profession that didn’t exist just over a decade ago, it is sure to be an exciting space to be in and for us to watch.




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Creativity should be taught as a course

Philippe Starck’s Broom chair


n innovative creator and an environmentally pioneering manufacturer have joined efforts to work towards zero waste. A design collaboration that both avoids and eliminates waste, the Broom chair combines intelligent materiality with beautiful form. In the industrial age, most products live only in the present. They have no past and no future. Factories plunder raw materials from the earth to make products that soon end up on the trash heap. This process is still happening every day, all over the world. It is time to stop and think. ‘The elegance of the minimum comes from the intelligence of the nothing,’ says Philippe Starck. ‘Mies Van der Rohe said “Less is more”, but with the Broom chair we can say “less and more”. Because we choose to make less – less “style”, less “design”, less material, less energy – finally we have more.’ Broom introduces an entirely new chair material composite, combining reclaimed polypropylene and discarded wood fiber. Made from a compound of industry waste from lumber factories and industrial plastic plants,this material has a three-fold environmental impact. Less energy, less waste and less carbon. In most manufacturing there is waste. Ends and pieces of plastic and wood are discarded and thrown away. Imagine a new material that sweeps up this waste, combines it, and makes something strong and smart and beautiful. The result is the Broom chair. It has a past life as industrial waste and a future as a chair in your life. ‘Imagine,’ says Philippe Starck, ‘there is a humble guy who takes a humble broom and starts to clean the workshop and with this dust of nothing, with this he makes new magic. That’s why we call it Broom.’ ‘Philippe Starck and I have always agreed that it is not about recycling, but about restructuring production,’ says Emeco CEO Gregg Buchbinder. ‘Our aim is to prevent waste from being manufactured in the first place. Instead, we use discarded materials to make things that last.’ Emeco has always been a pioneer of repurposed materials such as recycled aluminum and recycled PET. By exploiting the unique characteristics of the new wood-fiber polypropylene in the Broom chair, Emeco is experimenting with the product’s life-cycle again. Emeco has continuously led the way towards manufacturing with a conscience, delivering restrained products that have a minimal impact on the environment.

Creative thinking deserves a much higher priority in education curricula, according to college-educated professionals surveyed in new research released by Adobe. The study, Creativity and Education: Why it Matters, sheds new light on the role of creativity in career success and the growing belief that creativity is not just a personality trait, but a learned skill. Based on the study, 85% percent of respondents agree creative thinking is critical for problem solving in their career, and 68% of respondents believe creativity is a skill that can be learned. Nearly three-quarters (71%) say creative thinking should be “taught as a class, like math or science.” The research is based on interviews with a representative sample of 1,000 full-time salaried workers ages 25 and older with at least a four-year college degree. “Around the world, educators are already fostering creative thinking with their students,” said Jon Perera, vice president of education, Adobe. “What this study is telling us is that we need to empower and accelerate this shift. Creativity is a critical competency that should be taught within all disciplines. This will drive the global economy and the career success of the next generation.” Almost nine out of 10 professionals overwhelmingly agree that creativity is required for economic growth, and is valuable to society (96%). Additionally, 78% say it is important in their career. Yet, 32% don’t feel comfortable thinking creatively in their career, and a large majority (78%) wishes they had more creative ability. When asked to define creativity, the majority of respondents (66%) say they associate creative thinking with “thinking out of the box,” or “the ability to come up with innovative ideas.” Education Concerns The study points to a growing awareness, especially among professionals, that creativity and creative thinking deserve a bigger role in education. Ninety-one percent agree there is more to preparing for success in school than learning subjects, and 82% wish they had more exposure to creative thinking as students. Fifty-seven percent of professionals believed creativity would be important to their career while they were in college, compared to the 78% who believe it is important to their career now. Seventytwo percent say they were more focused on course subject material when they were in school than on creative thinking. Among education majors, 75% viewed creative thinking as important to their career while they were in college and 48% say it currently has a place in their career. Interestingly, science (69%) and math (59%) ranked nearly as high as traditional creative subjects like art (79%), music (76%), and drama (65%) in contributing to creative thinking.The data points referenced above come from a study commissioned by Adobe, produced by research firm Edelman Berland and conducted as an online survey among a nationally representative sample of 1,000 Americans, ages 25+ who are college-educated and full-time salaried employees. Interviewing took place from October 17 - 19, 2012. The margin of error is +/-3.1%. A study similar to this if conducted in South Africa would no doubt show similar results.

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His first project was a short film called Small Killing (2008) that was filmed and aired in South Africa. Bjorn got his first U.S. break on a project called Generation Kill (2008), an HBO original 7 part mini-series about the 1st Recon Marine Battallion that was sent in during the first phase of the war in Iraq. He portrayed Cpl. Michael Stinetorf in all 7 episodes. Since then he has worked on the made for TV movie, Natalie Holloway (2009) which aired on USA, and The Philanthropist (2009) which aired on NBC.


Film and Television Production Graduate Gee showed immense promise as a producer from her first year. By second year, she was interning and freelancing professionally and managed to balance both worlds perfectly. Gee easily entered the professional world and has worked on BBC’s Outcast, NBC’s The Philanthropist and History Channel’s Target Bin-Laden.

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Yair Shimansky


iamonds are the pinnacle of craft and are not afraid of time. Known to be everlasting, diamonds are designed and shaped by a different ethos to that of other products which fleetingly form part of our consumptive lifestyles. People often only invest in a single diamond ring in their entire lifetime, consequently the importance of the design is unequivocal. When it comes to diamonds, South Africa has a rich history and prominently known

surf brought him back to Durban. It wasn’t long before establishing his first store in 1994 re-designing rings for clients and in a short leap in ’95, designed the most iconic South African ring - The Millennium ring. Yair stood testament to the need for protecting one’s creative endeavours when the ring gained more popularity and was copied by a number of jewellers. This however was brought to the courts attention and they later settled in favour of Shimansky. Jewellery design contains facets of creativity not always holistically implemented. The trade seems to balance engineering, design, science and optics into one practice. Yair harnessed all these skills into realizing what is now known as the Brilliant 10TM. The Brilliant 10TM diamond design is a 71 facet round brilliant cut diamond design developed and patented by Shimansky. It’s been stated as being the most brilliant diamond in the world and is currently the only diamond that has no light leakage, in which all of the light that enters through the table and the crown is reflected back. By contrast, a regular round brilliant diamond with 57 facets loses around 8%-12% of light even if cut to ideal proportions, in which the light loss is around the girdle area of the diamond. This would mean that 8-12% of the facets on the diamond are non-reflective in terms of light. Single minded design is arguably the most successful and at Shimansky this is evident with Yair being fully involved in all aspects of design from the company logo design, to the advertisements, to the core business of diamond cutting. Yair’s philosophy is summed up quite simply in his own words, “design is everything, design is your best brand ambassador, design is how you feel about a product, design is the key.” When we ask him what we should expect from him in future, Yair reluctantly alludes to a new ring which he has dedicated the last 9 months to. We can only wait and see. The industry looks to be in an interesting space where technology, craft and imaginative design meet. Shimansky now look to procure a 3D printer capable of printing intricate parts for jewellery out of platinum and other precious metals, he speaks of a ring made out of a dozen parts all unlocking and coming apart with a small key. The future of jewellery design in South Africa has a foundation in Shimansky and we hope it will inspire another generation to localize the design of jewels found right here on our shores.

It’s been stated as being the most brilliant diamond in the world and is currently the only diamond that has no light leakage, in which all of the light that enters through the diamond is reflected back. to be the source of the most prolific number of diamonds in circulation today. In 1905, the Cullinan diamond was unearthed, to date the largest rough gem-quality diamond ever discovered, measuring in at 3,106.75 carats (621.35 g). The largest polished gem extracted from the stone was named the Cullinan I or the Great Star of Africa, and at 530.4 carats (106.1 g) was the largest polished diamond in the world until the 1985 discovery of the Golden Jubilee Diamond, a whopping 545.67 carats. Cullinan I is now mounted in the head of the Royal Sceptre and along with the Lesser Star of Africa, (317.4 carats) form part of the Crown Jewels of the United Kingdom. It is clear that the heritage of diamonds in South Africa has world wide prominence. Fast forward to the 1990s and the inception of a new era of modern diamonds in the hands of Yair Shimansky, after beginning his career in Japan as a diamond broker. The allure of South Africa and perhaps the


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im Flach studied fine art at Central St. Martin’s College of Art and Design. He emerged with a fascination for photography which has since led to numerous commissions, awards, solo exhibitions, and a presence in permanent collections and publications around the world. He is best known for the originality that he brings to capturing animal behavior and characteristics. In this, he is often exploring the close relationship between animals and humans, in particular how humanity imposes and reveals its ideals when trying to understand and work with animals. This award-winning photographer has spent years inquiring into the magic and mystery of the essential bond we have with animals. Now, in the culmination of years of tireless, expert endeavor, he presents an extraordinary body of work in which each image is more striking and powerful than the last. Just as with Flach’s highly acclaimed previous books, Equus and Dogs, More than Human will amaze, inspire, puzzle, challenge, and liberate, illuminating the ethical, scientific, and political debates that surround our relationships with the natural world, and constantly affirming the animal, whether it be rare or common, defenseless, clumsy, or dangerous. The species featured in this book form an eclectic and compelling menagerie of creatures, including tigers, lions, bears, orangutans, horses, snakes, porcupines, elephants, owls, armadillos, sea horses, and jellyfish, among many others, each having an intrinsic value illuminated by Flach’s masterful lens. Tim tells us about the project, “When I began photographing animals, my inspiration came, in part, from a sense of wonderment in nature, something I have felt since childhood and that still informs my imagery today. But this does not entirely explain why I continue to produce images of animals in the way that I do. My images aim to illuminate, particularly in this book, the discussions that surround the relationships between human and nonhuman animals, to make an inquiry into how these relationships occupy anthropocentric space within the contexts of ethics, history, science, and politics. To examine animals with any degree of intensity is to engage with and question what we are all doing here. With the world’s population now at almost seven billion, I see my photography as a way of examining our attitudes, and responsibilities, toward the natural world.”



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Joe Alblas


oe Alblas is a Motion Picture Stills Photographer. Joe was born in Durban and attended Glenwood High School. He then completed a diploma course in System Analysis and Computer Programming. He was hired by IBM and worked for a number of years giving it up to follow his passion, to become a photographer. What was it that got you into photography? I spent many weekends in the berg with the late John Hone while he photographed landscapes with his 4 x 5 Linhof camera. He was a dear friend of mine at the time and author of the magnificent photography book of the Drakensberg, Encounters with the Dragon. He also had a small Nikkormat SLR, which then became my first choice camera to purchase. What was your first job in photography? I started my career in the late 70s, working part-time as a press photographer for the Sunday newspapers in South Africa, shooting mostly cover stories during the apartheid oppression. What are some of your clients? Mostly internationals. Television networks include BBC One, SKY Atlantic HD & ITV, HBO, History Channel & the Discovery Channel. Feature distributors include: Disney, Lionsgate, Paramount, Touchstone Pictures & Warner Premiere. How did you land a client like the History Channel, was it a dream come true? In 2009, the History Channel was developing a new style drama documentary series called America: The Story of US, which was being produced by Nutopia in the UK and facilitated here in Cape Town by Film Afrika. I was introduced to the CEO from Nutopia who was looking to commission someone and who happened to like my style of shooting. My brief for the stills was somewhat different to working on features where the emphasis is mostly on capturing the actor’s portrayal of his or her character styled in the genre of the film. For this particular assignment, the producers asked me specifically to concentrate on shooting a series of plates of all the reconstructed American history scenes, which could be used either singularly or collectively to promote this series. To lend authenticity to my work, I adopted an old stylistic portraiture look that perhaps one of America’s great masters would have used to bring life to this project – a purist photographer for whom sharpness, detail and tonal values were most important. What’s your approach to motion picture photography? Do you read the script? I always look firstly at who is directing and study the treatments, and secondly, who is doing the cinematography to see the cinematic style. Then I have as many conversations with the producers as possible to see how I can be of service. Today with the arrival of the digital age, there are far more demands required from the unit stills department. Besides shooting a whole bunch more images, the demand for higher end stills has increased. Whatever you can capture on the motion camera, be it the CGI replication or compositing, can now also be done with the stills camera. Are there any photographers in South Africa you look up to or admire? Mostly the fine art photographers, they possess immense vision. David Goldblatt for his valuable contribution in documenting South African history from those early days to even now with our rainbow nation. Pieter Hugo, Obie Oberholzer and, of course, John Hone.

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Eli and Edythe Broad Art Museum


he Eli and Edythe Broad Art Museum, designed by Zaha Hadid Architects is located at the northern edge of the Michigan State University campus, is influenced by a set of movement paths that traverse and border the site. The vitality of street life on the northern side of Grand River Avenue and the historic heart of the university campus at the south side generate a network of paths and visual connections; some are part of the existing footpath layout, others create shortcuts between the city and the campus side

of Grand River Avenue. The circulation travelling in an east-westdirection on Grand River Avenue, along the main road of East Lansing and also on the main approach street to the campus produce an additional layer of connections that are applied to this highly frequented interface between city and campus. Generating two dimensional planes from these lines of circulation and visual connections, the formal composition of the museum is achieved by folding these planes in three-dimensional space to defi ne an interior landscape which brings together and negotiates the different pathways on

which people move through and around the site. This dialogue of interconnecting geometries describes a series of spaces that offer a variety of adjacencies; allowing many different interpretations when designing exhibitions. Through this complexity, curators can interpret different leads and connections, different perspectives and relationships. These detailed investigations and research into the landscape, topography and circulation of the site, enable us to ascertain and understand these critical lines of connection. By using these lines to inform

the design, the museum is truly embedded within its unique context of Michigan State University, maintaining the strongest relationship with its surroundings. The Broad Art Museum presents as a sharp, directed body, comprising directional pleats which refl ect the topographic and circulatory characteristics of its surrounding landscape. Its outer skin echoes these different directions and orientations, giving the building an ever-changing appearance that arouses curiosity yet never quite reveals its content. This open character underlines the museum’s function as a

cultural hub for the community. Zaha Hadid born in Baghdad, Iraq in 1950 is the founder of Zaha Hadid Architects Zaha Hadid was awarded the Pritzker Architecture Prize (considered to be the Nobel Prize of architecture) in 2004 and is internationally known for her built, theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary exploration and research in the interrelated fields of urbanism, architecture and design.

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02. 02. Products Products 02. Products 02. Products

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D*Haus Company


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external walls unfold into internal to to become become facades. facades. Doors Doors become become external walls unfoldinternal into internal walls allowing glass walls windows windows and and vice vice versa. versa. walls allowing glass internal walls to become facades. Doors become to become Doors become windows andfacades. vice versa. windows vice versa. The The layout layoutand consists consists ofof22bedrooms, bedrooms, open openlayout plan planliving livingroom room The consists of and 2and bedrooms, The layout consists of 2 bedrooms, bathroom, bathroom, but butcan can be beadapted adapted toto open plan living room and open planbut living and The suit suit different different living living situations. situations. The bathroom, canroom be adapted to bathroom, but can be adapted to suit differentcan living situations. The D*Dynamic D*Dynamic can change change its itsshape shape suitits different living situations. The D*Dynamic can change shape and and its perspective perspective both bothits seasonally seasonally D*Dynamic can change its shape and its perspective seasonally and andthroughout throughout the theboth course course not notonly only and its perspective both seasonally and throughout the course not only dawn dawntotodusk duskbut butalso alsotwilight twilighttoto and throughout course nottoonly dawn to dusk butthe also twilight sunrise.... sunrise.... dawn to dusk but also twilight to sunrise.... sunrise....

so that the user is constantly in designs are inspired by the philosophy of energy energy through solar solargenerates panels. panels. so that through the user isits constantly in sunlight, while theits house dynamic living: we truly believe in ideas sunlight, while the house generates that can help improve and inspire our daily energy through its solar panels. energy through its solar of panels. The Thehouse house isisaaproduct product ofan an lives. This can be done through flexibility, adaptability and originality. applied applied mathematical mathematical realisation. realisation. The house is a product of an for the harsh, climatic The a product of anpoint Thus Thushouse from from ais amanufacturing manufacturing point Conceived applied mathematical realisation. extremes from ‘Lapland to Cape Horn applied mathematical realisation. of ofview view the the designdeploys deploys only only Thus from a design manufacturing point and Aleutians to Auckland’ The D*Haus Thus from amaterials manufacturing pointthe one one set set ofofdesign materials totoachieve achieve the concept can respond dynamically to its of view the deploys only by controlled adaptation to of view the design deploys only one set of materials to achieve the flexible flexible possibilities possibilities which which its itsdesign designenvironment seasonal, meteorological and astronomical one setpossibilities of materialswhich to achieve the conditions. Based on Henry Dudney’s flexible its design invites. invites. flexible possibilities which its design discovery that allows a square to invites. transform itself into an equilateral triangle, invites.

D*Dynamic can ‘metamorphosize’ and transform itself into 8 Configurations. The flexibility of the D*Haus allows adaptation from winter to summer, and day to night by literally moving inside itself. The thick heavy external walls unfold into internal walls allowing glass internal walls to become facades. Doors become windows and vice versa. The layout consists of 2 bedrooms, open plan living room and bathroom, but can be adapted to suit different living situations. The D*Dynamic can change its shape and its perspective both seasonally and throughout the course not only dawn to dusk but also twilight to sunrise... for example, in the summer plan, bedroom one faces East and watches the sun rise as you wake up. One can rotate the house so that the user is constantly in sunlight, while the house generates energy through its solar panels. The house is a product of an applied mathematical realisation. Thus from a manufacturing point of view the design deploys only one set of materials to achieve the flexible possibilities which its design invites. The success of the D*Haus is a testament to the notion that longforgotten ideas from the past can inform modern thinking: the cutting edge design formula employed by The D*Haus is in fact the result of a brainwave belonging to a mathematical genius, Henry Ernest Dudeney a English mathematician who published a mathematical puzzle in a local newspaper. Dudeney’s puzzle posed a baffling conundrum: how to divide an equilateral triangle into four pieces to be reassemled into a square. This concept is uesd by D*Haus in their projects.

186 Loop str Cape Town 021 424 6250/1






I was born on the 2 October 1989 in Durban, my family moved to Cape Town when I was one. My name Ravalin means “ a learned one�. The eldest of two sons, I attended Michael Oak Waldorf and from grade ten onward Abbotts College . Thereafter I spent a year at AAA School of Advertising but failed to find my niche and moved to CityVarsity. Here I found a place for my creativity to thrive and to be stimulated by both my surroundings and lecturers as well as my peers. As a designer I find that I find inspiration most of the time from my surroundings, I also feel that music plays a major role in my production and often the mood of my work from project to project. I take inspiration from a lot of local and international designers and illustrators as well as artists. I have a strong affinity towards typography and typographic design as well as illustration.

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Amber Rose Pretorius COLLEGE CityVarsity COURSE Multimedia Design Thinking that the highlight of my day was achieving matching socks, I got a call to say I was being featured in the Designtimes, I mean, no pressure! So here goes. I’m a 20 year old graduate designer from City Varsity, Cape Town. I strive to achieve the better things in life, the positive things. It keeps me sane and my work too. I am influenced greatly by simplistic designs and my greatest obsession, typography. I am also fixated by shapes and finding new ways to incorporate them in my designs. Poster design has become my new favourite because I enjoy being challenged by the restricted space in which I am left to be creative. Punctuality and time-management have been characteristics that have kept my head above water during my time studying. The biggest part of design that keeps me motivated is that every day is different, filled with new learning experiences and opportunities to expand my creativity. If I were to be forced to change my career field, I’d rather sell my only matching socks.




nicole fredman COLLEGE Concept Interactive COURSE Multimedia Design

Thinking that the highlight of my day was achieving matching socks, I got a call to say I was being featured in the Designtimes, I mean, no pressure! So here goes. I’m a 20 year old graduate designer from City Varsity, Cape Town. I strive to achieve the better things in life, the positive things. It keeps me sane and my work too. I am influenced

greatly by simplistic designs and my greatest obsession, typography. I am also fixated by shapes and finding new ways to incorporate them in my designs. Poster design has become my new favourite because I enjoy being challenged by the restricted space in which I am left to be creative. Punctuality and time-management have been characteristics that have kept my head above water during my time studying. The biggest part of design that keeps me motivated is that every day is, filled with opportunities to expand my creativity. If I were to be forced to change my career field, I’d rather sell my only matching socks.

Lauren Briggs COLLEGE Vega COURSE Brand Communication

I am a 22-year-old Durban designer with a love for beautiful things. I was created to create. In my design I constantly push and challenge myself to do more with my work and design so that it will stand out from the expected and offer a different perspective to the creative problem I am dealing with. I have recently completed a 3-year

Brand communications degree at Vega, the School of Brand Leadership, specialising in Visual Communications. I can say that this degree has been incredibly hard, but so worth it! I have always been a creative person, and although I did not do art at school this did not stop me from pursuing a career in the creative industry. Rather, this freed me to do things differently, but also motivated me to push my work to excellence. I have reached the point of realizing that the creative industry is an incredible industry with the power to add value to people’s lives. And it is because of this that I love what I do.







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Define your future in


Robben Island, understanding true love GREEN OFFICE On the 21st of October 2012, the South African Mint Company had the privilege of visiting and over-striking the first ever coins on Robben Island. This year, the S A Mint had planned to launch the 2012 Protea coin series which feature South Africa’s greatest love story – the story of Walter and Albertina Sisulu, in an event on 19 October 2012 which would see valued members of the Sisulu family travel with us to Robben Island where the coins would be struck. Tragically, Zwelakhe Sisulu, son of Walter and Albertina Sisulu passed away shortly before the event. Out of deep respect for the family’s loss and mourning, the official launch event was postponed but we proceeded with a quiet striking of the coins on the island. In true Cape Town style, Friday morning greeted us with howling winds, rain and giant swells at sea which made travelling to the island impossible. Sunday’s weather offered up a short reprieve and so we raced down to the harbour with our antique flypress, coins and hopes and embarked on a journey to accomplish our goal. We were privileged to be able to see Robben Island in a way few get to see. We arrived at our first destination, the small cafe on the beach which offered views of Table Mountain, sea, beach and the lighthouse in a breathtaking 360 degree panorama. Set up and ready to go, we were visited

by busses of tourists who had stopped for refreshments and found instead a small group of SA Mint employees striking gold coins on the beach. A novel sight indeed. As fate would have it, our reprieve was short lived as the rain began to fall. Unable to strike in these conditions, we were transported to the main prison. With our own private guide, we gained insight into the days when the courtyard was filled with stone breaking prisoners instead of wild flowers. We were privileged to be able to gain entry, not only into the prison, but into Walter Sisulu’s actual cell. Faced with four small walls and 2 tiny windows, we set up our fly press and settled in to strike the remaining majority of the coins, haunted with the knowledge that this tiny space, almost intolerable to us for a few hours, had been the only space Walter Sisulu had known for very many years of his life. The theme of the coins is the legendary love this couple had for each other. Holding the giant silver cell door key in our hands, we realised the centre of the key was shaped in a heart and it struck home that even through unbearable circumstances and hardships, theirs was a love that surmounted all else. South African Mint is honoured and humbled to bring you the 2012 Protea Series featuring Walter and Albertina Sisulu.

Ambiente Luce The Art of Lighting Ambiente Luce have been creating beautiful hand-crafted lights for the past 15 years. They have won various awards over the years with the latest being Plascon’s Best use of Colour Award for their exhibition stand at Decorex Cape Town 2012 while one of their in-house designers was a finalist in the recent Conde Nast Artemides 2012 Table Light Design Competition. Ambiente Luce’s designs are continuously updated to stay abreast with current international lighting and décor

trends. The company is known for their feature lights used in kitchens as well as dramatic chandeliers and outdoor lanterns. Their products are characterised by simple, bold and well proportioned designs which have been well received by homeowners and developers in South Africa and internationally. To assist you in choosing the right lighting for your home, visit their website.



orporate business is, well, strictly business and rarely does it collide with the world of fashion and design. So how did greenOFFICE, a national Managed Print Service provider, look beyond its focus on the business document environment to develop its eco-artistic flair? In 2011, the Hillcrest Aids Centre Trust (HACT) – well known for its Dreams For Africa Chair and Dreams For Africa Map – embarked on a new creative project. HACT’s Woza Moya income-generation project, comprising of unemployed women from the Valley Of A Thousand Hills, created the world’s first fully beaded suit, popularly known as the Green Suit. Supporting the cause of spreading the important message of protecting the environment, greenOFFICE sponsored the making of this innovative Suit. greenOFFICE is built on a model of sustainability and, with its continual “greening” approach, advocates that the Suit is a reminder to every individual that business activity should have zero negative impact on the environment. The Green Suit project was quite a feat – it was handmade by over 40 Woza Moya crafters and comprises over 400 individual patches of beadwork. The project spanned a full and busy 8 weeks from conception to completion, and was designed by international award-winning fashion designer, Terrence Bray, and photographed

by established South African photographer, Matthew Willman. Reflecting on the achievement of this unique Suit, which provided an income for the 40 crafters involved in the project, HACT’s Paula Thompson commented, “We wanted to make a spectacular, one-ofa-kind artwork that would speak strongly about green issues, that would stop people in their tracks, and would encourage them to think about our environment.” The Suit travelled well in 2011, including appearing at Cape Town’s Positive Heroes Fashion Show and Durban COP17, and then in 2012 met its “other half”, the Green Dress. Earlier this year, greenOFFICE embarked on a creative project of its own, and the outcome was nothing short of innovative and elegant. Inspired and created by greenOFFICE employees, Justine Bufe and Julie James, the Dress is made completely from recycled office materials and, just like the Green Suit, promotes environmental awareness – reduce, reuse, recycle! The Dress and Suit paraded at this year’s Durban July fashion show, aptly themed “A Material World?” and attracted plenty media attention. It is fitting, then, that the worlds of corporate business and fashion-and-design are not, or do not have to be, endeavours of their own. Promoting and going “green” can bring the two worlds tastefully together, and greenOFFICE is a trendy testament to this. Monique Boshi

Puma recycles old shoes

To reduce waste and keep products out of landfills, the Sportlifestyle company PUMA has installed recycling bins in PUMA Stores and outlets in South Africa for customers to return used shoes, clothing and accessories of any brand. The PUMA “Bring Me Back” program, which is run in cooperation with global recycling

company I:CO, aims at encouraging the recycling and re-usability of sportlifestyle products among consumers by providing a convenient and simple process: Consumers bring used shoes, clothing and accessories from any manufacturer to a PUMA Store and deposit them in the designated Bring Me Back bins.

Inscape Design College have been offering excellence in education, by design for over 31 years but we never forget that the reason for our existence is our people. Established in 1981 by Harry Edmonds and Cherry Whitehead, we are still the oldest privately-owned multi-disciplinary design college in South Africa. Our great staff and our talented and hard-working students have made us one of the country’s leading design colleges. At Inscape we nurture our young designers to become creative problem solvers, ideas generators and inventors that add value to the world. One such talented designer that has defined her future is Loucelle Mohantal, the winner of the TFG Gift Card Design Competition. Congratulations Loucelle! Once you have experienced the creative juices of Inscape students you will understand why they are highly sought after in the design industry. Research conducted from 2007 – 2010 indicated that 93% of Inscape Design College students have found employment earning competitive salaries. 84% of the graduates were offered employment within three months of graduating. Inscape offers accredited B.Design degrees and diplomas in Fashion Design, Interior Design and Graphic Design and Communication. For those who don’t qualify for these programmes, we offer The Design Techniques/Foundation course to assist you in entering the exciting world of design successfully. We apply an integrated teaching method which combines all three approaches to work on the same concept of Design. We found that our methods open doors to other industries and processes. We offer classes with limited number of students, up to 20. We expose our students to practical and real world scenarios which enable them to develop into creative problem solvers. Our lecturers are actively involved in the fields of design, thus delivering valuable and relevant industry knowledge to our students. To ensure that our students are able to apply their knowledge, we ensure that all design students work on true-to-life projects. The work is given to the students by real designers, who also assess the projects once they are completed. Inscape as an organisation as well as our students gets involved in areas of social need in our community. We identify their needs and endeavour to make a meaningful contribution. We do this not only to benefit our community, but to inspire and cultivate socially conscious students, who hopefully will in turn take to their future work place an ethos to stand up and make a difference. Among the current initiatives at the college within the surrounding community includes; providing educational, environmental and creative support to local community schools. We have designed our courses to provide our students with a head start in any creative design industry, now it’s up to you, the design industry, to capture the cream of the Design crop. Define your future with Inscape!


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Introducing Damara

With sleek flowing lines, Damara adds sophistication to any home. Inspired by a range of taps and mixers designed exclusively by Cobra for the One & Only Hotel, Damara is the epitome of luxury

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Michael Stein

Green eyewear In David Green’s ongoing quest for Eyes for the Environment, he has applied his keen eye for detail together with a passion for the environment to create the signature Leaf Collection. Each pair is unique, incorporating a fallen tree leaf which is dried, dyed and skilfully hand-crafted inside a natural cotton-based acetate. Ever conscious of the environment, David Green uses natural materials and recycled water in the production of his eyewear and has

recently introduced a foldable case that, when packed, takes up less space during transportation. These innovations clearly place David Green eyewear in a class of its own - offering style and relevance to today’s modern, future-conscious consumer. Proudly South African designer David Green’s eyewear is now available in over 20 countries. Get yours at fine optometrists or visit for an online catalogue.

HOMEMAKERS Expo In 2013 Gauteng HOMEMAKERS Expo celebrates 20 years of exhibition excellence. This South African favorite is still the country’s largest, multiaward winning home interest expo, offering 50 000 visitors a vast range of home lifestyle and home improvement products, all under one roof, over 4 days! This year’s line-up of SA’s leading home lifestyle brands is spearheaded by a showstopping Furniture and Décor feature, Urban Interiors, demonstrating 360˚ design solutions for small spaces yet big living. The area also hosts an inspiring Decorator’s Challenge, Divide & Conquer. A hand-picked group of well-known and up-and-coming decorators and designers will showcase a complete design solution

for bi or multi-functional spaces at the Kitchen Specialists Pavilion. View the latest trends in Kitchen design including space saving features and applications. Join the experts from Builders Warehouse at the Builders DIY Theatre, and see how you can make a success of your everyday DIY projects! The Glade Sensorium will bring a 4th dimension to design which will enhance your sensory experience. Young South African designers from creative institutions will present a collection of 3 rooms inspired by 3 fragrances. Share the 20 year celebration! Trends and ideas, speaking directly to the experts and sourcing suppliers for your home improvements and home enhancements is what HOMEMAKERS Expo is all about.

As a thought leader in the plumbing industry, ON•TAP recognises talent when they see it. Michael Stein, co-founder of Neufeld & Stein Product Design, is the product designer for Kludi and has been in the industry since 1989. With Kludi being one of the leaders in the plumbing industry, ON•TAP decided to find out more about the man behind the design. Michael Stein (51) was born in Moers near Düsseldorf in Germany, and grew up in Kamp-Lintfort, also close to Düsseldorf. In 1980 he obtained a German University Entrance Qualification at Abitur. Stein started working for Grohe in 1989 and in 1990 he obtained his University Diploma (FHFG Schwäbisch Gmünd Germany) after which he started working at Prof. Klose & Partner Design Studio in Wuppertal for three years. In 1994, Neufeld & Stein Product Design was founded and they became a design partner for Hansgrohe. There they were involved in the design process of a variety of products including faucets, hand showers, bathroom accessories and shower panels. Says Stein: “After working for Hansgrohe for six years, we started working on the Kludi brand, and now we are the exclusive design partner for Kludi. We’ve designed all their new products since 2000.” According to Stein, Kludi produces the best quality products in the plumbing industry. He continues: “Kludi takes care of every detail and place great emphasis on their designs. A design is perfect when it touches people and creates desire. Kludi is the perfect partner in the plumbing industry for Neufeld & Stein.” Stein says that the perfect design is when it touches people and creates a desire. “A design must comply with current trends, work well and have something special to it,” he concludes. Kludi is exclusively available at ON•TAP. Ranges available include Zenta, Logo Neo, A-QA and Freshline, Bozz, E-Go, Fizz, and Esprit. For more information about these products, visit

Wild Dogs captured forever in Gold… The awards event for the 13th Antalis Art of Design 2012 took place on Thursday, 6 September with some of the industry’s biggest names braving the weather to congratulate the plethora of talent on show. The evening was a celebration of design and the exceptional creative’s who spend their lives making our lives more beautiful! Once again AoD recognised South African design excellence, but moreover the competition aimed to inspire originality, big ideas, paper usage and beautiful presentations. Launched in June 2011, this competition received 474 exceptional entries across the seven commercial categories and 89 in the student category. Eight categories provided extensive opportunities for designers to showcase their talents. The main prize up for grabs was a trip to New York worth R50 000, as well as the opportunity to design for Antalis. Hearty congratulations go to Oliver Barstow, of Fourthwall Books, who was the Grand Prix winner for his Fire Walker Book entry. We asked Oliver a few questions about his entry. Tell us a little about your entry? The idea for Fire Walker the book came at a time when the City of Johannesburg, in the build up to the World Cup, was spending money on a public artworks program. This included a range work, both community generated and direct commissions to established artists. Fire Walker, a collaboration between William Kentridge and Gerhard Marx, an approximately twelve meter steel sculpture depicting a

woman carrying a bucket of fire on her head that stands at the foot of the Queen Elizabeth bridge in Newtown, central Johannesburg, was a result of this process. I happened to have close contact with a number of people who were responsible for making this sculpture a reality and through a series of conversations the idea for a book took shape. It seemed opportune to use Fire Walker the sculpture as point from which to explore not only the details of how a public artwork takes shape, but also the broader issues and questions raised by this process in a city like Johannesburg where the idea of public space is both contested and difficult to define. The book took shape as a series of critical essays (both visual and written) and interviews by a cross section of contributors. Do you think winning the competition is important and good for your career? I think the competition is a very valuable platform (the only platform?) for the graphic arts in South Africa. To have had Fire Walker acknowledged by a broader audience is a reward in itself and makes all the hard work worthwhile. The prize is a bonus and I plan to make it as beneficial as possible to my career by heading to the New York Artbook fair next year. Unlike previous winners, I am not in the ad industry, which would seem to be where the majority of spend on design work originates. The competition has lent credibility to the work I do as a book designer and publisher and is hopefully a stepping stone towards making this a sustainable career.

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Compare two PDF files in Adobe Acrobat XI Pro

Compare two versions of the same file on the fly.

01 To get started, ensure that the

relevant files are already converted into .pdf format. Easily convert Microsoft Powerpoint, Excel, Word or even image files into PDFs using View > Compare Documents. This displays a dialog box in which you must indicate the older and the newer version of the PDF you wish to compare.

A lesser known feature of Adobe Acrobat is a simple tool that allows you to compare two versions of almost any file, writes Eva Csernyanszky

02 If you have a document open already

Whether you need to compare two versions of a document, a spreadsheet, a PowerPoint presentation or scanned image, convert them both to PDF and use Acrobat to pinpoint the differences between the files using the View > Compare Document tool.

Select the type of document (Reports, Spreadsheets, Magazine Layouts or Presentation Decks, Drawings or Illustrations) to allow a more accurate comparison of the content. Choose “Compare text only” if that is all you need.

04 The Compare panel

will open on the left hand side of the dialog box. Differences are indicated by an arrow icon below. A green arrow signifies moved or deleted pages and a purple arrow designates a change on the page.

07 You could, at any time, actually view the two documents side by side rather than in the small thumbnails in the Compare panel.

Select the Compare panel pop-up menu, choose Show Documents Side by Side, or Show Documents Tiled if you wish.

07 Clicking on the

Show Options area on the Compare panel allows you to specifiy the types of changes to detect.

05 Return to the first

it will appear as your “old” PDF. You can specify the page range if you don’t want to compare the entirety of the files.

page and click “Get Started” to go to the first difference.

The changes are highlighted on the main screen. Hover your mouse over the highlight to see the details. The colour legend in the top right provides a guide.

It could be text, or images where it would compare pixels, annotations in formatting, and any headers or footers or backgrounds that may be in the PDF file. You can also select a colour scheme for the legends that are displayed, and you can control the opacity of the highlighting to make it easier to see the content.

08 If you ever have trouble comparing two documents, it can be that one or more of the following is affecting the tool’s ability to detect differences, even when differences are apparent during visual inspection:

In this tutorial you will learn how to convert files to PDF format, detect their differences and troubleshoot files that don’t display differences when changes are apparent.

1. 2. 3.

DURATION 15 minutes

06 Replaced text is highlighted in

orange and, if you click on the yellow speech bubbles, a pop-up will show the old and the new text.


Inserted text, on the other hand, is highlighted in blue.

Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts. Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies.

03 Acrobat summarises the results in a

new document reflecting the differences between the files. Click on the “Get Started” hyperlink to navigate to the first difference. Moved or deleted pages, and a key to the symbols used within the report are also displayed.

The source documents could still be scanned documents. Documents may have different colour spaces. Documents were OCR’d.

The difference in colour space (for exmaple black and white vs. greyscale) is enough to seriously affect Acrobat’s ability to detect changes. In effect, Acrobat sees these as being two completely different documents. Enjoy!




Why not use InDesign!

Explore blending modes and vector features in InDesign

01 Create a new document (I chose A5)

and draw a line using the Line tool from top to bottom on the left edge of the page. Set the stroke 0.5pt and the colour: C100-M0-Y30-K0

06 with the image being selected (brown frame) chose the blending mode “screen” under your Effects panel.

InDesign has become much more versatile over the years and has incorporated 02 With the line selected choose Step and a lot of features from Repeat and enter the above values to duplicate Illustrator and Photoshop. the line evenly across the page. Often, InDesign can be your one-stop application.

09 Copy the circle which holds the picture

and past in place. Then repeat the half circle process and use the blending mode “multiply” under Effects.

10 Draw a line using the line tool along

the yellow half circle angle, give the stroke 1pt thickness and the colour yellow.

03 Repeat the same principle with the

horizontal line to create a check pattern. Group the pattern and make it 25% opacity in the Effects panel.

07 select the circle with your Selection

In this tutorial we will create a simple event invite as seen above using lines, shapes, blending modes and vectorized text.

04 set your margins to be 14mm all around

(layout>margins&columns) and create a circle with 120mm diameter. Give your circle a gradient by clicking on the gradient tool. Drag & drop your created blue and the existing magenta into your gradient window and enter the shown values above.

Tool (V). Copy the circle, paste in place (edit>paste in place) and give it the colour yellow (100% Y). By using the Pen-Tool, the circle can be adjusted to a half circle. Delete the top middle point holding the alt-key. Move one half of the point handle on each side down by 90 degrees using the Direct Selection Tool (A) and holding the alt-key.

11 Select your type tool, drag a box and type out a date. Choose your font and size. (I’m using Eames Century Modern>Extra Bold: size>90pt). To adjust the shape, you can vectorize the type by going to: Type>Create Outlines. Use the Pen Tool and adjust the first number to fall under the line.

DURATION20-30 Minutes TOPICS COVERED Step-repeat, blending modes, shape adjustment, create outlines LEVEL OF DIFFICULTY Beginner / Intermediate

12 Select the line and bring it to front 05 with the circle selected place an image of your choice (file>place) and scale into position with the Direct Selection Tool (A).

08 set your anchor point to be the top middle and rotate the half circle using the rotate tool 70 degrees and move down the half circle 5 mm. Use the blending mode “multiply” under Effects.

Kat Fietz-Ndlovu 3-Month Graphic Design Course lecturer at Concept Interactive Kat has been a Graphic and Motion Designer for 10 years and has only recently relocated from London, UK to Cape Town. She teaches the 3-Month Graphic Design Course part-time at Concept Interactive and trains in applications such as InDesign, Photoshop, Illustrator and After Effects.

(Object>Arrange>Bring To Front) and give the text 80% opacity. Use the blending mode “multiply” under Effects. Finish your piece with more text information and align it nicely with your event date and you’re done!

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issue 45  

We feature King Kronk aka Kris Hewitt. Kronk, the south African illustrator extraordinaire responsible for our cover, spills thebeans on ill...

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