DESIGNTIMES south africa’s creative resource
Mike Harrison one of the UK’s greatest digital artists is responsible for this issues cover which was created for Fotolia’s 10 Project.
COFFEE & DESIGN
We chat to Jason Little, designer and creative director about his recent invitation to be the Design Jury Chair at this years Loerie Awards.
T E N
9 77199 9 24 8001
C O L L E C T I O N
2013 Issue No.48 ZAR 15 EUR €2, UK £2, US $3
*Prices accurate as of March 15 2013, based on a representative selection of competitors
Monthly Subscription: 5 XXL Downloads for R200 Your No: 1 creative recourse Phone: 021 813 6697 l za.fotolia.com
Rolyalty-Free | Photos | Vectors | Videos
DBOX for CIM Group & Macklowe Properties
London-based Mike Harrison, a multidisciplinary designer and illustrator, has this issue covered. Mike was invited to represent the UK in season 2 of Fotolia’s TEN Collection Project. Arguably one of the greatest British digital artists, Mike shares his passion and process with us. There is nothing small about Jason Little! As an award winning creative (too many to count) Jason is well suited for the Design Jury Chair of this year’s Loerie Awards. We discuss concept development and design awards and he tells us how surfing is a lot like design. With the “brrr” of winter upon us we appreciate the inside of our homes more than usual. This issue focuses on architecture and interiors and we bring you three of the world’s best architectural photographers, Hufton + Crow and Iwan Baan. We also unveil the creative genius behind architectural design firm REX, Joshua Prince-Ramus and discuss xyz. A great way to fight the cold is with a hot cuppa joe. We caught up with the newly coined ‘merchants of creativity’ who espresso themselves about craft coffee and food stores they have created in Cape Town. Mark Rosenberg
Mark Rosenberg firstname.lastname@example.org Roxy Rosenberg email@example.com Ryan Ali firstname.lastname@example.org Steven Rosenberg email@example.com Kerrythe Mahaffey firstname.lastname@example.org Zachariah King email@example.com
Eva Csernyanszky, Daine Mawer editors illustration by Chris Valentine
Mike Harrison www.destill.net
Wendy Scullard, Deidre Rosenberg
Designtimes Media (PTY) LTD PO Box 21676, Kloof Street Tamboerskloof, Cape Town, 8001 Tel: 021 424 3520
Tandym Print www.tandym.co.za
R200 for a one year subscription, thats six issues delivered to you! To subscribe send an email to firstname.lastname@example.org with your name and postal address and we will send you the payment details. It’s that simple!
432 Park Avenue 432 Park Avenue, the proposed luxury residential tower a stone’s throw from Central Park is set to dominate the famous New York skyline. Architect and former Wallpaper* Awards judge Rafael Viñoly worked with the development team, Macklowe Properties and the CIM Group, to produce the design for this impressive 96-storey high slender structure, featuring elegant 10ft by 10ft square windows. Offering a mix of high-end apartments, the residential development will feature interiors by well-known practices such as
FOTOLIA 10 PROJECT
In December 2011, Fotolia made the news with the 10 Project. One goal: democratizing digital creation by bringing together, for the very first time in a common project, digital art, graphic resources and pedagogy. The 10 Project resulted from a collaboration between Fotolia and two graphic communities, Wisibility and Amkashop. Every month, for 10 months, digital artists contributed a piece of work in keeping with the 10 Project theme. These digital creations were made available for free for twenty-four hours on the site. Season 1 was an absolute success, with more than 170,000 PSD downloads from the dedicated website www.tenbyfotolia.com, which welcomed more than 500,000 unique visitors during this first season. After the enthusiasm generated by the first season, Fotolia renewed the experience unveiling the first of Season 2 earlier this year. For this second Season, Fotolia cast 10 notorious international artists from Argentina, Brazil, Korea, Japan, Russia, Poland, Spain, United Kingdom and Germany. Fotolia will also present two special edition artworks, from two secret artists, one French and the other American. These artists are invited to express themselves on a free theme, and to share their pro tips with the web community, thanks to the PSD files they offer for free, every month for 24h. Argentinian Digital artist Gustavo Brigante opened Season 2 of the TEN Project with artwork composed around the work theme. The next artwork, created by Alexy Samsanov, a creative retouching and CGI specialist, will be available for free download for twenty-four hours on 10 July 2014, on the Fotolio 10 Project website. www.tenbyfotolia.com
Deborah Berke, as well as Vinoly’s own firm, while the designs high quality finishes will include high ceilings, solid oak flooring and custom hardware. The tower will also offer generous extra space for wine cellars, office suites, staff apartments and storage facilities that will be available for the residents’ use, should they wish to include them in their purchase. Set to be a new icon for the city and having already achieved nearly $1 billion in sales, 432 Park Avenue is scheduled for completion in 2015.
WDC 2014 Advisory Council
World Design Capital Cape Town 2014 implementing company, Cape Town Design NPC, announced the appointment of an International Advisory Council (IAC) to support the Cape Town effort. WDC Cape Town recommended three nominees representing local and African design while Icsid (International Council of Societies of Industrial Design) nominated two individuals from the international design community. This resulted in the appointment of the following five members: Trevyn McGowan, Kunlé Adeyemi, Ravi Naidoo, Srini Srinivasen and Sean Carney. The appointment of the IAC is part of the host city agreement and was created jointly by the WDC Cape Town 2014 and Icsid. The IAC has three main roles: they will assist the curatorial panel in placing submissions within a global context; advise Cape Town Design NPC on programme development and be ambassadors for WDC 2014. “The primary objectives of the IAC are to provide an external perspective on the WDC 2014 strategy and vision of building social inclusion, reconnecting the City in structure and in spirit, and repositioning Cape Town for the global knowledge economy,” said Cape Town Design NPC CEO, Alayne Reesberg.
Geberit Southern African invites all their customers and partners to their Open Days in Johannesburg and Cape Town. Whether you are a retailer, architect, designer, plumber or installer - the open days are dedicated to you, where Geberit will be showcasing their new Logistics and Training Centres. Pop in or book an appointment to see the latest behind-thescenes systems which have been engineered to provide their customers and partners with the best and most efficient service. www.geberit.co.za
Museum of the Year Motek chair
The inspiration behind Motek chair is a sheet of paper, which is flexible and lightweight by its very nature. A sheet of paper cannot bear weight, but the Japanese art of origami – which, with a series of folds, creates forms and structures that can support weight – the same sheet takes on super powers. Thanks to a new technology for Cassina, such as pressure molding, a sheet of felt is folded, which will bring the necessary rigidity to the body of the chair for it to support weight without losing the lightness of the original material. In this project, the search for details and the experimentation with materials typical of the collaboration between Nichetto and Cassina led to a felt version of the chair, which comes in three different shades, as well as a leather version, where the seams highlight the folds characterizing the aesthetics of the seat. The adaptability to the different consumers’ tastes is yet another feature sought by Nichetto for Motek, which was obtained through a series of combinations of structure, legs and body.
The Riverside Museum, Glasgow by Zaha Hadid Architects has won the European Museum of the Year Award (EMYA) at the ceremony in Tongeren, Belgium. Forty Museums from 21 countries across Europe entered this year’s awards. The European Museum of the Year Award by the European Museum Forum was founded in 1977 under the auspices of the Council of Europe, with the aim of recognising excellence and encouraging innovative processes in a museum world. The judges said: “The Riverside Museum demonstrates brilliantly how a specialist transport collection can renew its relevance through active engagement with wider social and universal issues. The EMYA 2013 Judging Panel agreed unanimously that the museum fulfills the EMYA criteria of ‘public quality’ at the highest level.” Councillor Archie Graham, chairman of Glasgow Life, said it was an “outstanding achievement.” Our fantastic Riverside Museum has been crowned Europe’s best. That is no accident and is down to the hard work, passion and creativity of our staff who do everything they can to bring the stories of our transport and engineering past to existing and new audiences. They have made Glasgow proud. Zaha Hadid said: “The Riverside Museum is a celebration of the passion and skills of everyone involved. The exhibits and building come together at this historic location on the River Clyde to enthuse and inspire all visitors. The design continues Glasgow’s rich engineering traditions and explores the cultural foundations that have defined the city.”
Loeries new Dubai judge
Awarding and promoting creativity of the highest standards from the rest of Africa and the Middle East is one of the objectives of the Loeries. This year the highly regarded Kalpesh Patankar joins the Loerie judge panel. Kal enjoys a perspective honed by years in different regional markets with different challenges. He is currently Creative Director at Y&R Dubai, where his client portfolio includes Harvey Nichols, Land Rover and Sony. Kal began his career with Saatchi in Mumbai, before moving onto McCann Erickson Malaysia and Ogilvy Singapore. His winning ways started early on in his career. Ranked No.1 Creative in India by Campaign Brief Asia, he won the Middle East’s first double Cannes Gold. His work has been honored at Cannes Lions, D&AD, ANDY, One Show, Dubai Lynx, Clio, London International, Spikes Asia, New York Festivals, Adfest, Young Guns, EPICA and and Abbys. Kal served on the jury at the New York Art Directors Club Awards, Adfest 2013 and Mena Cristal’s. We are thrilled that he now he adds Loeries to his CV.
Organic tap A tap designed by French designer Philippe Starck uses half as much water as regular taps. Ninety jets spurt combinations of air and water to give the sensation of more falling water than is actually being used. These nozzles are made of silicon to prevent limescale formation. “We have created a new type of water, which we call ‘empty water’,” Starck told Dezeen. “You have the feeling of having a lot of water, but with less.” Designed for bathroom brand Axor, the Organic faucet is turned on at the nozzle to either an economy or a boost setting, the temperature is preset at the top of the tap, so water comes out at the desired warmth each time it’s used and none is wasted while fumbling to adjust the heat.
22 AN 92 TO C N
Imagination running wild...
like a monkey in a bakery.
E TON PAN C
N TO N C PA288 E 22
ON NT PA 92 C E
560 NEW COLORS ADDED SINCE 2010... there’s never been a better time to upgrade AN 2050 TONE C P
PANTONE PLUS SERIES – the newest version of the color system that started a revolution in color inspiration, communication and management, the PANTONE MATCHING SYSTEM® 1,677 solid PANTONE colors 2,868 CMYK process colors 300 dazzling metallics 154 soothing pastels and 56 hot neons Plus value bundles, software and color evaluation
pantone.com/plus Available in South Africa from PANTONE Authorised Dealers Kear Graphics www.kear.co.za 021 976 1756
African Colour Systems www.colourguide.co.za 083 652 4640
PANTONE® and other Pantone trademarks are the property of Pantone LLC. PANTONE Colors may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. © Pantone LLC, 2013. All rights reserved.
ike Harrison one of the UK’s greatest digital artists is responsible for this issues cover which was created for Fotolia’s 10 Project. Mike was born in the United Kingdom, his parents moved around alot, but he spent the majority of his youth and education in the South West in a place by the sea called Torbay. Currently he works in London. You are a self taught digital artist did you recieve any training at all in the field? I am 99% self taught. I went to university for four years but my course was more aimed at good ideas and using technology in interesting ways. So throughout those four years I studied anything and everything I could get my hands on, experimenting and practicing with all kinds of software, just having fun. Were you always a freelance digital artist? After I came back from doing some travelling in South East Asia and Argentina I was living back home with my parents, and knew I wanted to move out and hit up either Bristol or London to continue my career. My girlfriend then landed a job in London and so off we went. I moved up there with the intention of finding a fulltime job, but then I had some nice commissions come in and decided to stick with freelancing. Fast forward two and a half years and I’m now back in an agency and really enjoying it again! What was your first paying illustration? If I remember correctly I did some work
for a design magazine, it must have been a tutorial or something. It wasn’t an awful lot of money but I jumped at the opportunity to gain exposure and for it to be seen by potentially thounsands of people. How do you get noticed by clients like Nike and the Wall Street Journal? I’m not exactly sure. I’ve done a lot of work for Nike in the past and way back in 2010 they contacted me directly with the chance to work on a project. As I remember the Creative Director had come across a particular illustration of mine and thought it would be a cool style for the project, it was as simple as that. You are referred to as one of the greatest British digital artists, what do you attribute this to? Haha, it’s funny hearing something like that. I don’t really see myself like that, I’m just a guy doing what he loves and have been lucky to have some great opportunities out of the back of it. Saying that, hard work, determination and a real passion for the craft have definitely had a part to play! What is it about digital art that you love? I love everything about it. As a multidisciplinary designer and illustrator I’m just as happy pushing pixels and aligning objects perfectly to a grid in some print or web work, as I am cracking out my Wacom and drawing some crazy shapes and patterns. It’s a way of expressing yourself and your ideas and it’s a great feeling when others enjoy your work, gives you a lot of satisfaction. Can you tell us a bit about the process of a specific job? After I receive a brief I will go through it carefully, letting it soak in. I’ll then do some research around the chosen subject matter and get some inspiration. From there I’d likely go into Photoshop with my Wacom, or get my sketchbook out and start roughing out ideas. Once I’m happy with one I’ll jump into the digital process and get going. I like my work to flow quite organically from start to finish, taking unexpected turns along the way. www.destill.net
YOU DREAM UP GREAT IDEAS & WE WILL PROTECT THEM.
PATENT, TRADE MARK, COPYRIGHT, DESIGN, ADVERTISING, COMMERCIAL, PROPERTY & LITIGATION ATTORNEYS
Designed by Jaco Burger, Ateljee. Loeries 2012 Winner of the Adams & Adams Young Creatives Award | www.dieateljee.com
Pretoria | Johannesburg | Cape Town | Durban | Angola | Burundi | Cameroon (OAPI) | Mozambique (ARIPO) | Tanzania www.adamsadams.com Tel: 012 432 6000 @Cre8veDesignLaw
JASON LITTLE LOERIES DESIGN JURY CHAIR
here are a few things that define Jason in terms of his position as a designer and creative director. Other than his desire to make every opportunity count, he feels predominantly geared towards unlocking the creative potential of his people and the organizations he works with, so that they can be remarkable. We chat with Jason about his recent invitation to be the design chair at this years Loerie Awards. You’ve won many awards and been a judge on many award shows. What do awards mean to you and do you feel they are really that important? I must confess, I’m a bit of an addict when it comes to creative awards. It really isn’t my fault. As a junior designer I was seduced by D&AD, the work within its annuals, and the dream of one day having my own work displayed within those pages. Award winning work often has a strong and single minded idea, and understanding the thinking behind the work can be a powerful education tool for staff. For many, design is about the growth and development of ideas as opposed to a ‘light bulb’ moment. Do you find more value in a trial and error approach than always being on the search for a light bulb idea? The real challenge is how to get to those answers that are really out there and unique.
I’ve found Designers will often have this attachment to ideas they’ve invested time in, even if they aren’t the right solution to the problem. As timings get shorter and budgets tighter, I’ve found that fast ideation and prototyping of ideas helps get to a better solution more quickly, and avoid the over investment of emotion into the work. It also allows people to bounce ideas around and build on any loose thoughts, often arriving at a place that wouldn’t have been possible alone. We think surfing is tremendously cool and you should definitely get in the water while you are in South Africa. How has the time you spent in Australia and pursuing personal lifestyle goals helped you to develop and evaluate yourself as a creative? Surfing was one of the reasons I came to Australia to live. Living in Sydney affords me the opportunity to work on large scale projects of a global standing, whilst pursuing a sport that genuinely brightens my day. Like most sports, surfing creates a constant need and desire to get better. The
much fun as possible. If it feels like work, then something isn’t right. Design seems to be taking a back step to the products which they are presenting. What do you find more challenging. The client that wants you to create the product experience or the client that wants the design to frame the product with a minimum of design elements? If Design achieves certain objectives through creative problem solving, then it really shouldn’t matter if it is creating the product experience or framing the product benefits. It should always be delivering (or over-delivering) on the needs of the brief, never competing for attention with the product it is meant to be communicating. When you are evaluating design work what are the tell-tale signs of greatness? Most people like what they know. So when a great idea is shared and people get a little concerned or scared, or say things like ‘the client will never go for that, it’s too far’, then nine times out of ten, this is the killer idea worth backing. Often my role is about spotting the hidden gems within someone’s work, teasing out ideas and executions that have been lost or simply disregarded as wrong. It’s far more rewarding to help bring other’s ideas forward than imposing my own. Is it difficult to come to another country and judge country specific work? A great idea is universally understood and recognized, and if executed with originality and brilliance, should qualify for an award, no matter the country. It’s no coincidence that the best pieces of work will often be awarded in multiple creative awards schemes. Every member of a creative jury must give the work entered a certain level of respect. This means taking the time to look at the work properly, investigate and understand the work contextually, and judge it based on the local criteria as well as at an international level. With the above in mind, the best work should easily rise to the top. www.jasonlittle.co
I must confess, I’m a bit of an addict when it comes to creative awards. more you do it, the fitter you get, the more waves you catch per session, and in turn the more experience you gain. If you compare this to design it’s pretty much the same process. Aim higher than your experience lets you, fail often, and enjoy the ride. How do you maintain your desire to create and drive to exceed in order to keep your work and studio at such a high level? RE: is made up of a number of strong minded idealists who want to change the world through design. Through working with ambitious clients, we strive to build notorious brands. So of course we collectively should and do want to produce the best work possible for our clients, but equally we have an unwavering ambition to produce some of the most remarkable work in Australia, and ideally the world. I also work hard to make sure our studio culture is a nurturing one. One that sets the right tone for people to do their best, and have as
S H O P AT W W W. A D R I A A N K U I T E R S . C O M
he photography duo Hufton + Crow is made up of Nick Hufton and Allan Crow and was founded in 2002. They specialise in architectual photography and quickly became world renowned architectual photographers. Nick Hufton is originally from Macclesfield in Cheshire, United Kingdom, and Allan Crow from Ellesmere Port. They currently both live and work in London. We chat to Alan Crow and talk about their architectual photogoraphy. Are you self-taught or did you receive photography training? Nick went to Plymouth University and studied photography. He then moved to London and started assisting the legendary Chris Gascoigne. He worked with Chris for four years, whilst doing his own commissions at the same time. In the meantime I was completing a Landscape Architecture degree in Manchester. Although I enjoyed the course, by the end I knew it wasn’t the profession for me. After I finished I went to see Nick in London and he took me on a few shoots. Immediately I knew this is what I wanted to do. Nick was itching to break away and work for himself so he introduced me to Chris Gascoigne who remarkably agreed to take me on as his assistant and the rest is history. How did the partnership come about? We met through mutual friends in Macclesfield where Nick lived and we both went to secondary school. With a mutual passion for clubbing, music and festivals a lifelong friendship was born. After I started assisting Chris, Nick built up a successful career under his own name, and I received the best training anyone could hope for. Five years on we were in our local pub, where lots of our best ideas are formed, and decided it would be a great idea to work together. Why architectural photography? Nick has always photographed architecture, and because of my early interest in the urban landscape and the fact I was trained in architectural photography by a great photographer, I never had any desire to pursue any other genre. When photographing various projects do you ever meet with the architect directly and draw on their experience of designing the building and does this impact how you approach the project or are influenced? In our experience, the most successful shoots always have input from the architects. Obviously we are often left to our own devices due to time constraints, but ideally you can draw from the architect’s passion for the project and translate that into images that communicate the project best. The architect will have lived and breathed the project for however long, so their input is invaluable, we turn up on the day and see certain things that the architect can’t see and vice versa. They point out key areas or details that we might miss, It’s this collaboration that generates the best results. www.huftonandcrow.com
utch photographer Iwan Baan is known primarily for images that narrate the life and interactions that occur within architecture. He is one of the worlds greatest architectural photographers. Born in 1975, Iwan grew up outside Amsterdam, studied at the Royal Academy of Art in The Hague and worked in publishing and documentary photography in New York and Europe. Iwan fell unexpectedly into the subject of architecture in 2005 when he proposed to Rem Koolhaas that he document a project by the architect’s firm OMA. The proposal led to his first major project, the documentation of the construction of OMA’s China Central Television (CCTV) building and Herzog & de Meuron’s completed National Olympic Stadium, both in Beijing. Iwan collaborates with the world’s foremost architects, photographing institutional, public and private projects by Rem Koolhaas, Herzog & de Meuron, SANAA, Morphosis, Frank Gehry, Toyo Ito, Steven Holl, Diller Scofidio + Renfro and Zaha Hadid, and young architects like Sou Fujimoto, Selgas Cano among others. His work is characterized by the portrayal of the context, society, people and environment around architecture. He also completes documentary projects on social initiatives such as schools, libraries and community centers in Africa, Asia and Latin America. Iwan’s images appear frequently in The New York Times, Domus, Abitare, Architectural Record and The New Yorker among others. He has been exhibited in the Museum of Modern Art, the Architectural Association in London, the AIA New York Chapter and the Marta Herford Museum. Exhibitions in 2010 included the MoMA exhibition, Small Scale, Big Change: New Architectures of Social Engagement, and Richard Neutra in Europe, which has been showed at the Martha Herford Museum in Germany and the Swiss Architecture Museum. He has currently solo exhibitions at ACME Gallery in Los Angeles and at Villa Noailles in France. He frequently collaborates on books covering diverse subjects including SANAA Studios, the Porsche Museum, Steven Holl’s Knut Hamsun Museum, The MAXXI MUSEUM by Zaha Hadid and the new book, Brasilia—Chandigarh: Living With Modernity with Lars Muller. Upcoming books include a book with Lars Muller and the Benesse Foundation on the Setouchi islands, and the book: No More Play with Michael Maltzan and USC University on Los Angeles, published by Hatje Cantz. www.iwan.com
JUDD FRANCIS Deluxe
CREATIVITY DESIGN AND BRANDING THE COFFEE CULTURE
Hi my nam is Judd Francis, degenerate Kiwi who saw a massive gap in the market for really great coffee in South Africa. I have been in coffee since I was 16, took a bit of a break to travel the world and did a bit of everything but all roads led back to coffee. How involved were/are you in the design of the interior / logo design / all branding of your store? We wanted a walk in factory so people could experience what it is we do rather than hiding it in an industrial park somewhere. We got together with our architect Olaf Nel and designer Bradley Abrahms to create our spaces and brand identity. www.deluxecoffeeworks.co.za
Article Ryan Jared Ali Photography Seagram Pearce
offee is often referred to as the fuel for creativity, if that is true that would make the owners the merchants of creativity. Quite a cool title to have if you ask me. Coffee culture has developed at a rapid rate in South Africa and Cape Town where the idea of chicory is scornfully looked upon (until two days before pay day that is). We would like to believe that design adds intrinsic value to one’s offering and the success of the brands we are featuring are testament to that fact. Alongside the resurgence of ‘crafted’ products, this further has helped the growth of the industry. We at Designtimes took a moment to meet with the the Merchants of Creativity and see where their own journeys began. We asked them all the same questions but selected one from each to answer.
for the full interviews check out www.designtimes.co.za coffee tasting video online at www.designtimes.co.za
CARL WESSEL Deluxe
JON-PAUL Loading Bay
I’m am one of the grumpiest people i know, I desperately needed a change of scenery after being in the film industry for nine years, thank goodness I bumped into Judd at a bar... we shook hands bought a roaster and started roasting coffee in my back yard, now we are four years down the line. What is your brand doing to attract someone to drive/walk past another coffee shop to come to yours? Nothing, they have to come look for us, because you can’t see us, only hear of us and then come look for us. www.deluxecoffeeworks.co.za
Before Opening LoadingBay in Cape Town. I felt the market lacked the offering of high quality goods combined with an experience that suits the environment. An environment with charming knowledgeable people that understand their product, always eager to learn more and share their experience I’m happy to see this is a culture that is now growing. What aspect of your brand have you focused the most design? Our product... which is design for us! and the rest is the writing on the packaging. However this must take time as its the messag you put across to your customer If your design is terrible and your product great, its a little confusing. So don’t miss the sma details. Focus on trying to relate what the inside product wants to transcend. This is what design is for us. www.loadingbay.co.za
JONO LE FEUVRE Rosetta Roastery In short, three musician friends came to the realisation that ‘the band wasn’t gonna make it’. Always being firm believers in following one’s passions, tempered by a common desire not to be homeless, we were led to seek out the next most economically viable common passion. Coffee was it. We opened an online mail-order single origin coffee roastery just over three years ago, but the retail store space (now only six months old) was our effort to communicate our message more effectively. Do you think the craft trend which is growing at the moment will be replaced by a future of mass produced ‘craft’ coffee? I’m hoping the trend will actually reverse itself as people become more informed. The better we communicate the quality differences, the more the consumer will be empowered to make their own wise choices. A quick wiki search on “specialty coffee” may help expand on the topic a little. www.rosettaroastery.com
SHAUN BOND FFMM My name is shaun bond I started FFMM because of what a bloody mission it is to find ethically sourced meat plus a great cup of coffee. The coffee culture has exploded all over South Africa, and for Cape Town especially. How have you marketed yourself to stand out from the crowd and be a leader in your industry? ‘Purchase a R170 cup of coffee & get a free 1kg ethically sourced lamb shoulder completely free!’ Seriously. A great cup of coffee with properly roasted beans and a correctly extracted espresso based coffee, has been a major draw card to the little meat merchants on metal lane. Browse the beast of a fridge and enjoy a Deluxe coffee made correctly. www.ffmm.co.za
THEO VAN NIEKERK Tamboers Winkel
DANIEL HOLLAND Yourstruly
I was born in a small town called Ficksburg in the Eastern Free State. My Grandparents had a farm there called ’Vorentoe’. I spent a lot of time on the farm and I remember the warm, welcoming farmstyle hospitality and I wanted to recreate that. Do you think the craft trend which is growing at the moment will be replaced by a future of mass produced ‘craft’ coffee? If one is not a coffee aficionado the same tools of design which you are currently utilizing to communicate the authentic message could be replicated in the mass market. Yes it can be replicated, however the branding and design of a product can be great, but an informed consumer will not buy it again, if the quality is substandard. facebook.com/Tamboerswinkel
My name is Daniel Holland, I am 27 years old. I own Yourstruly. I enjoy Skateboarding, surfing and general outdoors. Im originally from Somerset West, but I have been living in town for ten years now. I opened my store because owning my own coffee shop was always a dream of mine, and I really just wanted to work for myself. The culture of designers holds coffee as the fuel to creativity, this generally attracts this specific consumer group. Is it just a perception that only ‘designers’ use coffee to fuel their creativity? Haha, yeah I suppose designers do use coffee to fuel their creativity, or its a great excuse to get out the studio and stretch their legs. Either way, it’s great for business, and i personally think they should be drinking more. www.yourstrulycafe.co.za
REX ARCHITECTURE AND DESIGN
oshua Prince-Ramus is Principal at REX, a New York-based think-tank of 25 designers from diverse cultural and educational backgrounds. Joshua was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture/Rem Koolhaas—and served as its Principal until
he repositioned the firm as REX in 2006. While REX was still known as OMA New York, Joshua was Partner in Charge of the Guggenheim-Hermitage Museum in Las Vegas and the Seattle Central Library, hailed as Time magazine’s 2004 Building of the Year and by Herbert Muschamp in the New York Times as “the most exciting new building it has been my honor to review in more than 30 years of writing about architecture.” In 2005, the Seattle Central Library was awarded the top honors bestowed by the American Institute of Architects, the American Council of Engineering Companies, and the American Library Association. Among REX’s recently completed work, the Dee and Charles Wyly Theatre in Dallas, Texas received the American Institute of Architects’ 2010 National Honor Award, the American Council of Engineering Companies’ 2010 National Gold Award, and the U.S. Institute for Theatre
Technology’s 2012 National Honor Award. The Vakko Fashion Center in Istanbul, Turkey was presented ArchDaily’s 2010 Office Building of the Year, Wallpaper* magazine’s Design Award 2011 for Best Workspace, Architizer’s 2013 A+ Award for Low-Rise Office Building, and was nominated for the Agan Khan Award in 2012. Current projects include a 110,000 m2 luxury housing tower in the heart of Seoul, Korea, designed to maximize views, natural ventilation, and daylight by radically vacating its core; an industrialized restaurant concept for McDonald’s, facilitating its rapid expansion in Europe and Asia; a 400-foot tall, dynamic, sunlight-responsive installation shading the Nasher Sculpture Center in Dallas, Texas; the headquarters for the gaming company Activision|Blizzard in Los Angeles, California; and the repositioning, re-cladding, and interior renovation of a
130,000 m2 Manhattan landmark. Notably, within the past several years, REX received second prize in limited international competitions for the new Edvard Munch Museum in Oslo, Norway; the Finnish Innovation Fund’s Low2No sustainable development in Helsinki, Finland; and the new Victoria and Albert Museum in Dundee, Scotland. REX is currently awaiting the results of limited competitions for the Mercedes-Benz Future Center in Stuttgart, Germany and a $480 million, 80-story tower in Kuala Lumpur, Malaysia. The work of REX and Joshua PrinceRamus has been exhibited and published extensively. Joshua has been credited as one of the “5 greatest architects under 50” by The Huffington Post, one of the world’s most influential young architects by Wallpaper*, one of the twenty most influential players in design by Fast Company, and listed among “The 20 Essential Young Architects” by ICON
magazine. Underscoring REX’s faith in architectural performance over mere imagery, Joshua was cheekily dubbed “the young savior of American architecture” by Esquire in an article examining his “holy war against the sculptors, starchitects, and fey theoreticians of his profession.” Joshua was the Eero Saarinen Visiting Professor at the Yale School of Architecture, and a visiting professor at Columbia University’s Graduate School of Architecture, Planning, and Preservation; Harvard University’s Graduate School of Design; the MIT School of Architecture + Planning; and Syracuse University’s School of Architecture. Joshua is a member of the TED Brain Trust, and shared REX’s design methodologies for the Seattle Central Library, the Dee and Charles Wyly Theatre, and Museum Plaza at the TED2006 and TEDxSMU conferences. Videos of these talks can be found on www.ted.com. www.rex-ny.com
Interior designers, take note!
I Life inside the car, Guy Burgoyne look good too. Some thirty years ago, a motoring journalist jokingly characterised contemporary interior car design as follows: The interior of a German car, designed by an engineer. The interior of an American car, designed by a jukebox manufacturer The interior of a British car, designed by an antiques dealer. The interior of a French car, designed by an anarchist. The interior of an Italian car, designed by a short-legged bus driver. The interior of a Japanese car, designed by a committee using the ideas of other people and the interior of a Swedish
f the exterior design of a car is important, the design of the interior is perhaps even more so. Because it is inside the car that you spend most of your time with the vehicle. If you grow tired of the inside, a pleasant exterior will not help the situation. Have you ever thought about how long your eyes are exposed to the driver’s environment in your car? If you cover 20,000 km yearly in urban traffic, with an average speed of 20 kph, you spend some 1,000 hours in the driver’s seat, which is equivalent to 100 full working days! During this time you are holding on to the steering wheel, watching the gauges, looking at the centre stack and touching the interior more or less all the time. The importance of well-being, comfort, ergonomics and aesthetic appeal can never be emphasised enough. You should never grow tired of what you are touching or looking at. It must feel fresh, interesting and appealing all the time. And it must
body of the car. Inspiration and ideas were picked up from beyond the boundaries of car design: “Scandinavian furniture design with its clean and uncluttered lines gave us the basic inspirational idea, especially Arne Jacobsens’s famous “Myran” (The Ant) chair of the 1950s. Made of bent wood, it has the perfect soft shape and curvature that we were trying to achieve,” says Guy Burgoyne, chief interior designer and the person responsible for the centre stack. “The next step was to combine this beautiful object of simplicity with hitech, the climate and audio controls. After browsing through a wide range of different products we realised that the control panel of the centre stack should resemble the logic and the elegant design of a remote control for home electronics, especially the slim Bang & Olufsen remote control. Smart and easy to use.” In order to make the best possible use of the different materials and tie them together, the interior was built up layer by layer, with the thin and narrow centre stack floating on top of it all. Behind it is a practical storage space, softly illuminated, which increases the impression of a floating object. Centre stacks are usually large and wide and fill up the space which is used for storing smaller items in the S40. The impression here is very neat, almost minimalist. “The panel is the foremost design symbol of the S40 and it was something of a revolution when we first showed it. It has taken a lot of work and creativity to combine our ideas with the technical
Scandinavian furniture design gave us the basic inspirational idea. car, designed by a school teacher. A joke it may be, but those characterisations do carry some truth, or at least they did a generation ago. A lot has happened since then, not least at Volvo Cars. Compare the driver’s environment in a Volvo 760 from the mid80s, which was very elegant and functional by the standards of the day, with that in the new S40 and this fact becomes very obvious. The actual design is much more pronounced; influences from Scandinavia, modern technology, contemporary art and organic shapes can be traced through the interior of a Volvo car of today. With the new Volvo S40, introduced at the Frankfurt Motor Show in September 2003, a new interior design concept was introduced, symbolised by the centre stack that appears to float in the air. When conceiving the S40 interior, one of the challenges was to give the occupants a feeling of a light and airy atmosphere inside the rather compact
solutions needed to make the panel as slim as it is.” Burgoyne continues. “The controls are ergonomic and functional, even multi-functional. Most of them are used for several functions. We hope that people who use a mobile phone or TV remote will easily find their way around the panel. The B&O unit is a great example of a high-quality product that achieves that degree of familiarity. The main functions like climate and audio control are operated via four round knobs surrounding the “remote” panel that contains the controls for all other functions,” explains Guy Burgoyne. Not only have Guy and his team found inspiration for the shape and design of the centre stack in furniture and hi-tech equipment. Such objects have also provided the inspiration for the materials used in the different versions. The centre stack can be specified in a choice of base level grey, brushed aluminium, polished walnut or even translucent plastic. The base level version, called “Bauxite”, can to a large extent find its origins in the world of mobile phones; the brushed aluminium effect is the same as used for digital cameras; wood is a necessary option for the purist customer and the translucent look can trace its inspiration back to sources such as Apple computers. Thanks to a number of soft lights in the interior, the effect in darkness is one of comfort and well-being. And these properties are of course linked to driving safety. The trim and upholstery come in a number of colours and materials to match the centre stack. With names like Boden, Dala and Lava, the Scandinavian touch is evident. www.volvo.com
n January this year the United States Patent and Trademark Office registered US trade mark 4,277,914 in the name of Apple Inc. for the design and layout of their retail stores. This recent move by Apple Inc. to get intellectual property protection for their store layout has drawn interest from all corners of the world. This move by Apple has sparked a renewed interest in the possibility of obtaining protection for interior designs. When seeking protection for a particular interior design patent rights are generally not an option as they protect the underlying inventive concept of a technical invention, criteria which the interior design of a store does not meet. It is for this reason that one has to turn to other forms of intellectual property rights, such as trade mark rights in the example of Apple Inc. The question naturally follows whether a particular interior design of a retail outlet is sufficiently distinctive to qualify as a registerable trade mark. In the case of Apple Inc.’s retail stores there is a strong argument made that customers do associate their store layout with their services and accordingly, the store layout itself is capable of distinguishing the Apple brand from other brands. However, this might not always be the case. Does this mean that the creative efforts put into interior designing are not capable of being protected if the final design is not distinctive? Not necessarily. This is why many are turning to the registered design. The registered design is lesser known than a patent or trade mark. The registered design is a form of intellectual property that protects the appearance of an article. Unlike patents, it does not only relate to technical inventions and unlike trademarks, it is not required to be capable of distinguishing one brand from the next. As long as the design is new and original it can be protected by filing an application for a registered design with the SA designs office. Our Designs Act requires that the design be applied to an article of manufacture. However, there does not seem to be a clear understanding of what exactly this requirement involves. Changes in international design law suggest that this should include intangible articles. Unlike the other classes, design class 32 does not only cover tangible articles but instead protects get-up, graphic designs, graphic symbol, logos, ornamentation and surface patterns. By filing an application for a registered design they could get fifteen year’s protection for a particular design. This might not measure up to the possibly indefinite term of trade mark protection, but given that trends change rather quickly a term of fifteen years should be more than adequate. With a faster turnaround time and no onus on the owner to show that the design is capable of distinguishing its goods and services from that of its competitor, it could very well be a lot easier to get protection using registered design rights.
design. write. record. code. film. act. animate. photograph. create!
ANIMATION FILM & TELEVISION
PHOTOGRAPHY MULTIMEDIA & GRAPHIC DESIGN
ACTING FOR CAMERA
NEW MEDIA DEVELOPMENT MOTION PICTURE MAKE- UP CityVarsity offers comprehensive short courses and full-time programmes in the media and creative fields.
BE PART OF IT! AlanShelley
Film and Television Production Graduate Winner of the Jameson ‘First Shot’ competition. Vuka! Winner in 6 categories with his ‘Moses’ PSA. ‘Harold and Nina’, his graduate film, won both a Bronze Loerie as well as a SAFTA Award for Best Student Film. Winner as co-director/script writer of the 48 Hour short film competition.
Acting for Camera Graduate
His first project was a short film called Small Killing (2008) that was filmed and aired in South Africa. Bjorn got his first US 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 in the USA, and The Philanthropist (2009) which aired on NBC.
GeraldineGeeMoloi Film and Television Production Graduate
Gee showed immense promise as a producer from her first year. By her 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.
Begin Tomorrow Today By Contacting: Cape Town: 021 466 6800 | Newtown: 011 634 9840 email@example.com | www.cityvarsity.co.za facebook.com/cityvarsity
City Varsity (Pty) Ltd T/A Film & Television & Multimedia School, established in 1996, is a registered as a private higher education institution in terms of section 54(1)(c) of the Higher Education Act, 1997 (Act No 101 of 1997), and Regulation 16(4)(a) of the Regulations for the Registration of Private higher Education Institutions, 2002, to offer its approved programmes. Certificate Registration Number 2001/HE07/004. The CityVarsity programme offering is accredited by the Council of Higher Education and the curricula are registered with the South African Qualifications Authority, (SAQA).
t seems my most successful interviews and enriching conversations always start with tea. I’d arranged to meet Marilise and Brad for a coffee-fueled interview but ended up outside a Thai café sharing a far more relaxed pot of tea, chatting like old friends about bicycles, hanging out on the fan walk and playing tricks on cell phone companies trying to sell us things, amongst other topics seemingly unrelated to design. But perhaps it has more to do with the people than the choice of beverage. As finalists in design competitions during their studies, Marilise and Brad came together wanting to start their own brand and own their own business culminating in their first joint effort as ‘Vice Versa’ at
The aim of their interactive, Meccanolike designs is to make the user feel involved. Decorex this year with the easily assembled and flat-packed ‘Plus Minus Desk’ and robot-like desk lamp named ‘Andi’ (which could pass for a more hip and happening relative of “Wall-E”). The aim of their interactive, Meccano-like designs is to make the user feel involved and to give them insight into the design decisions made in the production process. Influenced by Donald Norman’s exploration of the term ‘affordance’ in design, the user’s perception of the intended use of an object and the resulting interaction between them - as well as Dieter Rams of Braun fame’s “Less, but better” philosophy, they intend to venture into more complex types of design such as appliances and beyond the primary and/or conventional use of everyday objects. With Marilise’s architectural and Brad’s industrial design background their creations strike a balance through complimentary materials, textures and shapes, combining machine and hand-made production methods. Although currently working on a design for a couch and other pieces to form a range with the desk and lamp, their sights go beyond furniture, beginning with a collaborative project in designing a laptop stand. Vice Versa is personalized, problemsolving design and Marilise and Brad are the kind of people that not only keep the design industry fresh but also accessible. Don’t we all want boards for more than just bread or a place for our laptop apart from our laps? On my moonlit bicycle ride that night, surrounded by wobbly newbies, I found myself wondering what Marilise and Brad’s creative design take would be on training wheels for adults. www.viceversa-ds.com Kerytthe Mahaffey
DO SOMETHING DIFFERENT WITH YOUR DIAMOND
A sample of our work? You’re looking at it!
We’ve printed this paper from the very first issue and it’s not because we’re on a contract, it’s because we know that ‘you’re only as good as your last campaign’. The reasons we’ve kept this account is because we’re passionate about print, we’ve built and maintained a valuable relationship with our client and we’re committed to meeting their deadlines. Like the paper, we’re getting better all the time. Driven by the latest in print technology, we produce top quality brochures, magazines, corporate folders, posters and point of sale material.
Corner of Park Road and Mail Street, Western Province Park, Epping
T: 021 505 4200
F: 021 505 4280
Create Interactive Publications in InDesign CS6
Create interactive publications using Adobe InDesign and the Adobe Digital Publishing Suite. Use Adobe’s InDesign CS6, to create interactive publications for tablets and smartphones, writes Eva Csernyanszky InDesign supports a host of interactive features specifically designed for creating immersive content for devices. Whilst InDesign’s Digital Publishing Suite tools allow one to incorporate hyperlinks, slideshows, panoramas, audio and video, and pan and zoom capabilities, in this tutorial we will focus on the scrollable frames features to create pullout tabs.
TUTORIAL A pullout tab is a small graphic that sits at the edge of an object or page and typically indicates that additional optional content is waiting “off-screen” for the reader. It is especially useful when you don’t want it to interrupt the full design of the page. It’s official name is a scrollable frame and it slides in and out of a page, revealing more information when the reader pulls on a tab. It can be dragged into view, and along with it, the hidden grouped content. A pull out tab is also a good way to combat space issues when designing for small screens such as smart phones.
01 We begin by planning the nature
and purpose of the extra information that will be available to the reader of the publication. The possibilities are endless but, for example, a pullout tab could be as simple as a group of additional text and graphics whose sole purpose is to support the visible screen content. Alternatively, the pullout tab could be as complex as a mini navigation tool bar, allowing users to skip to other sections of the publication through the use of scripted buttons. Even video and sound could be embedded on a pullout tab.
04 Next, position the empty container
frame in place. Do this by placing it on the layout and ensure that it also overlaps the tab area of the pullout content group, which may be positioned off the page at this stage.
frame. You can do this by grouping some elements of content together, such as images and text boxes, for example.
Remember this will be content that will fit into a container object and will only be peeping out of the container until a user drags it onto the screen into full view.
07 Set the options of the Scrollable
Frame by changing Scrollable Frame settings. For Scroll Direction, choose Horizontal. That ensures there won’t be any “wiggle” if the frames aren’t the same height.
05 Now cut the content frame and
paste it into the container frame. The container frame will mask most of the content, except for the pullout tab graphic.
LEVEL OF DIFFICULTY Intermediate
03 The next step is to create a container
Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies. www.friendsofdesign.net
scrollable frame. Select the object, choose the Windows menu / Folio Overlays panel. Select the Scrollable Frames option, it should be available to you. If it is greyed out then ensure that you have the object selected correctly and try again.
02 Begin by creating the visible content
DURATION 20 minutes
Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts.
06 Now convert the object into a
frame. Do this by dragging out a new rectangle frame. Set the height and width of this rectangle to meet the dimensions of the grouped content, including the tab area.
To paste the content frame into the container frame, change to the Selection Tool and click on the content frame. Choose the Edit menu / Cut (Cmd X for Mac and Ctrl X for PC’s). Select the Container frame with the Selection tool still active and choose the Edit menu / Paste Into (Cmd X for Mac and Ctrl X for PC’s).
08 Hide the scroll bars and use the
document position as the initial view. To include other inter activity in the tab, ensure that the pullout object is below the interactive object in the Layers panel.
dont become a left brained person
accountants use the left side of the brain
creatives use the right side of the brain
why do both? let us take care of the boring stuff leaving you more space for the creative side
telephone +27 (0)21 462 7533 | email firstname.lastname@example.org | www.wcca.co.za
Pantone 5255 (dark purple) or as close to it as possible
MR0714 Design Times half pg ad_paths_2013_final_may.indd 1
2013/05/31 12:56 PM
Photo retouching crash course
01Lets start! First off you will need to
download and install the Portraiture plugin from imagetronics website
Use the dodge tool to make the whites of her eyes brighter and to clean up some of the blood shot veins. You might also want to use the Burn Tool to make her retina darker.
Touch up a photo quick
It’s very easy to install, all you will need to do is choose which versions of CS you would like to intall the plugin to. I’m using CS6 extended for this tutorial but it will work with CS5 and possibly CS4. Once that is done, it’s time to find an image.
Using the Portraiture plugin for Adobe Photoshop, learn how to quickly retouch any photo professionally. With every great photographer, comes an equally great retoucher. However, retouchers are few and far between and really expensive. In this tutorial I will take you through a few quick steps on how to touch up an unedited fashion shot and get it looking just right for the magazine layout using one of the best Photoshop plugins around: Portraiture. Imagenomics, most powerful retouching plugin for Adobe Photoshop. It combines a very powerful engine, with some very unique and powerful settings and presets for those of you who don’t want to venture too far into the realm of retouching.
03 Once you have finished touching
up all the elements that bug you, e.g hair, eyes, lines, veins etc, duplicate the layer again. You should have 3 layers now. Name the first layer “Clean Up” and the second layer “Portraiture”
Photographer: Liam Hine
02 Next, duplicate the background
layer. Its always best to use “nondestructive” editing on images like these. It prevents you from saving over the original file and it also means that you won’t have to go through your History pallete every 5 minutes to rectify a mistake. Once you have duplicated the layer, zoom in and start taking away any detail that you find not too pleasing. I specifically use the Spot Healing Brush for moles and blemishes.
04 Make sure you are on the Portraiture 06 If you’re familiar with Photoshop layer and go to Filters > Imagenomic > Portraiture.
As a hobby-photographer, I have found this plugin invaluable, more so, it saves a lot of time when you really want to make that photograph just that much better. If you are familiar with Adobe Lightroom and Photoshop this tutorial will be a breeze. Photograph courtesy of Google Images
05 Now the fun starts. You can use the
Presets in the top left corner, or stay on the default preset and play around with the settings. Settings will always depend on how the photograph has been taken. For this photograph, I have used the following:
DURATION 30 Minutes LEVEL OF DIFFICULTY Intermediate
You can also use the Clone Stamp tool to remove unwanted blemishes if the texture is very complicated. Next we will create some extra contrast with the Dodge and Burn Tool.
You can use the colour sampler in the image above to get a good perspective of skin tone and then play with the Hue, Saturation and Luminance to give that air-brushed feel.
07 To see the full comparison of the unedited image and my newly edited image you can hop over to my website at the following address: http://web-visionsa.com/tutorials/ designtimes/ See if you can spot what I’ve done with my editing, what detail I’ve added and what settings I’ve used.
* Iv exaggerated the blemishes here so you can see exactly what can be taken away.
Daine Mawer (@DaineMawer) is a designer, lecturer and entrepreneur with a passion for all things digital and online. He runs Web-Vision, a small web and graphic agency in Cape Town, South Africa (www.web-visionsa.com)
or Lightroom you will recognize these settings and know more or less what they do. I’ve decided to smooth out some of the larger detail on her skin, A little bit of Fine smoothing will help with the sharpness and even the skin tone.
Good luck! If you have any questions please tweet me! Always happy to help.
HINT Use the preview pane selector in the upper right corner to get the side by side view like I have in the image above.
HINT Use the Dodge and Burn, as well as the Blur and Sharpen Tools on the hair to get some nice contrast.
Seagram Pearce Photography 78 Shortmarket Street Cape Town email@example.com studio 021 422 5823 mobile 083 978 3143
FURNITURE LIGHTING PRODUCTS BESPOKE DESIGN
082 692 5683 firstname.lastname@example.org www.viceversa-ds.com email@example.com