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for creative humans number 57


who's joey?


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editorial Welcome to the 57th installment of the magazine. In this issue, we meet the best

book cover


working in South Africa today (although you might know him by a different name) and find out what makes him tick. In a tribute of sorts, Hougaard Winterbach pays homage to the

humble sketchbook (which can

be the back of an envelope or paper serviette) and pleads for a return to simple mark making as a key aspect of the creative process. We then take a look at the awards season that was – and witness the delicate act organisers have in balancing personalities,

commercial interests and creativity into celebrations of

creative talent. This is also the final issue for 2012 – and I'd like to thank our partners and sponsors and you, the loyal reader. Happy reading.


Ink on paper You can’t beat it. Subscribe to Enjin Magazine and get six beautifully printed issues (a 1-year subscription) for only R175 IMMEdIatE bEnEfItS • Get your copy delivered straight to your front door or office • Save money (around R10 per copy) • never miss an issue – start (or continue) your collection immediately • Looks great on your coffee table Simply pay your cash into Softmachine, abSa, branch code 632005, account number 4055586968. then email proof of payment, together with your postal address and contact details, to

ENJIN 57 3 SubScription rateS




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the small print COVER IMAGE Cover image by Morne van Zyl | EDITOR Gregor Naudé CREATIVE DIRECTOR François Smit, QUBA Design & Motion CONTRIBUTING EDITOR Herman Manson EDITORIAL CONTRIBUTORS Hougaard Winterbach, Oliver Barstow, Richard Hart, Sean O'Toole ADVERTISING SALES Gregor Naudé

PUBLISHER Softmachine Media, PO Box 521435, Saxonwold, 2132 Tel 084 445-5067; COVER PAPER Cover printed on Cocoon Gloss supplied by Antalis South Africa. Cocoon is manufactured by Arjowiggins Creative Papers using green technology reflecting Antalis' holistic approach to sustainability. It is made from chlorine free, 100% FSC™ post consumer waste recycled pulp – meeting the needs of the environmentally conscious consumer by recycling and reusing waste paper, avoiding landfill and reducing greenhouse gas emissions. DISCLAIMER Neither this publication nor any part thereof may be reproduced by any means without the written permission of the publisher. The views expressed in this publication are not necessarily those of the publisher or editor.

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E NT Y 2013 O C AR














100% BS blink stefanus does it again

Johannesburg creative agency House of Brave walked away with overall fourth place, a Gold and two Silvers at the 2012 Pendoring Awards. Their Gold award winning entry in the poster category for the Blink Stefanus Beer campaign by copy writers Stefanus Nel and Anette Nel, as well as design and art directors Sarita Immelman, Marcelle Labuschagne and Susan Aukema, speaks about human truths. Vanessa Pearson, Executive Creative Director at House of Brave explains, "Blink Stefanus Beer is a new craft beer that’s a little different from other craft beers. Firstly, it is really great tasting. Secondly, it’s made by Mitchell's in Knysna. And thirdly, it has a unique and big creative idea behind its name. Mostly everyone knows what the abbreviation BS implies. Blink Stefanus, of course.

And yes, it’s also a euphemism for bullshit. A lot of people speak a lot of BS when they drink a lot of beer. Naturally, they speak more BS the more BS beer they enjoy. And that, quite simply, is the human truth behind this mischievous new brand." Says Andrew Shuttleworth, Managing Director at House of Brave. "By nature we are a collaborative group, and so we are open to sharing ideas with brave creative thinkers regardless of their industry discipline. Great relationships also transcend boundaries, and creative collaborators often spot opportunities others may miss. We make a point of maintaining good relationships with likeminded and talented industry professionals." And that's no BS. ­

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lunch break iconic

1930s image still celebrated

Corbis, world renowned provider of stock photography, illustration, footage, fonts, entertainment licensing and rights representation services, recently launched a campaign celebrating the 80th anniversary of one of the most iconic images in history. It captures workers sitting on a steel beam for their lunch break on top of the Rockefeller Centre Building in New York, USA. 'Lunch in the Sky' takes us back in time, a powerful visual reminder of what life was like back in the 1930s. The image first appeared in the New York Herald Tribune on October 2, 1932. The original negative is part of Corbis' Bettmann Collection and is stored in a temperature-controlled facility under Pennsylvania's Iron Mountain. This six square mile storage facility was carved into the limestone bedrock to ensure optimum storage conditions and is home to over 20 million Corbis images. 'Lunch in the Sky' is consistently recognized as one of Corbis' most popular historic images. The campaign highlights the breadth and depth of Corbis’s archival content, opening a window onto the 1930s with clips and images documenting the lifestyle, sports, politics, architecture, agriculture, fashion and even crime of the period. Corbis is represented exclusively in South Africa by Greatstock.

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design & conquer local wns gold at typographic games Conqueror's Typographic Games jury selected South African Graeme Gauld's illustrated letterform poster as the Gold Medalist in the Typographic Games competition. Gauld received tickets to the 2012 Olympic Games, as well as a trip to London. His poster design was selected from more than 1 700 entries submitted from more than 60 countries on the theme of sport, based on the statement, "It's not what you win, but how you conquer it." Conqueror is the global premium paper brand from Arjowiggins Creative Papers of Paris, France, which is distributed exclusively locally by Antalis South Africa. An international panel of jurors deliberated on the top 50 designs. In addition to Gauld being named the Gold Medalist, the five Silver Medalists, who received a pair of special-edition Nike shoes, include Luis Lourenco from Portugal; Zuleika Arroyo from USA; Liz Pod from Australia; Tomomichi Nishioka from Brazil; and Richard Thomas from the United Kingdom.

biblophiliac those who like music listen up Over the last ten years, Markus Wormstorm has continued to break new ground in the SA creative industry. In keeping with this forward thinking attitude his newest commercial project,, is set to flip the music licensing business on its butt. Biblo's mantra is simple: 'Library music that doesn’t suck.' Ten years ago, Bowie said, "Music will become like running water or electricity." Says Wormstorm, "Ask anybody in advertising and they will tell you that searching through library music is like subjecting yourself to a lukewarm bath of mediocrity. There’s too much of it. Only the coolest music is available on Biblo, with each track hand picked." By using a simple gridline search engine, Biblo guides you to the track you are looking for. It's easy and fun. Another nifty feature is the legal aspect of the site. As you can imagine, giving advertisers free access to production music could lead to some sticky situations. Biblo’s clever contract system allows contracts to adapt to each user when downloading or submitting. Biblo is designed to give the commercial world access to high quality music in a smooth, hassle-free environment. Most importantly, it gives young musicians a platform from which to make money.

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made in afrika local image collection wins international acclaim South Africa is a land filled with a range of people so diverse that a single snapshot will never do her justice. It’s taken Greatstock, one of South Africa’s leading visual solution companies, 7 years to assemble its aFRIKA Collection, showcasing the country through its people, places and textures. Offering a reflection of the country's various cultures, this collection of imagery (both photographic and motion) is being distributed worldwide. "Our aFRIKA Collection is growing in leaps and bounds, reflecting the international demand for it," enthuses Greatstock managing director Margi Sheard. South Africa's media and advertising industries are tasked with speaking to the hearts and minds of a nation that is proudly South African. This often means representing unique elements of South African humour and realities that resonate with locals. Greatstock has secured the talents of several master image makers who are signed up as regular contributors. Photographers include the likes of Michael Meyersfeld, Horst Klemm and Mark Lanning. Cinematographers include multiple international award-winners Dereck and Beverly Joubert, Miles Goodall and the Foster brothers. Footage from these and other contributors has featured in many an international commercial campaign, Hollywood blockbuster or high-end documentary – all distributed and licensed by Greatstock and its extensive international network. Says Sheard, "Greatstock continuously researches ongoing trends in the industry to ensure that they meet the demands of clients in both the commercial and editorial sectors. The fact that this collection is collated not just by South Africans but by people with a feel for images is crucial. Speaking with a South African voice means access to credible images which accurately reflect South Africa and the continent."

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bright young things think you're all grown up? prepare for a growth spurt

Forty young designers, five days of pure inspiration and a once-ina-lifetime opportunity. That’s the Emerging Creatives programme at Design Indaba 2013. Design Indaba established the Emerging Creatives programme because they believe in nurturing new creative talent and knocking down the barriers to entry for those just getting started. Design Indaba is inviting aspiring local designers to apply for a place in this sought-after programme, which launched the careers of rising stars such as Daniel Ting Chong, Andile Dyalvane and Laduma Ngxokolo. Applications are open to students in a creative faculty at a tertiary institution in South Africa, and young designers in the process of establishing a design service or business. You must be South African or have residency status to qualify. As a 2013 Emerging Creative, you’ll get a spot on the Design Indaba Expo floor alongside some of the big-

gest names in SA design. You’ll meet local and international buyers, market your products and services to the public, learn from your more established peers and network with one another. You might be an architect, fashion designer, illustrator, furniture designer or jeweller – you will be selected based on the quality and originality of your work and its ability to stand alongside world-class designs. The Emerging Creatives programme has become one of the most popular sections at the Expo, and 2012's group proved this with record sales and orders. So get ready to flex your creative muscle and extend yourself because you’re about to experience an enormous growth spurt! Applications close 15 November, 2012.

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Grand Prix winner Oliver Barstow, Caroline Coughlan and David James from Antalis South Africa


design competition proves that simpler design is often better

The Turbine Hall in Newtown, Johannesburg served as venue for the Antalis Art of Design 2012 competition awards evening in September. The competition recognises design excellence but goes further by rewarding big ideas, creative paper usage and beautiful presentation. The ability of paper to inspire new ideas and push design limits was the theme of the Paper Loves Design Call for Entry, designed by Grid Worldwide. By illustrating twelve basic principles of design (form, balance, contrast, scale, rhythm, emphasis, colour, texture, typography, illustration and photography) on twelve posters, it showcased Antalis papers and their unique characteristics. The campaign highlighted the diverse and varying qualities of paper to entice creatives to express themselves through this medium. While Antalis distributes the materials that inspire and enable great designs; they believe paper offers so much more than just a surface on which people can express themselves and their brands. Paper Loves Design motivated and challenged designers and students to enter their work. The competition received 474 entrants across the 7 commercial categories and 89 entries in the student category. "The first competition was launched in 1986, which means that for over 24 years we’ve actively encouraged designers to love paper as much

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as we do," shared an ecstatic Caroline Coughlan, marketing manager of Antalis. The talented panel of accomplished judges comprised the likes of Alistair King of King James, who officially headed the decision panel but shared that they all agreed that "knowing when not to put more on" was the order of the day; the simplest ideas were the big winners this year. The competition focused on the special connection between paper and design and the entry kit showcased the many ways that paper and design can love one another. Seven 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 welll as the opportunity to design for Antalis. Oliver Barstow from Fourthwall Books received the Grand Prix (and other prizes) for his Fire Walker book design. Guests were also treated to an insight into madcap genius when the legendary Jean-François Porchez of French type foundry Typofonderie had the audience swearing off ever using Helvetica again.


Images from Fire Walker – the book designed by Grand Prix winner Oliver Barstow

Some of the winners at Art of Design 2012 Category








Oliver Barstow

Fourthwall Books

Fire Walker book

Ultra Litho

Corporate Identity


Michael Ipp


Salon Contemporary Art Gallery

The Scanshop

Corporate Identity


Daniel Berkowitz

King James

Society CI

Hallmark Press

Corporate Identity


Simone Rossum

Joe Public

One School at a Time CI

House of Print

Annual Report


Jaco Erasmus

Greymatter & Finch

PSG Annual Report 2012

RSA Litho

Annual Report


Shani Ahmed

Draft FCB Cape Town

Santam Insurance Good and Proper

USS Graphics

Annual Report


Tami Sieben

Studio 5

Murray & Roberts Annual Integrated Report

Ultra Litho

Annual Report


Ingrid Hall

Draft FCB Durban

Isimangaliso Annual Report


Brochure 2


Francois Rey

Monday Design

Gregor Jenkin Studio Catalogue

Creda Communications

Brochure 2


Hannes de Wet

The Jupiter Drawing Room - CT

Woolworths A new world of Fashion

Associated Printing

Brochure 1


Disturbance Design

Disturbance Design

Disturbance quarterly newsletter




Bronwen Rautenbach, Leoni Joubert


Joy that never ends




Sergio Ines, Liana Liebenberg


Lyle & Scott brochure




Rikus Ferreira, Alwine Nolte

King James

King James Bible

Paarl Print



Oliver Barstow

Fourthwall Books

Fire Walker book

Ultra Litho



Ilze Vermaak, Steven Lipschitz et al

Switch Branding and Design

The Rascals in the Vineyard

Mortimer Offset



Oliver Barstow

Fourthwall Books

Milnerton Market book




JayBadenhorst, Thelmarie Brink

Just Design

Interactive Desk Stand & CD Holder

Aries Packaging & Colourtone Press/Hallmark Press

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BOLEX D16 bolex launches the first affordable digital cinema camera

The Bolex D16 is the first digital camera from the 200 year-old Swiss company whose 16mm and 8mm cameras dominated the international consumer marketplace from the 40s to the 70s. The D16 is an interchangeable-lens digital cinema camera that features a Kodak CCD sensor and produces images with a frame size equivalent to Super 16mm. The D16 remarkably captures the look and feel of film at a price that finally makes digital cinema available to filmmakers on any budget. The D16 shoots RAW image sequences at true 2K (2048x1152), without the rolling shutter or line scan effects found with CMOS sensors. The camera’s large pixel size contributes to better light reception without any need to artificially boost the signal. The D16 comes standard with a C-mount Lens mount, but lens mounts in PL, B4 and EF will also be available and are easily interchanged. The camera has two flash mounts so a monitor and a microphone can be mounted at the same time, an adjustable 2.4-inch angle display with focus assist, and, in Bolex fashion, a stylish pistol grip that allows for exceptionally steady hand-held shots. Like the classic Bolex cameras, the D16 has a carbonized steel frame that gives it a rigid body and unmatched durability. To Bolex, afford-

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able means 'high quality' and 'digital film' means shooting frames per second. The D16 offers Adobe’s Cinema DNG format along with other image sequence file types, to ensure the highest quality footage without the pitfalls of video compression. With an internal buss of over 200 Mbps and a 256Gig internal buffer drive, this camera churns through RAW footage like butter. Dual CF card slots make sure that data storage is relatively cheap and readily available. Power is supplied by internal battery, but with a built-in 4-pin XLR port, the D16 can also be powered by a traditional battery belt for long shoot days. With a sleek body design, functional pistol grip and Bolex’s iconic crank, the D16 is fun to use and has character to spare. The crank can be programmed to adjust just about anything in the menu, from volume to focus to fps. This feature and the start/stop trigger on the pistol grip makes for a shooting experience that’s unique to the brand. The retail price for the D16 and its accessories is $3 299. Price $3 299 Contact Bolex Website


CANON EOS 1–DC canon intros digital slr for movies and tv

Canon's new EOS-1D C is a digital SLR with a video focus that supports in-camera 4K (4096x2160) video recording with 4:2:2 colour sampling. 4K video is recorded using 8-bit Motion JPEG compression at 24p and Full HD (1920x1080) video capture is available at frame rates up to 1080/60p. The camera supports internal recording to CF cards at all resolutions up to and including 4K, offering enhanced mobility. Video at 2K or below can also be output to external recorders via an integrated HDMI terminal using an uncompressed YCbCr 4:2:2 signal. The EOS-1D C features Canon Log Gamma, which facilitates the capture of high-quality video rich in exposure latitude and dynamic range. Aimed at video pros who want to retain the maximum amount of information without huge file sizes, Canon Log Gamma offers a dynamic range that Canon says is comparable to film, minimising shadow-detail loss and highlight-detail loss to provide greater grading freedom for colourists in post-production. Based on the core specifications of the EOS-1D X, the EOS-1D C has an 18.1-megapixel full-frame CMOS sensor. Users can adjust image resolution to suit a subject or desired output. During 4K shooting pixels are cropped to an area equivalent to an

APS-H sensor, preventing the need to resize or scale the image, ensuring maximum image quality. Additionally, a Super 35mm crop in Full HD recording caters for cinematographers who typically work in the Super 35mm field of view. Canon says that the EOS-1D C's size enables users to achieve an extremely shallow depth of field with beautiful background blur, and sensitivity up to ISO 25,600 provides excellent quality and reduced noise in low-light situations. The EOS-1D C ships with an exclusive software package, including a suite that allows 4K/Motion JPEG and Full HD/60p video shot on the camera to be output on an external monitor. This requires the use of a PC equipped with an SDI port. It also enables video shot with Canon Log Gamma to be output on a monitor with standard video gamma applied. As part of the EOS system, the EOS-1D C is compatible with more than 60 EF lenses, all of which offer high resolutions to support 4K image capture. Price NA Contact Canon SA Website

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wacom releases new pro-level tablets

Wacom has launched two new Cintiq interactive pen displays, the Cintiq 24HD touch and Cintiq 22HD – which join the alreadyavailable Cintiq 24HD. The Cintiq 24HD touch combines iPad-style multi-touch with Wacom’s pressure-sensitive pen technology. Support for the Cintiq's multi-touch is available in the new Corel Painter 12.2 update. In other applications – such as Adobe's Creative Suite 6, including Photoshop CS6 – touch-based gestural commands can trigger shortcuts but not the advanced functionality available in Corel Painter 12.2 (unless Adobe build in support in future updates). Wacom says the Cintiq 24HD touch will support the multi-touch gestures built into Windows 8. The Cintiq 24HD touch has an RGB LED backlit panel that can display up to 1.07 billion colours, covering 97 percent of the Adobe colour gamut. To help ensure colour accuracy, Wacom will be offering tailored colour calibration hardware and software based around that offered with NEC's SpectraView line of monitors. As with the Cintiq 24HD, the Cintiq 24HD touch has a counterweighted stand that adjusts to the user's favourite positions for maximum comfort. For example, they can bring the display surface over the edge of the desk so that it rests comfortably just above the lap. The display can also be adjusted to more vertical, easel-like positions. Frequently used shortcut commands are available at the user's fingertips through the application-specific, customisable ExpressKeys and Touch Rings of the Cintiq 24HD touch.

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The Cintiq 22HD has a 22-inch panel with a white LED backlight capable of displaying 72% of RGB, with a widescreen resolution of 1920 x 1080. It replaces the Cintiq 21UX, which had a 4:3 aspect ratio. Wacom says the 22HD offers other improvements over the 21UX, including larger ExpressKeys, a USB port for connecting devices such as cailbration devices and standardised cables. This is the best pen display Wacom has produced – and probably the best drawing tablet available on the market. Compared to the 24HD, the new model goes one better. It’s comfortable to use, 20 kilograms lighter, has an additional 6 ExpressKeys and the rotatable screen looks amazing. Given that it also shaves off thousand in price, the loss of two inches of screen space seems like a small price to pay. Price NA Contact Direct Distribution Services Website


GENEVA XS the travel alarm clock updated

The travel alarm clock was once required equipment on any trip. These small, usually battery operated clocks were essential to getting us up and moving in the morning. Over time, the travel alarm clock was replaced by the cellphone. But, if Geneva Sound System has their way, the travel alarm clock is poised to make a big comeback in the form of the Model XS. According to the manufacturer, the Model XS is the world’s first portable audio system with true Hi-Fi sound. Inspired by the already mentioned travel clock, it comes in a sturdy leather-like clamshell case that flips open to deliver rich and detailed sound. Closed, it’s a stylish accessory small enough to slip into any briefcase. According to Geneva Sound System, never before has a Hi-Fi system been integrated into a case designed for a travel lifestyle. The Model XS does this with simplicity and elegance. It hides the speakers, amplifiers, radio and alarm clock inside the case, covered in a choice of red, white or black finishes. Once opened, a compact yet powerful Hi-Fi system is revealed. The digital amplifier and stereo speakers play mid and high frequencies with absolute accuracy.

The woofer is capable of producing robust bass response below 80Hz. The Model XS features an integrated digital FM tuner and stereo Bluetooth playback. Music streams wirelessly to the Model XS from any Bluetooth-enabled device, such as iPad, iPhone and other smartphones and tablets. Other audio sources can be connected via the included 3.5 mm line-in cable. Advanced digital technology allows the Model XS to produce stunning and expansive stereo sound that belies its compact size. But it comes with a price tag. Geneva has priced the unit at R2 290, which makes it an expensive option for many travelers who simply need a lightweight clock to carry with them when they hit the road. Then again, this device isn't really aimed at that market, and for those looking for a great portable sound system – that also happens to tell time – the Model XS is the perfect choice. It is a beautifully crafted piece of technology that packs excellent sound. Price R2 290 Contact i-fi Website

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Illustration by Lorcan White

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bring back the sketchbook

traditional mark making in a digital world by hougaard winterbach

In a world of technological innovation the computer has replaced many processes that were previously executed by hand. Due to ongoing technological innovation, many of these processes have been made much simpler and faster. It is, for example, far easier to correct a typed document in a text editing program on a computer than it is to do so on a typewriter. This process, which is already a second hand process (writing can be seen as first hand), is simply made much easier. However, the simplification or streamlining of tasks could have different implications in other first hand, or traditionally manual processes. Not all computerised or computer aided processes are necessarily improvements on their manual predecessors. The fault does not lie with computers as such.

computers making art Computers have proven to be invaluable to humankind. In my view the problem probably lies with the need to accelerate processes due to the perception that certain manual or hand-driven processes are perhaps outdated and that these processes could be 'streamlined'. Here I am specifically referring to the physical processes inherent to the visual arts. Carving a sculpture out of wood, rendering an illustration with ink on paper, or painting with oil on canvas are age old manually creative processes that, to this day, have changed very little. However, computer programs have been developed that can simulate all these manual creative processes. This, of course, is very convenient as the two dimensional image is immediately available on the computer screen where it can easily be edited, resized and printed. With regard to sculpture, the object can be designed on the computer in the finest detail and then 'rendered' in three dimensions in a way which excludes human error. There are different issues at stake here. In my view the physical process of interaction or physical tactile contact with a medium such as ink, pencil, oil paint or wood has a unique function in the art making process.

As mentioned above, it has indeed been proven that these processes can be technically simulated, but I am of the opinion that a vital aspect of the creative process is lost within this simulation. I would argue that the process of mark-making, which is acquired and experienced over time, and involves the consciousness, intellect, emotions and body of the artist, forms an integral part of the creative process. The resistance of a brush as it moves over paper or of a chisel as it cuts through wood guides the creative process. These natural 'obstacles' (different woods with different grains and hardness, for instance) help the artist to hone his skill and to create a deeper understanding of what he ultimately wants to do, or can do with the medium. Even if the impact of first hand contact with the tactile surface is so minimal that it does not have a visible effect in the long run, the spatial knowledge of working on small or very large two-dimensional surfaces (having to adjust the range and pressure of the mark), or of working on an object in three dimensions (having to walk around the object or rotate it physically), will ultimately impact on the creative process in all sorts of farreaching ways.

keep it physical In my view the environment in which the artist works, as well as the spatial orientation of the artist, have a role to play in the art making process. Additionally, the creative process itself consists of a certain time-bound, uninterrupted immersion in, or 'flow' in the process of art making, plus a certain amount of physical movements needed to achieve the mark the artist has in mind. The artist also needs to consider the light that constantly changes as it falls on the surface of the artwork, which will significantly affect the end result. Although I believe that the traditional art making processes within the visual arts such as painting, sculpture or printmaking can be simulated and perhaps aided by certain modern computerised processes, it cannot be replaced by them. The complexities of working within the tactile realm are lost when the hand-driven creative process is abandoned.

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Another important aspect is the thought process that needs to go into the preparation of any artwork. This process needs to crystallise over time to 'shape' some of the final ideas for the intended artwork. A vital tool in this thought- and decision making process is the sketchbook as an example of the creative process with its typically 'immersive' and formulative (in the sense of ideas) properties. The sketchbook should be seen as a portable, hand-driven generator of ideas, a tool for documentation. In essence this tool does not have to be in book form, but can be any surface that allows for mark-making. In this context it is important that the marks remain unedited in the process of ‘making’. With a sketchbook, which is not essentially the embodiment of the final artwork, this unedited process happens naturally. What is essential though is that finding the right mark must be a natural and transparent process. The documentation afforded by the visual trail of marks left on the paper lends transparency to the process. This trail of visual thought generates a new idea or solidifies the present one. The sketchbook is of great help to the product designer, for instance, where the aim is to generate many drawings or designs in a short amount of time. The surface of the page is filled with ideas which ‘bounce’ off each other to produce new visual possibilities. However there is more to this 'tool' than meets the eye. Crucial in the formulation of an idea is not only the process of making a series of marks that can influence each other, but also the time spent in an uninterrupted progression of mark making. Media that are used in as direct a manner as possible are best suited to this uninterrupted mark-making process. By 'direct' I refer to media or tools that fit into the human hand and are more easily available because they do not require extra processes that could hinder direct mark making. A pencil applied to paper, a brush applied to canvas or a chisel applied to wood are still experienced, to this day, as the most 'direct' creative application of the human hand. Even if these tools are sometimes seen as cumbersome – having to wield a heavy hammer to drive a chisel, or having to painstakingly mix the right hue of paint – the process remains intuitive and fits the human body perfectly as an extension to its already tool-oriented structure. In my view, any simulation of first hand processes poses a serious threat to the final creative product as it could interrupt the 'flow' necessary for optimal mark making as well as decision making. The drawbacks of computer simulation will perhaps not become manifest in the short run. In the long run, however, as the artist is able to build on past learning experiences, 'first hand' tactile experience, ranging from spatial knowledge to motor skills, becomes crucial, because it offers the artist a wide mental and physical vocabulary to draw upon. It is to a large extent the set of manual skills which is visually embedded in the artist’s individual mark that sets him apart from other artists. _Hougaard Winterbach is a lecturer at The Open Window School of Visual Communication and a practicing artist

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This page: illustrations by Lorcan White


the sketchbook is of great help to the product designer, for instance, where the aim is to generate many drawings or designs in a short amount of time. the surface of the page is filled with ideas which ‘bounce’ off each other to produce new visual possibilities.

This page: illustrations by Hougaard Winterbach

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It’s your idea that counts. Imagine there is a melody in your head. A picture, a poem or the recipe for a cake. Suddenly it is there, without any warning. Be ready for your ideas and capture them. Bamboo Stylus, works best with the Bamboo Paper app. For more information visit:

© 2012 Wacom Company, Limited. All rights reserved. Wacom, the logo and Bamboo are trademarks and/or registered trademarks of Wacom Company, Ltd. •

220x280_stylus_en.indd 1

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12.10.12 10:06






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who's joey? chances are you’ve seen his illustration work on a recent novel but don’t know his real name. it’s dale, also joey. actually it’s both. ah heck, meet south africa’s most innovative book cover designer of the moment by

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Images courtesy of Joey Hi-Fi


Earlier this year, Imraan Coovadia, a smart and effortlessly funny Durban-born author living in Cape Town, published his fourth novel, The Institute for Taxi Poetry, an over-the-top literary whodunit set in a slightly re-imagined Cape Town. "I happen to be a taxi poet," explains the book’s narrator, Adam Ravens, "in a city run by Croatian disco men from Zagreb and Malay gangsters from Pinelands, by publicity girls wearing long earrings, by dollar millionaires with business connections to the ruling Congress Party…" Yes, it’s a farce, but only just. The novel includes numerous flashbacks to Adam’s mentor, the murdered poet laureate of urban mobility, Solly Greenfields, a man seriously in love with snoek. "I am persuaded that our literary traditions owe a considerable debt to this insignificant fish," quips Solly early on in the novel. Okay, now imagine for a moment that you’re illustrator Joey Hi-Fi. Your brief is to come up with an eye-catching cover for a novel that features surreal poetry, lawless taxi owners, guns and snoek – a kind of mackerel that is a staple of Cape working class kitchens, a fish that Solly believes is "utterly erased from our history". Where to start? While cackling my way through Coovadia’s book, slowly as tends to be my habit, I found myself lingering quite a bit on its yellow and black cover design. Every time I picked the book up from my bedside table, the small illustrations surrounding the book cover’s principle motif, a minivan taxi, started to come into sharper focus. Wow, I thought, this Joey Hi-Fi guy – whoever the hell he is – has actually read the novel. In the cut and thrust of workaday design this is a major accomplishment. Curious to know more about the pseudonymous illustrator, I emailed a colleague at Jacana, the Joburg indie publisher that signedup Lauren Beukes before she was an award-winning sci-fi author.

Oh, you mean Dale Halvorsen came the reply. A connector email was despatched. Promptly, an email arrived, the name in my inbox reading "alterego" with the signoff "jh". I suspected I was on the right track, set a date for a meeting, and dutifully arrived at Melissa’s on Kloof Street, late of course. Joey aka Dale aka South Africa’s most innovative book cover designer looks exactly like the guy in the illustrated self-portraits I’ve seen floating about the web: tall, composed, bespectacled, hair parted to the side, slightly serious.

we can make it, baby Although born in the Golden City, Joey grew up in Margate on the KZN South Coast. "It was like growing up in a Twin Peaks kind of seaside town," he says, the first of numerous references to the dark master of suburban weird, David Lynch. He attended Port Shepstone High. In 1995, as graduation loomed, Joey began to actively plan his escape. "Since I was a kid, I have only been interested in drawing. I looked for a profession where I could possibly do that – I found this thing called graphic design. I wasn’t entirely sure what it was but I convinced my father to send me to go study in Durban. He asked me if I was going to do sign writing. I wasn’t entirely sure what it was myself." Like designer and illustrator Richard Hart, who also grew up on the South Coast, albeit in Amanzimtoti, Joey applied to study at Durban Technikon, now Durban Institute of Technology. His application was rejected. "Then someone pulled out of the course, and I snuck in the back door." Joey joined a group of 50 young design hopefuls

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at the back of the queue. "I did my three years and ended up the top student in advertising." His first job was as an art director with FCB. He credits Durban illustrator Scott Robertson (aka Dirty Sanchez) as an early mentor. "Scott was also into alternative comic books," says Joey, who repeatedly mentions the work of US graphic novelists Daniel Clowes and Adrian Tomine throughout the interview. It was Scott who introduced Joey to Garth Walker, then of Orange Juice Design and now of Mister Walker Design, who offered him a job at his Cape Town studio. "I worked with Brandt Botes and got exposed to the underground comic scene through his brother, Anton."

The demise of Walker’s Cape Town office prompted a move to design agency Code, followed in turn by the decision to go freelance. "I really wanted to do book covers." And now that is how he earns his living. "It is tough, I didn’t know what I was letting myself in for. I knew I wanted to do it; money wasn’t a factor." Just as well: there isn’t any. "Regardless how much work you put in, you get the same fee." His first book cover proved to be a fateful collaboration. Sometime in 2004, Michelle Matthews, then a publisher at Oshun, a small imprint linked to Struik, commissioned Lauren Beukes to write a series

"since i was a kid, i have only been interested in drawing. i looked for a profession where i could possibly do that – i found this thing called graphic design. i wasn’t entirely sure what it was but i convinced my father to send me to go study in durban. he asked me if i was going to do sign writing. i wasn’t entirely sure what it was myself." 26 ENJIN 57


books that weren't Three books for which Joey H-Fi would have liked to create the cover, but didn’t: n Local author Lily Herne’s Deadlands, South Africa’s first zombie novel n Jonathan Lethem: either Motherless Brooklyn or The Fortress of Solitude n House of Leaves, the debut novel by the American author Mark Z. Danielewski

of profiles on South African women. The outcome: Maverick: Extraordinary Women from South Africa. Published in 2005, the book’s cover featured a busy montage of unrelated objects and images that, seven years later, still summarises Joey’s graphically bold, slightly retro, bric-a-brac graphic style. When Beukes’s debut novel, Moxyland (2008), was signed up by Jacana, so was Joey. He even helped her design the soft toys to accompany her book – a strategy partly inspired by an encounter the pair had seeing an exhibition of branded characters by Watkin Tudor Jones (aka Ninja from Die Antwoord) in Cape Town in 2004. (Beukes reviewed Jones’s show for magazine Art South Africa.) The partnership with Beukes has been both lasting and fruitful. Joey designed the cover of her follow up novel from 2010, Zoo City, winning a British Science Fiction Association Award for Best Artwork in the process. "I have never been one to chase after awards, my joy is in doing the work. I was really surprised. Lauren and I have had a lot of firsts for people living in South Africa. I don’t know any other book designer who has won an award outside South Africa for a book cover." (David Goldblatt’s 2004 photobook Particulars, designed by long-time Enjin collaborator, Francois Smit, was awarded the prestigious Arles Book Prize in 2004, although that award recognised the book’s design as a whole.) I ask Joey – who is quietly working on a graphic novel, a series of horror stories set in Cape Town – how he goes about designing a book cover. His answer is straightforward. "I start off reading the book and get a feel for the tone. That dictates. If I had to start without reading, I wouldn’t know what suits the tone of the book. I also chat with the publisher, where they want to go. But publishers’ briefs are often quite vague – I prefer to read the book. I look at what genre it fits into, also at what other people are doing, and then determine the direction of the cover." His input into the packaging of a book is by no means a negligible exercise, especially given that the overwhelming majority of books published will only ever exist in a single edition. It is an onerous responsibility. "I know some writers and I have seen how much work goes into what they do – some people spend two to four years pouring their heart and soul into a book," says Joey, who mostly works digitally nowadays (Photoshop and Illustrator are his best friends) so that he can keep up with the tight deadlines. A two-week turnaround is standard, he says, although he prefers longer, but has delivered within 24 hours, as he did for a recent New Statesmen brief. However, like Chip Kidd, the celebrated American book designer who also pops up in our conversation, he prefers time, especially when creating book covers. "Every book has its own personality, and I think it is your job as a cover designer to find out what that personality is, and represent it in the best possible way that you can."

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a question unanswered One question remains unanswered: the unusual pseudonym. "I was working after hours on my own stuff at Code and I didn’t want my boss to know I was moonlighting." A problem complicated by the fact that his illustrations had to often be visibly credited. A pseudonym was the only option. "I was sitting around with a friend one day watching The Simpsons: Homer had to come up with a power name for himself; he picked up a hairdryer, decided Max Power, and got welcomed into the Springfield elite. We started discussing our own power names. It couldn’t be something expected, like Lance Steel. I asked what I looked like. Joey came the response. That was good. We talked about a weird second name. Hi-Fi came up. It worked phonetically. I didn’t ever really expect to be stuck with it." But it has, and Dale is now Joey, with many of his clients – they are spread far and wide, in Johannesburg, London, and the United States – simply addressing him by the latter. It is a turn of events that suits Dale, the boy from Margate. "I feel the name is something to cower behind: Joey can do things that Dale can’t." _Sean O’Toole is a writer and journalist based in Cape Town. He is working on a new work of fiction in the hope that Joey Hi-Fi will design the cover

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the hunter life's too short to be mediocre

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"i guess that was always his strength – bringing out the true potential in people and ideas, but reminding you to do it your way, to the beat of your own drum." – mike schalit

To celebrate John Hunt, Worldwide Creative Director of TBWA\ Worldwide's contribution to the South African and global advertising industry over the course of his career, a Lifetime Achievement Award was awarded to him at the Loerie Awards 2012. Accepting the award he received a standing ovation on stage. Born in Zambia, Hunt is a local and international legend in advertising. He co-founded the agency TBWA\Hunt\Lascaris in 1983 together with Reg Lascaris. The agency operates on the mantra Life's too short to be mediocre. And indeed it has not been a mediocre journey for the agency. Since its inception, they have won countless awards including Agency of the Century, Agency of the Decade and Ad Age’s International Agency, twice. In 2009, TBWA produced the ‘Trillion Dollar Campaign’ for The Zimbabwean Newspaper, which went on to become the most awarded campaign of all time – including a Cannes Grand Prix, Loerie Grand Prix, Grand Clio, D&AD Black Pencil, and the Art Directors Club (first ever) Black Cube. Reg Lascaris, Regional President TBWA Africa Middle East at TBWA\ Hunt\Lascaris, and cofounder with John Hunt, says, "I’ve known John for a long, long time and not only is he a great colleague, but a good friend. John has a knack of making the complicated simple and the simple great. He takes the germ of an idea and makes it grow into something wonderful. His contribution to the South African advertising industry is immense as is his contribution to his creativity around the world. I’ve really enjoyed our journey together and I’m so pleased he has been acknowledged by the Loeries as one of South Africa’s great creatives. In his own words…‘onwards and upwards’". John has been a great role model to many. One of the people who found him a true inspiration is John’s one time protégé, Mike Schalit, Chief Creative Officer of BBDO South Africa (who received the Loeries' first Lifetime Achievement Award in 2008). "Under John Hunt’s sage, witty and visionary gaze for 8 years I went from being a failed rock muso, long-haired and wide eyed, to being a successful creative director, more long-sighted than long haired but still wide eyed", says Mike. "I guess that was always his strength – bringing out the true potential in people and ideas, but reminding you to do it your way, to the beat of your own drum. Not exactly surprising that Hunt Lascaris went from a 15-strong creative shop in '85, when I first fell under his mentorship as a junior copywriter, to a global icon by early '94, where I had progressed to being his Deputy. His drive, vision and success in creating a world-class creative agency out of Africa only served to fuel my ambition, so he more than understood when I left (with his blessing) to start Net#work in the new South Africa." Proof that brand communication can make the world a better place, John was intimately involved in Nelson Mandela's first ANC election campaign in 1993. He has also found time to write a number of television and theatre plays, as well as other literature. He was named South African Playwright of the Year for Vid Alex, a play that condemned censorship during the apartheid years. John’s first book, The Art of the Idea, published in 2009, has been translated into a number of languages. As Hunt exited the stage, he left the audience with this sentiment: "Keep looking at the status quo, and keep going in the opposite direction."

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adobe spotlight



in this issue the creative spotlight (sponsored by adobe) falls on durban designer, artist and nice guy, richard hart

E: Do you have a Facebook account? I have a Facebook account but have a total aversion to it. I'm so bad that I recently went in after not visiting for two or three months. There were a bunch of friend requests that I duly accepted (I have a strict no refusal policy for some reason unknown even to myself ) but the more I accepted the more requests there seemed to be. Eventually after about twenty or more, I realised I'd accepted all the requests and was now inviting 'people I might know' (and most likely didn't) to be friends. So suffice to say I'm a retard when it comes to Facebook. I'm not too bad at Instagram though, if you're interested in mostly meaningless pictures of my life and the people in it. E: What do you do? RH: I'm a graphic designer and sometimes illustrator, artist, writer, ad guy...a maker, basically. E: What do you love about your job? RH: The unpredictability. E: What’s your all-time favourite project? RH: My current fave is "Where it's at", the design survey I edited and designed for Design Indaba. But it's only my favourite because it's the most recent really big project I've done. I don't really have an all-time favourite...that would be sad I think, like knowing your happiest days are behind you.

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E: What kind of impact has social media had on your work? RH: My response to the Facebook question should give an indication that I'm not all about social media. And by extension nor is my work. It would be silly, though, to pretend that social media hasn't had an immeasurable and irreversible effect on how people consume and disseminate information, and certainly our clients are increasingly feeling the need to have a presence in this realm. But we prefer to work on their behalf with experts, rather than pretending we're able to take on this aspect of their communication needs ourselves. So far that seems to be working for us. E: Aside from talent, what do you think has contributed to your success? RH: Like Woody Allen said, success is 90% showing up. And I agree; perseverance is the rather unglamorous secret ingredient. E: What do you do to stay creative? RH: I keep changing my approach. As long as you're learning and challenging your own assumptions, you're staying creative. At least that's my theory. E: What’s your most unusual source of inspiration? RH: Inspiration should be unusual by definition.

adobe spotlight

E: What do you do when you’re just not feeling it? RH: I don't have that problem. Which might sound a bit cocky, but I really believe that as a creative person you can train your mind to come up with creative solutions. The idea of sitting around waiting for inspiration is just bullshit. I can count on one hand the number of times that has happened to me. E: What music are you listening to right now? RH: Recently I've been abroad on a mini sabbatical for six weeks so my listening habits have been pleasantly disrupted. The last two weeks we did a home swap with a family in Paris who had a really interesting CD collection. So I've been listening to Serge Gainsbourg, John Coltrane, Marvin Gaye...just getting into the vibe of the city. Aside from that I've been really loving the new albums by Here We Go Magic and Dirty Projectors. E: What book are you reading right now? RH: Quiet by Susan Cain. E: When you’re not working, what do you like to do for fun? RH: I spend time with my wife and girls or surf...but generally I can't go for more than 24 hours without making something, so I'll usually find myself back in the studio whether there's something specific to do or not. E: What advice do you have for people just entering the profession? RH: Work hard, be kind, leave your ego at home (or lose it altogether if you can) and the world will be your oyster. E: What are your favourite Adobe CS design tools? How are you using them? RH: I'm embarrassed to say that we (Disturbance – Durban design studio) only made the move from Freehand to Illustrator early this year...and I feel like a total idiot for not having done so earlier. I'm completely won over by Illustrator and Indesign. Both of which I am using with a computer:) E: Share one tip or secret you’ve discovered using an Adobe CS design tool. RH: There's nothing you can't do if you understand how to use channels in Photoshop.

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Illustration by Tukisa Oliphant

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a human endeavour

the loerie awards 2012 were like inviting bucks fizz to mc a champagne and sparkling wine event, writes herman manson

MC Hammer: Too Tight. I’m of course talking about flying in MC Hammer to MC the Loerie Awards, or not, as the case might be. The rapper’s uninspired and disinterested performance prompted one trade journalist to wonder aloud if it would not have been better to simply have a white sock present the event. Maybe Dial Direct could step up as the sponsor next year. Never quite keeping up with the teleprompter MC Hammer stumbled over the word ‘Ubuntu’ once and then refused to have a second go at it. The teleprompter also tried helpfully to accommodate the organisers’ well known sense for irony by showing ‘loo-rie’ (being the bad PR investment I am I admit to a certain amount of glee in this

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instance) every time he had to say ‘Loerie.’ ‘Where you going?’ ‘Just nipping out to the loo-rie.’ The CEO of SA Cape Town Tourism provided a moment of brief relief in one of the opening speeches when she woke the crowd up with "the deeper you get into Cape Town, the more beautiful she gets." The gentlemen in front of me kept hissing ‘sis people’ while pretty much everybody else sniggered and snorted loudly at the (apparently) innocent double entendre. At least the audience, adequately buttered up by the Western Cape premier Helen Zille (she knows how to read a crowd, that’s for sure), had lost the hard edge of the previous evening when they loudly and


the ceo of sa cape town tourism provided a moment of brief relief in one of the opening speeches when she woke the crowd up with "the deeper you get into cape town, the more beautiful she gets." the gentlemen in front of me kept hissing ‘sis people’.

unceremoniously clapped the deputy mayor of Cape Town off the stage in his own city. To his credit he didn’t seem overly phased.

hie' kom 'n ding The two Loerie ceremonies were slick and well produced, but sometimes felt forced, as with the over scripted opening banter between the hosts of the Saturday event, Noot Vir Noot presenter Johan Stemmet and Zizo Beda. That said the duo did a perfectly good job as MCs and it felt more like the audience was laughing with Stemmet rather than at him, which was not necessarily the impression I got last year when Riaan Cruywagen and David Hasselhoff ran the show. Stemmet, by the way, would have been the perfect host for the Pendoring Awards, which took place the Friday evening before the two Loerie ceremonies. The Pendorings, which seated a much smaller number of people than the Loeries had to cater for, opted for a sit down dinner to encourage good behaviour. The award ceremony tried to meet somewhere between adland cool and Skouspel but veered toward Skouspel (which in the context of the two following evenings wasn’t a terrible thing at all). I thought it had heart and that people were really engaged. The winning work was up to standard. Like all award ceremonies in the history of award ceremonies it was too long, clocking in at just over four hours, but it has secured credibility in the industry in spite of the Creative Circle refusing to let winning work count towards its point system, which in turn discourages agencies from entering the Pendorings. It’s important this oversight be corrected urgently and Creative Circle Chair Chris Gotz has indicated that he would be willing to engage on the matter. Ad award ceremonies really aren’t made up of cinnamon and spice and all things nice. Like the industry it serves, it struggles to get right and balance the varying interests of its stakeholders, industry politics and its own commercial viability. The excitement in a trade associated with aloof cynicism before the

Friday, Saturday and Sunday award ceremonies were quite palpable and possibly a little endearing. Ad award shows has the potential to put a human face to a trade which might otherwise appear anonymous and distant to outsiders. In this regard the Pendorings certainly succeeded while also busting some cultural stereotypes around its core constituency – note this tweet by Khaya Dlanga (@khayadlanga) stating; "Black folks winning all over the place … #Pendoring Is this a case of Nationalise Pendorings?" It really is wonderful to sit in front of a massive screen and see (the entered) best the industry has to offer. Of course, less so when one piece takes multiple awards, in which case organisers could do well to limit repeats to the first three or four seconds instead of running it at full length five or six times during the course of the award ceremony.

wat kyk jy At the Loeries four Grand Prix trophies were awarded. OFM’s ‘Change your Tune’ Direct & Promotional Mail by Joe Public, the SAB ‘Be the Coach’ Integrated Campaign by Ogilvy Cape Town, the MercedesBenz ‘Attention Assist’ Radio Campaign by Net#work BBDO and the Nando’s South Africa ‘The Last Dictator Standing’ TV & Cinema Commercial by Black River FC all took home the big bird. Also for the first time one Gold Loerie was awarded to two (effectively) competing campaigns from two different agencies. King James and Black River FC shared an award for the respective parts they played in the Nando’s vs. Santam non-spat spat. It made for a nice little moment on stage – lots of high fives, hugs and a little bit of bump and grind. I retrospect however – what were the Loeries people thinking – that the force of ‘creativity’ will magically chop one bird in two with either party happily taking half of it home? King James Group Creative Director Alistair King was prompted to tweet "So they lumped Santam ‘Sir Sneaky’ and ‘Back at ya’ together and gave out one award. So. Fucked. Up. And stupid. #loeries2012.

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At least, Alistair, you landed Justin Gomes (professionally speaking of course). Well for 30 seconds you did, until Gomes, who was presenting an award and was announced as from King James, used the mike to quickly confirm he was still ECD at FoxP2, much one assumes to the relief of Charl Thom. The biggest winner of the night was Ogilvy Cape Town’s ‘Be the coach‘ campaign for Carling Black Label. I counted six golds and the Grand Prix. It was absolutely deserved and a brilliant example of an integrated campaign which brought together digital, mobile, TV, print, sponsorship, PR and eventing. Cry your heart out Trillion Dollars. And for a paying client, nogal. New kid on the block Machine must be pretty happy with its haul of eight trophies and certificates for Marmite and Habari Media. Joe Public’s newly launched brand and design studio, Shift, meanwhile surprised with a Grand Prix and a Craft Certificate (Design Crafts). The Jupiter Drawing Room Cape Town did inspiring work with its installation for Skip (yes a washing powder!) for which it landed a gold. MetropolitanRepublic impressed with its truly innovative Braille Burgers campaign for Wimpy. DDB, TBWA\Hunt\Lascaris Johannesburg, Y&R and Saatchi & Saatchi were all present in the print

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category while FOXP2, Net#Work BBDO, Joe Public and 140 BBDO dominated radio. In TV and cinematography Ogilvy Cape Town and Jozi both, Black River FC, King James, MetropolitanRepublic, 140 BBDO, Velocity and Egg Films all took gold. The powerful Lowe Bull Cape Town (now Lowe + Partners) ad for the Organ Donor Fund took silver, but frankly, it was the only one to choke me up. Ok that and maybe ‘Dog’ (MetropolitanRepublic for FNB) which did win a gold. MK is…by Ogilvy Johannesburg, which dominated the Pendoring Awards on Friday night, looked like it might be skipped over by the Loerie judges on Saturday evening when all it managed to land was a silver, but it did land a Campaign Gold on Sunday. A Lifetime Achievement Award was awarded to John Hunt, Worldwide Creative Director at TBWA\Worldwide and Robbie Brozin of Nando’s was honoured with the Marketing Leadership and Innovation Award.

_Herman Manson is the editor of advertising and marketing news & opinion site Follow him on Twitter @marklives

your future Apply now for 2013! The Faculty of the Arts at the Tshwane University of Technology is home to an array of programmes in the design, visual and performing arts. Our qualifications are designed to support the creative process a process of making, doing, thinking and problem-solving. Please visit our website to apply online or for more information, or e-mail or telephone 012 382 6175/6132/6002 Dance | Drama | Fashion Design | Film & TV Production | Fine & Applied Arts Graphic Design | Interior Design | Jewellery design & Manufacture | Music Musical Theatre | Multimedia (Visual Arts Based) | Performing Arts Technology Photography | Textile Design & Technology | Vocal Art

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the active reader

the art of design 2012 grand prix winner shares his thoughts on book design

At the outset of our work on Fire Walker I came across the children's picture book 'About Two Squares' by the Russian Suprematist El Lizzitsky. Lizzitsky was a man of many talents who had a broad range of interests, one of which happened to be book design. The first clue that I had come across an approach significant to the task at hand was Lizzitsky's instruction set on the overleaf to the title page of About Two Squares. This instruction – a series of Russian words connected by a definitive line that draws the eye across the page through the apex and down the stem of a capital Z – further investigation would reveal, optimized Lizzisky's artistic approach, prompting his audience to take the leap from passive reader to active participant. In the English translation the instruction reads: Don't read this book Take – paper … fold rods … colour blocks of wood … build

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Having spent some time with William Kentridge and Gerhard Marx, I had become familiar with their process, which informed the series of collaborative sculptural works that included Fire Walker. In Kentridge's Houghton studio, where this work took place, every available surface was a site of

what is best described as organized chaos. To the outsider, a mess of offcuts, folded paper and card, black and red coloured boards, wooden dowel sticks and blocks of wood. To the artists, all the material necessary, when combined with a bit of glue or cable ties, to construct the three-dimensional, rotating models that were the prototypes for the finished sculptures. The studio, I recognized, right down to the ephemeral nature of the materials themselves, was a terminal for the sort of activity that Lizzitsky encouraged. Here his instruction was in full practice, not only in the making of the works themselves, but also in the way that the viewer participated in their construction. At one point in the rotation the sculptures were a collection of random abstract shapes, at another, thanks to the viewer’s ability to read, the shapes drew together to form a recognizable form – a face, a horse, a striding woman carrying a brazier on her head. Here then was the key that would unlock the process of putting together Fire Walker the book. As both co-editor and designer, this principle informed not only the thinking behind the content included in the book, which itself adheres to both a fractured and coherent view of the sculpture and its context, but also to subtle variations in the design: changes in the typography and layout in accordance with the register of the content; the background colour of the page – white, yellow and black – to mark the reader's way; the relationship of image to text, of full bleeds to white space; the throw-outs – both maps – printed on a lighter weight of paper; the cover, both hard and soft, and removable. In combination, from the first page to the last, these properties aim to keep the reader active in the process of the work's construction.


this instruction – a series of russian words connected by a definitive line that draws the eye across the page through the apex and down the stem of a capital z – further investigation would reveal, optimized lizzisky's artistic approach, prompting his audience to take the leap from passive reader to active participant.

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surf's up

Delft, a collection of ten artworks and a single artist proof – the sleek, 1975 white Pipeline Gun as shaped by Spider Murphy in its original, unadorned form. This project was inspired by an encounter with an object and its maker. Dutchmann's founder, Gavin Rooke, met master craftsman Spider Murphy in his shaping bay in Durban in February 2012. A spritely 65 years old, who continues to shape new boards every day, Spider introduced Gavin to the 1975 Pipeline Gun – a 7'10" monolith of craftsmanship and the surfboard that led Shaun Tomson to win the 1975 Hawaii Masters and reshaped the future of surfing across the globe. The story of its making, and the skill, dedication and imagination invested in that making, spurred an idea to showcase Spider's work by collaborating with a select group of artists and designers to create a new series of objects. Ten artists and designers were tapped to create artwork for ten new Pipeline Guns, based on the original 1975 model. In an idiosyncratic twist, sparked in part by the pristine white form of the board itself, and in part by a sly reference to Dutch-

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an iconic surfboard design becomes a blank canvas for ten artists and designers

mann's name, the artists were asked to work within the theme of Delftware, limiting their palettes to the cobalt hues which gave this 16th Century Dutch style of pottery its distinctive appearance. The varied responses by the artists demonstrate the power of making, the diverse ways collaboration can offer up new ideas and, finally, the way the contemplation of a beautiful object can create a personal experience far beyond its intended purpose. Collectively fusing together basic craft practices with progressive ideas, the project highlights the power of creative collaborations and the ideas it sparks. Designers included Richard Hart, Jonathan Barnbrook, Anton Kannemeyer, Michael McGarry, Frances Goodman, Asha Zero, Roelof Petrus van Wyk, Givan Lรถtz, Gustav Greffrath and Olivier Schildt.

Fltr: Plain White, Olivier Schildt, Michael MacGarry, Jonathan Barnbrook, Givan Lรถtz

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a colourful life paper to inspire artists and designers alike

Driven by the desire to provide customers with the broadest range of innovative value-added products, Antalis South Africa has launched a rejuvenated Arjowiggins Creative Papers Keyacolour brand. The range of premium quality coloured papers and boards combine an impressive aesthetic and environmental commitment. The Keyacolour range is extremely versatile and suitable for a myriad of applications. The launch was supported by a close collaboration between Arjowiggins and the designer, illustrator and artist, Ian Wright. The Colourful Life collaboration is an opportunity to demonstrate the creative possibilities of the extended, restructured Keyacolour paper range. To celebrate the launch, a number of online and printed marketing materials were developed to enable designers to fully gauge the innovative and creative potential of the extended brand. The new range is an obvious addition to Antalis' creative offering. Antalis embodies excellence, innovation and environmental awareness, with a strong belief that paper is at the heart of any creative process. Keyacolour has long been an inspiration to artists and designers looking for original solutions with a natural and authentic feel. Developed in the Arjowiggings Creative Papers Lab in France, the new homogenous recycled grades are FSC certified and contain 30100% PCW (Post Consumer Waste) content. The range now also includes a Parchment finish – five new vivid, deep colours in the original and one parchment colour. Refer to the

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paper chart at right for more info. The full range now offers 100% Recycled, Reindeer, Fusilier, Original and Parchment. Discover Keaykolour’s kaleidoscope of intense colours as well as its collection of distinctive embossed textures. With its impressive range of carefully selected colours, diverse weights and unique embossed textures, the Keaykolour family, comprising Original, 100% Recycled and ReKreate papers and boards, offers a creative solution for all projects. The legendary feel of Keaykolour – smooth yet authentic – is testament to the exceptional quality of the range. Every Keaykolour products is FSC® certified, making it not only an ideal creative choice for designers, but also a perfectly sustainable one.

the artist collaboration To reflect its own creativity and innovation, Keaykolour chose to establish its new campaign, Colourful Life, through a unique collaboration with an eminent practitioner from the arts. Recognising that the relationship was to be a very special one, Keaykolour's chosen artistic ambassador needed to be a unique and highly creative individual. In approaching contemporary artist, illustrator and designer Ian Wright, Keaykolour saw an approach to image-making that encompassed both intense creativity and innovation with a genuine love of craft and high quality premium materials. A closer fit is impossible


to imagine – Keaykolour and Wright began a journey, an artistic alliance born of a desire to explore, experiment and innovate, that has proven to be a natural creative progression for both artist and client. In a career spanning five decades, Ian Wright has continually been at the forefront of contemporary design and illustration, having created influential and iconic images for culturally hip clients. Living a colourful life on the frontline of cultural change, Keaykolour's distinctive aesthetic has been a constant throughout Wright's lifetime of creativity, Wright having chosen to utilise Keaykolour across numerous projects and commissions. And as artistic ambassador, influenced by his own colourful life, Wright has created a series of inspirational artworks turning visceral attitudes into visual aesthetics.

original Formally known as the Antique range, the Keaykolour Original range is a collection of rich, intense and contemporary coloured papers and boards – made using 30% post-consumer recycled pulp. The uniform texture and appearance across the range is testament to the excellent quality of the boards. Choose from several vibrant colours, in up to 450g monolayer. What’s more, there’s also a large collection of envelopes – in 2 formats and in 9 different colours.

recycled This entire range is made from 100% post-consumer recycled pulp. Choose from a selection of natural looks with effects such as Particles, Limestone and Chalk – or a selection of modern, sophisticated and uniformed looks such as Camel, Hazel and Graphite. This impressive range of colours and finishes, inspired by nature, reflects a continued commitment to quality and innovation.

rekreate With the intention to create unique and differentiated coloured boards, both creative and environmentally friendly, Arjowiggins Creative Papers has come up with the first 'upcycled' premium quality paper. The innovative reKreate range is produced using their exclusive patented process – made by reusing waste fibres, which would otherwise be thrown away. This cuts the use of dyes and pulp by up to 50% and reduces the effect on the environment. The result? High quality, heavyweight board (up to 600g) with excellent printability – in a range of beautifully muted natural colours.

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the quality from this professional-level photographic printer must be seen to be believed

Epson’s flagship R3000 photo printer is an upgraded version of the Stylus Photo R2880 –adding a smaller droplet size for finer detail, an extra ink cartridge slot so you don’t have to swap between photo and matte black inks, a colour screen to make adjusting settings easier, and wireless and Ethernet networking. There are also larger ink tanks to save you money in the long term. These are all handy features for a design studio looking for a proofer, or an illustrator who wants to make saleable prints. The rest of the Stylus Photo R3000’s feature set is equally impressive. To achieve outstanding photographic prints, the Stylus Photo R3000 uses Epson's UltraChrome K3 ink with Vivid Magenta ink set, which features an expanded colour gamut and a greatly improved range of expression. This is made possible with newly formulated vivid magenta and vivid light magenta inks that offer more dramatic blues and violets as compared to the previous generation UltraChrome K3 ink set. The ink set also has three levels of black ink to produce stunning monochrome prints and dramatically improve gradations in colour photos, with automatic switching between matte and photo black inks depending on the media used. The R3000 can print on cut sheets as large as 13 by 19 inches, print at up to 13 by 44 inches using roll paper, and print on printable optical discs and a variety of fine art papers in addition to more common paper stock. It can also handle media up to 1.3 mm thick using its front-loading paper path.


& quality

As with any printer that can feed 13 by 19 inch paper, the R3000 is relatively large, at 9 by 24.2 by 14.5 inches with the paper trays closed

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or 16.7 by 24.2 by 33.1-inches with the trays open. In addition, you need 10 inches of clear space in back to use the front manual feed, which feeds the paper out the back of the printer after you load it. Both photo and graphics quality is in the top tier of all printers, with particularly good black-and-white photo quality. Text was also suitably high quality for professional graphics. Very much worth mentioning is that the printer delivers high quality even at its default settings. When we set the driver for maximum quality, which takes more than twice as long, we saw little or no quality difference in photos. The photos also promise to last. As with any printer, the photo lifetime varies depending on paper type. Epson's claimed range for Epson papers is 110 to 300 years for dark storage and from 34 to 68 years for paper exposed to air, depending on which paper you're using. For anyone who's serious about photo or graphic output, the R3000 delivers a balance of output quality, speed, paper handling and features that outshines its competition.

awarded In 2011, Epson won the highly coveted European Printer 2011-2012 award for the Stylus Photo R3000 from the European Imaging and Sound Association (EISA). Earlier in 2011, the R3000 was also chosen as the TIPA (Technical Imaging Press Association) Award winner for Best Expert Photo Printer of 2011, making it one of the very few products to have ever won both imaging industry awards. The Epson Stylus Pro R3000 retails for R7 599.


WACOM STYLUS a very nifty technologial aid indeed

With Amazon's in-house stylus reaching No 1 on the sales chart for tablet accessories — ahead of smart covers, screen protectors, cases, and stands, it should be evident that the stylus is making a comeback. Wacom's Bamboo Stylus is one of your best options for writing and drawing on your iPad or Android tablet. It is also a great alternative to greasy fingers for day-to-day navigation around said devices. Fingers are also fat and clumsy when it comes to painting on devices – so it is a good idea to get a stylus with a capacitive end or nib to really take advantage of some of the newer painting apps. In the same way a quality pen helps your writing, a quality stylus helps your tablet experience. The Bamboo's balance is pretty good as it is weighted more towards the tip – which is what you want for writing on your tablet device. The Bamboo is also thinner than, say, the Kuel H12, which means a better grip on the stylus and a more precise writing style. The stylus has a satin finish making it very easy to grip and hold on to. One key factor in measuring ergonomics is fatigue. A stylus pen that is too heavy or too light will be uncomfortable holding during long writing sessions. The Bamboo has the right combination of weight and width to be very comfortable for long periods of writing. An additional feature, which sets the Bamboo apart from most other styli, is a removable tip – the user can replace the nib if (and when) it wears out. The Bamboo uses a special exchangeable, responsive smooth pen nib. The tip is both soft and spongy to the touch, which requires a bit more pressure when writing. Unlike the Kuel, there is no small point lurking beneath the tip to help ensure exact and precise pressure when writing. There is a sense of flow when using the Bamboo. We encountered very few hiccups or skips when writing. The spongy feel of the tip gives a natural feel to writing and helped make the Bamboo stylus comfortable for longer writing sessions. Writing in cursive is very

pleasant too. A good stylus gives the illusion that one is writing on the device – this certainly is the experience when using the Bamboo. There is a bit of a learning curve when starting writing with a stylus. Since the nib needs to be wider (as capacitive touch screens are designed to pick up the input of a finger – not a pen or pencil) the initial feeling is that lines will be thick and not precise. However, the Bamboo stylus is capable of pretty precise text input once you get used to it. One last feature to mention is that it is quiet – almost silent when writing. The H12 is much louder – especially when dotting an 'i' or crossing a 't' since there is a harder point under the nib. The same goes for the Adonit. Using the stylus in Sketchbook Mobile, lines were precise with the more exact tools and flow of ink or paint was just right. The Sketch tool was also very natural in that more pressure produced a darker sketch and less produced lighter lines. The watercolour tool worked amazingly well. A light touch produced a very faint colour. A slower and harder touch produced a darker colour – and a balanced back and forth motion really produced the feeling of colouring in sections of the canvas.

the final word The Wacom Bamboo is a great all purpose stylus. Unlike other styli, the Bamboo does not excel in one key area; rather, this is a stylus you can reach for and use for any navigation, writing and drawing. The solid feel and sturdy construction, coupled with a replaceable nib, makes the Bamboo worth the investment.

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APP STUDIO 9.5 digital publishing solution works with indesign

Quark has announced a new App Studio which, the company says, is a next generation digital publishing solution that pushes the bounds of user experience without the high cost and effort associated with custom app development. By combining HTML5 technology from the recent acquisition of PressRun with Quark’s existing digital publishing technology, App Studio 9.5 is now the only digital publishing solution that allows users to create customised apps with HTML5, QuarkXPress, InDesign and XML. Through a managed cloud environment, designers, authors and extended teams are able to collaborate to create rich, interactive content that can be delivered across multiple platforms and devices. With HTML5 at its foundation, apps created with App Studio:

ences. In contrast to competing first generation solutions, App Studio combines the advantages of HTML5 with native tablet and smartphone app functionality. This hybrid approach allows apps created with App Studio to be highly interactive, output in smaller files sizes, and deployed to emerging devices quickly. Current App Studio customers using the AVE file format will have the choice to continue with the previous App Studio technology, powered by Aquafadas and now renamed Quark AVE, or migrate to the new, HTML5 cloud-based platform.

n Go beyond static, boring PDFs n Feature searchable, fully selectable text n Promote sharing, tagging, bookmarking and other social media interactions n Deliver small file sizes for quick download (titles created with App Studio are typically one quarter the size of apps created with alternative solutions) n Reach iPhone, iPad, Android, and Kindle Fire now n Deploy quickly to new devices as they are released n Utilise QuarkXPress or InDesign for content creation and larger organisations can combine rich design with XML automation n Keep content in an open standard that does not lock customers into proprietary formats.

The new App Studio is compatible with InDesign CS5 or higher as well as the soon to be released QuarkXPress 9.5. App Studio should be available from mid November. For more information and to signup and get notified as soon as the new App Studio is available, please visit With multi-issue apps starting at ÂŁ69.95 a month, the new App Studio is one of the most affordable digital publishing solutions for creative professionals. Up to 80 per cent less expensive than the alternatives, App Studio pricing is tiered to offer solutions for the small or individual designer through to large, enterprise teams with complex digital publishing requirements. The distributor is QMedia Distributors.

App Studio is a next generation HTML5 solution for app creation that helps designers produce engaging smartphone and tablet experi-

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availability, pricing


EPSON SURECOLOR new printers add to company's portfolio

Epson has expanded its new SureColour wide-format printer range for signage and POS applications with two new products: the highspeed SureColour SC-S50610 and the 8- and 10- colour SureColour SC-S70610 – the company’s first 64-inch (162.6cm) roll-fed printer to support orange, light black, white and metallic inks simultaneously. The SureColour SC-S50610 sets new performance standards in the highly competitive indoor and outdoor signage sector with its 64inch (162.6cm) width, 4- or 5-colour (CMYK /CMYK + white) rollfed printer. Its speed is complemented by support for a wide range of media, ease-of-use, low cost of ownership and environmental credentials, making the SC-S50610 a compelling package for companies with high throughput requirements. With twin Thin Film Piezo (TFP) Epson printheads and dual ink-sets for maximum productivity, the SC-S50610 provides class-leading, super-fast printing at 51.2m2/hour. This means that busy commercial printers, POS printers, high-production professional signmakers, digital copy shops, screen printers and photo labs can increase their wide-format throughput. Designed throughout to offer a very high level of efficiency, the SCS50610 incorporates reliable Epson-engineered components to minimise downtime, while a built-in dryer ensures that prints are ready quickly for subsequent production stages. The printer uses UltraChrome GS2 ink, which is specifically designed to work with the new generation of TFP printheads, and is lightfast for up to three years outdoors without lamination. UltraChrome GS2 is odourless and nickel-free and is kind to the environment, according to Epson.

maximum quality, flexibility The SureColour SC-S70610 is designed for print companies that need maximum quality and application flexibility. It combines ultra high-

quality, versatile wide colour gamut capability, flexibility and productivity in a printer that can produce everything from simple signage to high-end displays and décor. Print quality is assured through the combination of UltraChrome GSX ink and the Thin Film Piezo printhead, which gives precise droplet formation and long production life. Support for resolutions of up to 1440 x 1440 dpi enables the printer to deliver print with outstanding clarity, fine detailing and smooth blends. Productivity is ensured at up to 27.3m2/hour in 8-colour high-speed mode, and up to 4.1m2/ hour with metallic ink enabled – making it substantially faster than most competitors. The GSX ink-set includes light magenta, light cyan, light black and orange in addition to standard CMYK, giving the SC-S70610 the widest colour gamut in the SureColour range. The 10-colour version of the printer adds both white and metallic inks, increasing versatility and scope for production. Both models achieve ultra-smooth tonal gradations and transitions through the use of light inks, including light black for enhanced neutral greyscales, according to Epson. As with the SC-S50610, the advanced ink formula means that prints from the SC-S70610 are lightfast for up to three years outdoors without lamination. The printer's productivity is further boosted by its ergonomic design, which minimises both downtime and materials wastage. Users can also make feed adjustments during printing without stopping and restarting the machine. Running costs and environmental impact are further reduced through the ENERGY STAR-qualification – and both printers include Epson’s new jack system at the rear of the devices, which makes loading new media a one-person job, saving on man hours and labour.

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the sociability of print social media means new revenues for print retailers

There will be 1.43 billion social network users in 2012, a 19.2% increase over 2011, according to eMarketer’s Worldwide Social Network Usage: Market Size and Growth Forecast report. This year, according to the eMarketer’s report, 63.2% of internet users will visit a social network at least once a month, rising to 67.6% in 2013 and 70.7% in 2014. At those growth rates, one out of every five people in the world will use a social network this year. These statistics become really interesting when you start to analyse what social network users are actually doing on their favourite sites. By far, the fastest growing social activity is the sharing of imagery – whether photos or videos. Recent statistics show that 80% of us now view our digital photos on social networking sites. On Facebook alone, there are over 150 million images with over 3.5 billion pieces of content (photos, web links, news stories, blog posts, etc.) being shared each week on Facebook. Figures from EConsultancy show that photo uploads to Facebook have increased by over 100% and sharing figures across other net-

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works, such as Twitter, have grown so much it’s impossible to ignore the fact that people love sharing visual content more than anything else. Twitter users shared 58.4 million photos in December 2011, and the number of photos shared grew 421% over the course of the year.

sharing drives retail growth With these figures in mind, it would be easy to assume that consumers have turned their back on more traditional, physical ways of capturing, keeping and sharing their photographic memories. As 2 billion people now use the Internet, has the ‘digital home’ and the ‘paperless office’ removed our desire to create physical records such as photo albums and diaries? Recent research demonstrates this is not the case. Contrary to all expectations, the retail print industry has, in fact, seen an increasing preference for tactile, traditional paper-based products over the past


couple of years, with the photo-merchandise market growing 17% in 2010 in Western Europe to reach €422 million. The total Western European photo merchandise market anticipates a CAGR of 5.6%, growing from 141 million units in 2010 to 212 million by 2015. The key reason for this is the exponential growth in online activity; in Western Europe, 69% of photo books are ordered online, expected to rise to 75% by 2013. What this means for retailers is that there is a fast-growing appetite for paper-based merchandise such as photo books and photo-cards. Consumers are, perhaps, nervous about leaving all their memories online – worried about their safety, and want to retain some physical memories. Perhaps we still enjoy being able to leaf through our favourite photos while sitting round the fire, or enjoy seeing our family photos displayed around the house. What we do know is that wall décor and photo-cards account for a significant proportion of the growth of the market. Wall décor now accounts for 36% of the total merchandise market value, reaching €151 million in 2010. With online content doubling every 12-18 months, the opportunity for the print industry to leverage this digital content is clear.

thoughts on retail printing Adriaan Vosloo of Midsouth Distributors, an HP Certified Reseller, shares his thoughts on how print retailers can become profitable in the digital age. Moving from digital to physical – With over 150 million images on Facebook alone, 80% of shoppers now view their digital photos on social networking sites. The opportunity for resellers lies in offering solutions that transform these online images into tangible products, to engage the increasingly tech-savvy audience and, ultimately, boost revenues. As mentioned earlier, InfoTrends estimates that up to 75% of all photo merchandise revenue will come from online orders by 2013. With so much content creation, interest in innovative, non-digital ways to preserve memories is rising. Cost-effective, creative products that can be personalised are becoming increasingly popular gifts, with items such as cards and photo books representing the biggest share of units and revenue respectively in the 2011 Western European photo merchandise market. HP Retail Publishing Solutions (RPS) reported that, in 2011, creative products that can be personalised had an increased contribution to the business success of independent photo stores. This trend was particularly noticable in the festive period with independent photo stores using HP RPS solutions seeing 53% of their total volume in December coming from creative products. The value for retailers lies in having a wide range of inspiring creative products to excite the consumer and which can be personalised accordingly. Style and substance – It’s not just the location of the store, but also

the style of the store that is important. Providing a well-designed, creative space for customers to use can boost inspiration for these unique, personal products. To see the real value, this should also be coupled with a well-trained staff force who can engage consumers, understand their needs and offer an appropriate solution in a timely manner. Time is money – With the increase in social media sites and instant messaging platforms, the general population now has an expectation of quick delivery, and waiting is no longer acceptable. The opportunity for the print industry to provide high quality solutions, without the wait, is obvious. This can be obtained in a number of ways: n Invest in technology: Ensuring that your printing technology is up to date is essential. The photo retail industry has adapted to provide photo development in minutes, as opposed to days, as customers no longer have the time to wait for their prints n Step-by-step instructions: Retail printing is becoming increasingly straightforward for consumers to use. However, it is still essential that businesses provide clear step-by-step instructions to ensure a comfortable customer experience, and ensure that the route from browsing to purchasing is as seamless as possible n Invest in your staff: Training sessions to educate your in-store staff on all the products and solutions available is essential as a clear and simple explanation of exactly what the store is offering will boost both sales and customer satisfaction. The boom in digital content offers an exceptional opportunity for retailers to facilitate the move from digital to physical content in a creative, exciting way. By providing robust, easy-to-use solutions and a wide range of creative products, retailers will be armed with the tools required to boost both revenue and customer reach, engaging the always-on community and proving that print and paper still have a strong place in our society.

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young afrikaners

a new book presents a candid look at young afrikaners

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Roelof Petrus van Wyk, Jong Afrikaner: A Self-Portrait 32 x 37 cm 296 pages Hard cover, cloth bound with dust jacket R850 Roelof van Wyk’s Jong Afrikaner: A Self-Portrait is a series of frank and sumptuous portraits of urbanised, creative, engaged Afrikaners who present a challenge to preconceived ideas about Afrikaner identity and values. These ‘new’ Afrikaners have come of age in a South Africa very different to that of their forebears, and are connected to each other through friendship, marriage, shared values, preferences and tastes, rather than through any supposed national identity. They wholeheartedly seek and embrace creativity and plurality in their work and personal lives. Van Wyk chose some of his subjects – from amongst his own friends, family and colleagues – for their stories that evince a multi-layered and richly varied Afrikaner identity: a married gay couple adopts a

Images: Roelof van Wyk, Untitled, from Jong Afrikaner

black child; a pint-sized young woman is the voice of an Afrikaans rap-rave band making waves globally; an Afrikaner man becomes a sangoma. In some cases, he was intrigued by stories of interesting lineage or tales of anti-apartheid activism (a lawyer to Winnie Mandela in one family, a playwright censored by the state in another). Sometimes he is drawn to compelling physical features that seemed to convey the old European history of a person born on the African continent. The portraits resonate with these rich narratives of history, culture and family, complicating our idea of what it means to be a ‘white African’. Jong Afrikaner includes Stephanus Muller’s rich text, ‘Betoog oor die epiese soektog na die beminde van die siel in die vernielde wingerd’, specially commissioned for this book and translated into English and Dutch by Michiel Heyns and Riet de Jong-Goossens. Jong Afrikaner is available through the website or at Exclusive Books in Hyde Park.

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Buy Now at Unit 41 Woodbridge Business Park, Koeberg Road, Milnerton, Cape Town 7441 Sales Tel: 0860 337 000

QMedia Distributors 25 Reedbuck Crescent Midrand Tel: 011 582 5601


The Future of Architecture Since 1889 a new book charts the rapid transformation of the built environment

Jean-Louis Cohen; The Future of Architecture Since 1899 Published by Phaidon 528 pages R790

Truly far-ranging – both conceptually and geographically – The Future of Architecture Since 1889 is a rich, compelling history that will shape future thinking about this period for years to come. Jean-Louis Cohen, one of the most astute historians of twentieth-century architecture and urbanism, gives an authoritative and compelling account of the twentieth century, tracing an arc from industrialization through computerization, and linking architecture to developments in art, technology, urbanism and critical theory. Encompassing both well-known masters and previously neglected but significant architects, this book also reflects Cohen’s deep knowledge of architecture across the globe, and in places such as Eastern Europe, colonial Africa and South America that have rarely been included in histories of this period. This comprehensive history is richly illustrated not only with buildings, projects and plans, but also with publications, portraits, paintings, diagrams, film stills and exhibitions, showing the immense diversity of architectural thought and production throughout the twentieth century.

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High quality, unbeatable results

Make a big impression with your prints with the Epson Stylus Photo R3000 inkjet printer. Create stunning photographic prints, without the hassle, with Epson UltraChrome inks. Every detail stands out and every colour is perfectly reproduced with the latest Epson Micro Piezo printhead and Epson UltraChrome ink technology. Quick drying and odour free, the quick drying inks give unbeatable results.  For quality, hassle free photographic images at high-resolution, visit

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ENJIN 57  

ENJIN Magazine is a South African magazine reporting on the latest trends and technologies for design professionals seeking to stay up-to-da...

ENJIN 57  

ENJIN Magazine is a South African magazine reporting on the latest trends and technologies for design professionals seeking to stay up-to-da...