Mars Mag 8

ISSUE 8

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Table of Contents

LEARN

Fashion illustration

HOW TO BECOME A PRO AT

FASHION DRAWING AND

ILLUSTRATION 2

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Whatever project you have in hand, it is important that you put your ideas on paper to show and explain what you have in mind.

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THE STORY OF HELVETICA

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FASHION ILLUSTRATION

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SKETCHING IN ARCHITECTURE

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SA ARTIST SPOTLIGHT -WALTER BATISS

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WILLIAM KENTRIDGE

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DUMILE FENDI

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SEASONAL COLOURS

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COMPETITION - #YOURSTORY

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FIMO LEATHER TUTORIAL

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STAEDTLER AMBASSADORS

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COMPETITION - INTERACTIVE

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CHILDREN WITH ADHD

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ANXIETY IN CHILDREN

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GIVING ART CLASSES DURING LOCKDOWN

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SOCIAL MEDIA LINKS

EDITORS NOTE

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While travelling, Dumile continued to exercise his childhood passion for carving and drawing. In the early 1950s he moved to Johannesburg and began working as an apprentice at the Block and Leo Wald Sculpture, Pottery and Plastics Foundry in Jeppe.

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Wow, we are celebrating our 8th issue of Mars Mag already. Thank you to all our readers – without you we would not have reached this milestone.

2020 has been a difficult and confusing year with mixed emotions, frustrations, sadness and fears about industries struggling during lockdown, businesses closing and of course the school year being a complete mess. In this issue we focus on the children and how the lockdown period has affected them as well as helping you with some advice on how to make things easier for your child.

We also celebrate African artists, our new STAEDTLER Ambassadors as well as giving you opportunities to win some great prizes. See how you can create FIMO Leather articles and start a business selling your products. There is no limit to what you can do – just endless possibilities.

To all our STAEDTLER artists – thank you for always making our days brighter with your amazing art. We salute your talents!

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Enjoy Mars Mag 8 and let us know what you would like to read about in the next issue.

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Even if you’ve never heard of it, Helvetica has been part of your life. This typeface is, very literally, everywhere: computer screens, billboards, buildings, street signs and posters.

Look around you. It’s likely that some manifestation of Helvetica won’t be too far away. Since its launch in 1957, it’s become the go-to type for company logos and transport hubs, making it one of the most widespread designs of all time.

But like every icon, Helvetica divides opinions, and many designers consider it unoriginal, uninspired and unattractive.

“Helvetica has a complicated history. In fact, it was not called Helvetica until four years after its release,” American designer and design historian Paul Shaw explained over the phone.

It started its life as “Neue Haas Grotesk,” a boringly descriptive moniker which included the name of its maker (the Haas foundry), its design type (neo-grotesque or realist) and the fact that is was new (or “neue” in German).

“The original name sucked,” said Shaw. The name Helvetica, which means “Swiss” in Latin, as a homage to its country of origin, was adopted in 1960 to make it easier to sell it abroad.

And so it did: “Helvetica gets its first kick because the Germans come up with a great name and make it available in the two mechanisms of the day, machines and foundry type, so that anybody could buy it.”

Its design wasn’t original: Helvetica was born out of a typeface from 1896 called Standard in the US and Akzidenz-Grotesk in Germany, which had been used as the avant-garde typeface from the 1920s, especially in Switzerland.

“Standard, as a name was brilliant, but it also caused problems, because people started saying. ‘We’ll just use the standard typeface’, and those who were not designers took that literally to mean ‘’whatever we’ve been using for everything else’. That’s how Helvetica accidentally slipped through the cracks,” said Shaw.

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The right look Helvetica’s creators, graphic designer Max Miedinger and his boss, Eduard Hoffmann, wanted a neutral and versatile design. It had to be a modern-looking “sans-serif” type, without the extending features at the end of strokes that were common in the print world.

Its lack of personality was not just intentional, but paramount. Legendary designer Massimo Vignelli, who used Helvetica for the New York Subway system, said in Gary Hustwit’s eponymous 2007 documentary: “There are people think that type should be expressive. They have a different point of view from mine.”

Its mix of features, or lack thereof, happened to be exactly what designers were looking for: “Helvetica showed up at the right place, the right time,” said in an email from Ellen Lupton, curator of contemporary design at the Cooper-Hewitt, Smithsonian Design Museum in New York.

“It provided something that designers wanted: a typeface apparently devoid of personality. In contrast, other popular sans serif typefaces that existed at the time, such as Gill Sans and Futura, have stronger voices and more distinctive geometries. Helvetica met our craving for corporate vanilla,” said Lutpon.

The right brand Helvetica wasn’t an immediate hit in Europe, although it was available there first.

Famed designer Bob Noorda doesn’t use it for the Milan metro signage, choosing his own version of the Standard typeface instead. “He could have used Helvetica, but he didn’t, and neither did the Dutch for Schiphol airport. Helvetica just didn’t have the cachet it has today,” said Shaw.

But it didn’t take long before it became the standard for advertising and corporate branding in the US. “In 1967 it creeps into the design for the Yankee Stadium,” said Shaw, “And by 1968 it’s everywhere in America -- it is The typeface.”

Vignelli chooses it for the American Airlines logo, which will remain untouched until 2013 - one of the most enduring corporate identities of the 20th Century. It ends up, sometimes with minor variations, in countless company logos including those of BMW, Crate&Barrel, Fendi, Jeep, Kawasaki, Knoll, Lufthansa, Mattel, Nestlé, Panasonic, Scotch, Skype, Target, Texaco, Tupperware, and Verizon. NASA paints it on the side of the Space Shuttle. The US government redesigned its tax forms with it.

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https://edition.cnn.com/style/article/helvetica-60-years/index.html

In 1984, Steve Jobs puts it in the Macintosh: “This was a key move. If Apple didn’t use it, Helvetica would have remained a designer’s preference, same as Times New Roman. Instead, it becomes the default sans serif, when sans serif fonts are becoming popular among the populous, and not just avant-garde designers,” said Shaw.

Finally, in 1989, Vignelli and Noorda adopt it for the New York Subway system signage, moving on from Standard.

The world is conquered: “It’s air, you know. It’s just there. There’s no choice. You have to breathe, so you have to use Helvetica,” says influential German typographer Erik Spiekermann in the documentary “Helvetica.”

The popularity of Helvetica continues today. It was the system font on the original iPhone, and it remained part of iOS until 2015, when Apple replaced it with its own San Francisco.

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LEARN

Fashion illustration How to Become a Pro at Fashion Drawing and Illustration The most important thing you need to realize is that the foundation for good fashion drawing is discipline. You have to be prepared to work hard and put a lot of practice in your work before you see the results. The ability to draw human figure is also very important, as clothes mostly take their shape from the figure underneath.

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1. Develop a Good Discipline A good discipline will consist of developing a sensitivity for details, through observation. Careful observation is the key for understanding and appreciating fashion.

There are many ways to practise observation that are also fun and inspiring: • • • •

visiting malls and shops (to observe colour stories, current trends, marketing strategies, shapes and fabrics that are trending for the current season) visiting museums and art galleries (to observe different styles of art, use of colour and perspectives) watching movies and theatre shows (to observe costumes and character development) people watching (sit on a bench or in a coffee shop in a busy area and observe people-styles, differences, anatomy, moves...)

Hand/eye coordination, quality of line and shading technique improve with practice, so it is important to draw as often as possible. Practice will also make you more confident. It will help develop a lighter, more controlled touch, as drawing becomes more instinctive.

2. Learn to Draw Human Figures Well Drawing a fashion figure with ease and sense comes only with a lot of practice. Realistic and attractive fashion figures will be a firm foundation for your fashion design sketches. You don’t have to be an expert for drawing human anatomy, but you should learn to draw the human figure in a simplified and slightly idealized way which is appropriate for fashion.

It is also important to work on your confidence when drawing lines, and you can use simple exercises like these to help you with that: Sit comfortably with a straight back and the weight of your elbow on the table. Place two dots randomly on a sheet of paper about 8 cm apart. Put your pencil on one dot and quickly draw a line to the other dot without removing the pencil from the paper. Repeat this action until making lines feels smooth and confident.

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3. Learn Systems That Speed up the Learning Process For example, a good fashion croquis is a base for all great fashion drawings. Learning how to draw these with correct proportions will help you save time later. You can make a couple of templates and trace over them and design new things more efficiently. Also, learning some tricks or different techniques on drawing fashion croquis will make this process faster and easier (like oval and triangle technique, tracing method, 9-head method).

4. Express New Ideas Clearly Fashion drawing communicates everything about the design and is the next best thing to seeing a sample of the designed garment. For a drawing to be effective, it needs to be accurate and realistic in every aspect. The best way to learn this is to: • • •

observe analyse basic garments and practise drawing the silhouette, fit, drape and fabric.

You will have to learn how to draw fashion flats, and you can practise by using online templates like the ones found on designernexus.com.

Drawing the silhouette and fit accurately is not enough to represent the design completely realistically. You will also need to learn how to effectively represent the drape and fabric type.

5. Relax and Enjoy As your drawing skills improve, you will be able to see results which will give you a lot of satisfaction.

Soon you will realise how drawing can be a relaxing and fulfilling activity. Everything we do in life is better and easier if we do it with love and joy, so don’t forget to have fun while drawing. Let your imagination run free and experiment with everything so you always have that creative spark working to your advantage.

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What’s a sketch and why is it important in architecture?

Whatever project you have in hand, it is important that you put your ideas on paper to show and explain what you have in mind.

The architectural sketch is no more than a simple drawing without too many elements. Its aim is to explain the overall idea of the architectural concept by representing the design of the work that is going to be built.

As we have said, even when the sketch does not have many elements, such as technical specifications or precise lines, it does need to be as close as possible to what is expected to be the final result of the architectural project that will be developed.

https://anitabrown3d.com

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Types of sketch drawings There are different types of architectural sketches, but this classification can be applied to any artistic work in which the sketch on paper is used as the first step in creating a work.

Elemental sketch drawing This type of sketch is where we try to draw by hand on paper, without any technical element, the first idea that comes to our mind. That is to capture the ideas we have about the work to be developed and how we see it visually in our minds.

Comprehensive sketch drawing The comprehensive sketch is a more detailed drawing of the project that is going to be built. In terms of development level, this kind of sketch is in the midpoint, so it’s neither very elaborate nor very simple.

It may contain a photograph or image that clarifies the idea.

Dummy sketch drawing This sketch is closer to the idea of final art and contains a much more complete composition with visual elements, colour schemes, photographs, and details that explain what the final product will be. It is the precursor of the real preparation of a building, due to it having a high degree of precision and quality in the visual effects of the final work.

Theoretical sketch drawing This type of sketch is a theoretical interpretation of what the design of the project will be. In this drawing, the problems are represented by decomposing them into systems, subsystems, components, and elements, all of them represented graphically, and pointing out the designations of the architects as well as formulating the elementary fundamentals.

Structural sketch drawing In terms of architectural sketches, these drawings are made to explore the possible design solutions and means of solving the problems that may have been raised in a previous theoretical sketch.

Formal sketch drawing The final sketches are the formal sketches, due to them having technical specifications for the design of the final project. This type of sketch is very specific and has more features than the previous ones.

Functional drawing This type of drawing has a high theoretical content and also considers different studies, some of which have already been done and others which will help to conclude the final project. It may contain structural flows, dynamics, and climate calculations, among others.

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GREAT SOUTH AFRICAN ARTISTS

Walter Battiss was born in Somerset East to an English Methodist family in 1906, and became one of South Africa’s first and most important abstract painters.

He became interested in archaeology and primitive art as a young boy, after moving to Koffiefontein in 1917, and drew and painted since childhood. In 1919 the Battiss family settled in Fauresmith where he completed his education, matriculating in 1923. In 1924 he became a clerk in the Magistrates Court in Rustenburg.

His formal art studies started in 1929 at the Wits Tech Art School (drawing and painting), followed by the Johannesburg Training College (a Teacher’s Diploma) and etching lessons. Battiss continued his studies while working as a magistrate’s clerk, and finally obtained his Bachelor’s Degree in Fine Arts at UNISA at the age of 35.

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Walter Battiss 17

Battiss was a founding member of the New Group and was unique in that he had not studied overseas. In 1938 he visited Europe for the first time, and in 1939 he published his first book, ‘The Amazing Bushman’. His interest in primitive rock art had a very profound impact on his ideas and he regarded San painting as an important art form. He was also influenced by Ndebele beadwork, pre-Islamic cultures and calligraphy.

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He visited Greece in 1966-1968 and the Seychelles in 1972, which inspired his makebelieve ‘Fook Island’, a dream world for which he created a map, imaginary people, plants and animals. He even created a history.

Battiss published nine books, wrote many articles and founded the periodical De Arte. He taught Pretoria Boys’ High School students for 30 years at the Pretoria Art Centre, of which he was the principal from 1953-58.

He also taught at Unisa, where he became Professor of Fine Art in 1964 and retired in 1971.

Walter Battiss passed away in Port Shepstone, Natal in 1982.

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GREAT SOUTH AFRICAN ARTISTS

“I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.”

William Kentridge was born in 1955 in Johannesburg. The son of two anti-apartheid lawyers, he learned at an early age to question structural impositions. In 1976, he attained a degree in Politics and African Studies at the University of the Witwatersrand after which he studied art at the Johannesburg Art Foundation until 1978. There, he met Dumile Feni and was greatly influenced by his drawings. He also worked as a set designer for film productions and taught design printing until he moved to Paris in 1981 to study drama at the L’École Jacques LeCoq. 20

William Kentridge During the 80’s, Kentridge was art director for television series and feature films. He then began making hand-drawn animated films. Although not directly referring to the segregationist era, he acquired international recognition as a South African artist whose work tracks a personal route across the aftermath of Apartheid and Colonialism. His films are set in the over-exploited, scorched, industrial and mining landscape around Johannesburg, which represent the legacy of a time of abuse and injustice.

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In a talk with art critic Okwui Enzewor, Kentridge expressed, “Drawing is not unlike the structure and evolution of the South African landscape.” Since 1989 he has made 9 films that were relative to the end of the apartheid system, the first elections and the work of the Truth and Reconciliation Commission in trying to show the complex tensions in a postcolonial memorial. Amongst them are “Johannesburg, 2nd Greatest City after Paris”, “Ubu tells the Truth”, and “Steroscope”.

In addition to film and drawing, an important part of his career has been devoted to theatre. From 1975-91 he was a member of the Junction Avenue Theatre Company, in Johannesburg and Soweto. In 1992, he began collaborating, as set designer, actor, and director of the Handspring Puppet Company. The Company creates multi-media pieces using puppets, live actors and animation. It performs plays like Woyzeck, Faust and King Ubu to reflect on colonialism, and the human struggle between the22 past, modernity and ethics.

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GREAT SOUTH AFRICAN ARTISTS

Zwelidumile Geelboi Mgxaji Mslaba “Dumile� Feni was born on 21 May 1942 in Worcester, Western Cape. His mother died when he was only five or six years old and he went to live with relatives in Cape Town until the age of eleven. He then began working for his father, a trader and preacher.

While travelling, Dumile continued to exercise his childhood passion for carving and drawing. In the early 1950s he moved to Johannesburg and began working as an apprentice at the Block and Leo Wald Sculpture, Pottery and Plastics Foundry in Jeppe. In 1963 and 1964, while a patient at the Charles Hurwitz South African National Tuberclosis Association (SANTA) Hospital in Johannesburg, Dumile was given art materials. It was in this way that he began his drawing career in earnest. Together with Ezrom Legae, he decorated numerous walls in the hospital. He received support from Lionel Abrams, Bill Ainslie and Barney Simon.

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Dumile Feni Dumile exhibited successfully for a number of years in Johannesburg and was selected as one of the artists to represent South Africa at the 1967 Sao Paulo Biennale. However, he was severely criticised by his fellow artists in Durban - where he was living at the time - for being disposed to represent the apartheid regime on an international exhibition.

On his return to Johannesburg, and faced with the prospect of being deported to either Queenstown or Worcester under the notorious Pass Laws, Dumile decided to go into voluntary exile in London. He arrived there at the beginning of 1968. In London, Dumile again enjoyed success and recognition, showing his work, among other exhibitions, at the Grosvenor Gallery and Camden Art Centre.

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Described while in Johannesburg as the ‘Goya of the townships’, Dumile found his subject matter in the life and events he observed around him. Working primarily with graphic art in monochromatic hues, the artist had the ability and vision to transform the particular into the universal. His works also reflect his deep love of music, especially jazz. Even the disposition of the figures on the page is invested with musical rhythm.

Dumile was also an exceptionally gifted sculptor, a skill that is clearly expressed in his art. Though executed entirely in a linear fashion, many of his drawings have a profound sculptural quality. The Study for the portrait of Albert Luthuli is an excellent example of this.

It does not attempt to depict the final threedimensional sculpture; instead, the drawing itself has intrinsic attributes to sculpture.

Albert Luthuli was a Zulu chief, teacher and religious leader who became president of the African National Congress from 1952 to 1967.

He was the first African winner of the Nobel Peace Prize for his efforts in waging a nonviolent campaign against racial discrimination in South Africa. Whilst in London, Dumile began working on this subject. Eventually he completed at least a drawing and two bronzes of this African icon. Dumile’s portraits are not conventional, and the Luthuli project is no exception. Rather than depicting naturalistic likeness, both the drawing and the sculptures are symbolic portraits of a great leader and a wise and noble man.

Dumile succeeded in imbuing his work with feelings of deep sympathy and humanity. As Justice Albie Sachs has pointed out, Dumile’s work embodies the ideals and values which we cherish in a democratic South Africa and which are enshrined in our Bill of Rights.

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In order to enter the STAEDTLER #yourstory Competition, post a video of you telling us why you love STAEDTLER and show the hashtag sign with your fingers saying #yourstory at the end.

Post it on the STAEDTLER Facebook page or the STAEDTLER Instagram page with the tagline #yourstory. Your profile on Instagram has to be public in order for STAEDTLER to see the video.

Please ensure correct spelling of the hashtag line.

The competition shall result in a prize of the following: Monthly stationery prizes up to 30 September 2020. Closing date 31 October 2020.

1 x Grand cash prize of R20 000, 1 x second cash prize of R15 000.00 1 x third cash prize of R10 000.00 37 37

Terms & Conditions

1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’.

2. The competition closing date will be at the discretion of the organisers, but no later than 31 October 2020 at midnight (12pm).

3. In order to enter the STAEDTLER #yourstory Competition, post a video of you telling us why you love STAEDTLER and show the hashtag sign with your fingers saying #yourstory at the end. Post it on the STAEDTLER Facebook page or the STAEDTLER Instagram page with the tagline #yourstory. Your profile on Instagram has to be public in order for STAEDTLER to see the video. Please ensure correct spelling of the hashtag line.

4. All ages are allowed to participate.

5. Any late entries received will not be taken into consideration.

6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 24 (twenty-four) hours after the closing date will be disqualified and a new winner will be drawn and contacted.

7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error.

8. The competition shall result in a prize of the following: Monthly stationery prizes up to 30 September 2020.

1 x Grand cash prize of R20 000, 1 x second cash prize of R15 000.00 and 1 x third cash prize of R10 000.00 as the final prizes after the competition closes on 31 October 2020.

9. The judges’ decision is final and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded.

10.Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person’s negligence) in connection with this competition or accepting or using the prize.

11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise.

12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media.

13. The risk in the prize shall pass to the winner, once possession thereof has been taken.

14. Entry into the competition implies the acceptance of the above.

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We are going to use STAEDTLER’s FIMO leather effect clay to make a leather lookalike wrist band. Once baked the clay will have set into a flexible material that bends just like leather.

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Step 1 Knead the chosen colour until it is soft enough to work with. Then start by pressing it flat between your fingers. Then you place it on a smooth flat surface and press until it is mostly evenly flat.

Step 2 Use a roller to roll it flat into an even thickness.

To help you get it even right through, place thin cardboard on each of the strips and let the roller’s tip roll over the cardboard. This will ensure that your clay is evenly thick. For a more rustic uneven look, you can skip the cardboard.

Step 3 Measure your wrist and add about 2cm on each side for overlap. This overlap is necessary for the press clips we will add later. Draw a template on a piece of paper or use the one supplied, but shorten or extend the template for your arm’s measurements.

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Step 4 You need 14 cuts across your wristband. I used a sharp knife to cut through the paper and the clay strip underneath the template. We are going to weave the smaller strips through these cross cuts

Step 5 Cut three thin strips long enough to weave through the cuts in the strap. It is important to make these almost twice as long as the cross cuts area. Weaving will use more material.

Step 6 Preheat your oven to 130°C and bake your wrist band and the thin strips for 30 minutes.

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Step 7 Weave the middle strip first, making sure the ends go down through the last cuts on either side.

Step 8 Weave the side strips next. I had to cut mine narrower to be able to weave it through the sides. Now we weave in the opposite. If the middle strip goes over the side strip needs to go under.

Step 9 To give your leather wrist band a weathered look, use Raw Umber oil paint and paint over it making sure that it gets deep into the deeper areas. Then rub the wrist band with an old rag to remove the paint from the top which will leave “dirt” in the deeper areas of the strap.

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Step 10 Attach press clips on either side of the wrist band. Measure and mark where you need to punch holes for the clips to go through.

Step 11 Wait for the oil paint to dry, which usually takes about three days. Proudly wear your wrist band.Â

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Leather Wrist Band Template

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STAEDTLER AMBASSADOR

SHOWCASE

NADINE VENTER

My name is Nadine Venter, I was born in South Africa, in Pretoria on 23rd September 1998. I am a traditional artist specialising in realism. Realism has interested- and inspired me so much. I work mostly with graphite pencils and colour pencils.

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My artistic journey began when I was 9 years old and I had to choose from a list of activities in primary school that I had to do and one of them was art classes. Little did I know that I received a gift from God since that day. In my mind I only wanted to do these art classes for fun. My art teacher was so sweet and kind through those years and I enjoyed each and every class with her. In that time I joined Eisteddfod and was a Category Winner which I’m so proud of. I did these art classes until I was 13. I stopped drawing for two years which I regret a lot. I still haven’t realised that I had a talent and so I started drawing and practicing again at the age of 15.

At the age of 17, in 2016, I began taking realism drawing very seriously and tried drawing a realistic tiger by practising patience and focusing on each detail of the tiger. It was a great challenge for me that I accomplished.

After that I started taking an interest in drawing facial portraits of people.

Shierly Lin, one of the most amazing artists in drawing portraits, inspired me so much that I want to reach her level of skills in realism one day. She is one of the reasons I have improved my skills of drawing portraits of people.

I hope to inspire and motivate the world through my art and to show people that it is possible to follow your dreams.

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NADINE VENTER

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NADINE VENTER What is the type of art as well as the genre that you specialise in?

The type of art I specialise in is realism drawings of people or animals with graphite pencils or colour pencils.

What advice would you give to young artists?

My advice I would give to young artists is that you should keep practicing, because practice is the key to success and improvement as they say “practice makes perfect”.

Anyone can become an Artist by practicing. Never give up your dreams. There is no wrong in art as every mistake is part of the progress.

What are your dreams hopes with your art?

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My dreams and hopes with my art are that I hope to inspire and motivate other people around the world with my art so that they can keep following their dreams.

If you could have 1 wish - what would it be?

Contact details

You can find me on my social medias on: Instagram: @nadine_artss Facebook: Nadine Venter Art Email: nadine33venter@gmail.com

My wish would be to fly around the world one day (I also love the aviation world) to go and explore abandoned buildings as they call it “Urban Explore”. To see the amazing architecture on the walls and ceilings that are overgrown with nature of these abandoned buildings that are frozen in time capsules. Urban Explore fascinates me a lot.

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NADINE VENTER

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STAEDTLER AMBASSADOR

SHOWCASE

THEMBA MKHANGELI

Themba Mkhangeli is a self-taught South African ballpoint pen artist. He grew up in Mthatha in the Eastern Cape, in a small village called Julukuqu.

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Themba Mkhangeli is a self-taught South African ballpoint pen artist. I grew up in Mthatha in the Eastern Cape, in a small village called Julukuqu, where my roots lie. It was not easy for me to become an artist because no-one in my family understands what art is, or how important it is, and I struggled to even get materials to draw. I am currently based in Cape Town in Nyanga East. I was brought up by a single parent (my mother had to be both mother and father to me). She has been running a local business, selling sweets, chips, buckets and meat for over 30 years now. Early each morning before going to school, as well as in my spare time, I had to help her to pack things.

I am an aspiring ballpoint pen artist whose focus is mostly on the human form and particularly portraits. I started doing art at the age of five, but I realised my talents in Grade 6 whilst doing school projects. The older children encouraged me and due to this positive environment, my confidence grew. Recently I managed to enter different competitions such as the Sanlam Portrait Award 2017, where my ballpoint pen portrait was selected as one of the top 40 finalists. I also entered the Vuleka art competition where two of my works were also selected amongst the finalists, which makes me proud. I was nominated for 100 Mandela youth (creative category), and I have been featured in many magazines, tv shows and newspapers such as Drum magazine, Art times magazine, South African Artists Magazine, Cape Argus newspaper, City Vision newspaper, Sunday Times newspaper, Cape Town tv, Morning and Afternoon Expresso, SABC 3 to mention a few. I have been doing many group exhibitions around the country in different galleries such as Art.B gallery, Rust-en-Vrede gallery, Nel Art gallery etc.

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THEMBA MKHANGELI

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THEMBA MKHANGELI What is the type of art as well as the genre that you specialise in?

Although I am an aspiring ballpoint pen artist focusing mainly on the human form and particularly portraits, I also avoid limiting myself, so I use a variety of material such as ballpoint pens, paints, pencils, charcoal etc.

What advice would you give to young artists?

To develop your skill/talent practice is very important. If you want to achieve something, always have a dream, follow your dream and your heart. Never let your current situation determine your life because anything is possible.

The reason why I chose to draw with ballpoint pen, is because art materials are so expensive and I couldn’t afford them, but I found a way to achieve what I wanted to. Galleries will reject your art, not because you are not good enough, but because they accept a certain style/ styles of art. The answer is not to lose hope but to move on and keep knocking on doors.

What are your dreams and hopes with your art?

My personal goal is to excel in all the aspects of art and to be recognized as a serious artist in the future. My ambition is to be represented in public, corporate and private galleries all over the world.

Contact details Facebook page : THEMBA MKHANGELI ART Instagram: @thembamkhangeli Twitter: @ThembaMkhangeli Email: tmkhangeli086@gmail.com

I plan to do art for a living since I believe “Art Is Life”. My dream is to own my own art studio and gallery and to serve as a mentor to young people, particularly from the poorer black communities. Acquiring artistic knowledge and skills will result in a positive attitude and confidence and a much needed source of income.

If you could have 1 wish - what would it be?

To give back to the community in future. For now my wish is that I can get 20 life size canvases to enable me to work on my current collection of art pieces as well as oil paints, Covid 19 has brought hard times for those of us who are self-taught full-time artists.

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THEMBA MKHANGELI

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“Everychildisanartist,theproblemisstayingan artist when you grow up.” – Pablo Picasso

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STAEDTLER AMBASSADOR

SHOWCASE

BRIAN DLAMINI

My name is Brian Dlamini and I’ve always loved art. I’m a multidisciplinary self-taught artist.

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My name is Brian Dlamini and I’ve always loved art.

I’m a multidisciplinary self-taught artist. From a young age I’ve always been naturally drawn to different artforms such as music, photography, film as well as the work of other artists which have influenced some of my own work. I consider myself an artist who is a “work in progress”, as I still have much to learn.

I was born and grew up in Marrianhill, Durban and I’m blessed to have been raised by both my parents. As far as craftsmanship within the family goes, my grandfather was a carpenter and my father played the piano as well as a bit of guitar. He was just very good all round when it came to creating with his hands. That’s possibly where the artistic side of me comes from. Drawing has always been a part of my life, from scribbles on school books, to random sketches on the back of flyers or posters. I’m an entirely self- taught artist having had no formal art training or education. I try to work on my art a few hours every day. If art is the gift that some people say it is, then I hope to share it with the world and more importantly be able make a living from it. As important as it is for me to realize the worth of my work, I’m definitely at my best and more driven when chasing creativity.

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BRIAN DLAMINI

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BRIAN DLAMINI What is the type of art and genre that I specialise in?

Generally, my work focuses on figurative art. However, I’m very experimental and work with different mediums such as ink, pencil, watercolour, acrylics, and charcoal. Art is a medium of expression in itself so working with different mediums gives me the freedom to create and express myself with no limits and to also explore new and unique ways of communicating. Hopefully, this will ensure that my work appeals to a wider audience.

Currently, watercolours and fineliner pens(ink) are probably my favourite mediums and it’s been really interesting playing around with colours.

Advice to give young artists?

Be yourself. Get to know yourself, and I mean truly get to know yourself, and most importantly love yourself - because every artwork which you create will be an extension of yourself. Use your art as a voice to communicate and express yourself visually. Surround yourself with people who ignite your creative light. Believe in yourself and trust your hands. Trust the process and remember that there are no mistakes in either life or in art.

Hopes and dreams for my art?

Contact details Email: briandlamini5@gmail.com Cell no: 0813038700 (alt 0834035881) Instagram: @briandlamz Twitter: @briandlamz

I’d like to think that I’ve always been more of a believer in myself, than a dreamer. Therefore, I intend to use my art as a tool to tell stories, to heal and to uplift. I hope to become an artist to whom other upcoming creatives and young kids can aspire, as well as having a positive influence and impact on our culture, so as to pave the way for other creatives and artists.

A wish, 1 wish - what is it?

Travelling – in this country and the rest of the world. I feel that there is so much more life out there to see, feel and experience - nature, people, cultures, sounds and spaces.

Hopefully, the incorporation of all these inspirational things into my work would enable me to evolve spiritually as well as allowing me to grow artistically.

Also - time travelling would be fun too.

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Children with ADHD

By Christo Olivier Imagine what it would be like to realise that your child acts and thinks differently, is always distracted and never seems to know what homework needs to be done. Imagine what it would be like to realise that he has left his schoolbag on the school grounds after sport, and now he cannot do any homework or preparation, because you cannot get into the school premises. Imagine what it would be like to realise that your child’s books are a mess.

Imagine what it would be like to learn from his teacher that he cannot sit still in class and is not capable of paying attention or following simple instructions in the classroom. Imagine what it would be like to be called into school, because your child is under performing.

Imagine what it would be like to see your child sitting outside the classroom, because the teacher could not cope with him anymore.

Imagine your friends bragging about their kid’s school report, and you are doubting yourself.

What did we do wrong as parents? Why is our son not achieving?

Imagine what it would be like to see your child heartbroken, because he feels he does not belong or fit in with the other kids in class.

This was our son. With both of us being teachers we realised early on that he struggled to concentrate, and this negatively effected his academic performance. After his Grade 2 teacher called us in to discuss the situation, we knew we had to do something. So, we started off on a variety of supplements which caused havoc in our household, because we couldn’t get him to swallow the tablets and he refused to drink any form of syrup.

During his primary school years, we worked closely with his teachers to make sure that he kept on top of things and we thought everything was under control. When he went to high school, things started falling apart. He could not cope with the workload, was always behind and started questioning himself, his religion, and his purpose in life. He was really struggling emotionally and socially. So were we.

Being in the Pharmaceutical Industry at that time, we made an appointment with a Psychiatrist and were not surprised when our son was put onto Concerta. The first two months went well, or so we thought, until we realised that he is hiding the tablets under his bed. When questioning him about this, he said the medication made him feel extremely aggressive, his heart was racing, he did not want to eat, and he could not sleep at night. Because of this he did not want to take any medication, not even a multi-vitamin.

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For more information please visit www.rootelement.co.za Christo Olivier Director: Root Element Christo is a qualified teacher and worked in the Pharmaceutical industry before embarking on the journey to develop Essential Oils to assist in ADHD related symptoms He is passionate to change people’s lives naturally 72 (Or whatever you think is best)

With lots of tears, prayers and helping him to put systems in place to keep him organised and accountable, he finally passed matric with University exemption. We were over the moon and confident that he had developed the skills to cope with ADHD. We sent him off to University with high hopes, only to have our dreams as well as his shattered after 2 years.

The penny dropped. ADHD is a real and constant challenge, not only affecting your child, but the whole family as well.

Being qualified teachers and having worked in the Pharmaceutical industry we knew that there must be an alternative, natural option to help him and other kids with ADHD symptoms.

After lots of research, we stumbled upon an age-old option, Essential Oils. The history of Essential Oils for healing and improving health dates back thousands of years.

Essential Oils are fragrant oils derived from plants. The oils capture the plant’s scent and flavour, also called its “essence”. They are highly concentrated, making them extremely potent. Therefore, they work in synergy with each other which means that they work much better when mixed with other Essential Oils.

A study done by Dr Terry Friedman, has shown that the use of certain Essential Oils significantly improves ADHD related symptoms, because specific Essential Oils assist in increasing cognitive performance. They also have relaxing and calming properties to help combat symptoms such as difficulty in concentrating, being distracted and impatient.

Realising that this could be the answer for our son, we started developing therapeutic Essential Oil Blends, specifically to assist in relieving ADHD related symptoms.

Today, our son is 23 years old and understands the importance of being organised, following a healthy diet and using these Essential Oil Blends daily. As he often says, life would have been so much easier if he knew then what he knows now. He learnt to use his strength in order to find his own path in life and ADHD became his superpower. He is successful and happy because of it, not in spite of it.

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Anxiety in children due to Covid 19

By Judy Nemeth

For many children, severe stress and anxiety has never before been part of their day to day existence.

For unfortunate youngsters living in war torn countries, their situation has been traumatic and dire for most of their lives, but this has not been the situation in many other parts of the world. However, once Covid 19 became a reality in virtually every country, and life altering restrictions were imposed, this has caused many previously unknown reactions amongst children in all age groups.

Here in South Africa, the school year was only just getting into full swing when the order came that children must stay at home to avoid infection. Those little ones who had just begun to go into their classrooms without clinging onto their mothers’ legs, were now confused by not being able to go to school and to play with their new friends. Trying to explain to them that they needed to stay at home to avoid getting sick was bound to result in them becoming anxious and confused. Then, it became a necessity for them to start wearing face masks, and to wash their hands far more frequently than children normally do. The routine that had just become the norm for them was snatched away in an instant. One little boy of almost three who had just got used to a new school and teacher had been fully potty trained prior to the lockdown. Back at home every day, he suddenly started refusing to use the toilet and wanted to have a nappy on again. This would appear to be a sign of anxiety and his way of trying to have some form of control.

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Those children who are extremely sports orientated have, in many instances, fared very badly throughout this period of lockdown. When a child is practising his or her sport several times a week and playing weekend matches, to have the proverbial mat pulled out from under them has resulted in cases of depression ranging from relatively mild to very severe. The isolation from their classmates as well as their teammates has been a psychological as well as a physical problem for many of them. So much energy which is normally used up on the sports field or in the gym was no longer being channelled in that direction.

Children are by nature social beings and never more so than during their teenage years when their peer group is of great importance. Keeping in touch via mobile phones is a poor substitute for being with friends and having fun together. Parents need to be aware of the potential risk of self-harming which can result from feelings of isolation and loss and potential depression. With schools slowly re-opening there are many changes in place. No more hugging friends, sharing food, or being close to one another.

All these are issues which are likely to create anxiety and worry for many of these children as well as feelings of helplessness and distress.

Everywhere there is evidence of the Covid 19 pandemic, from media reports to billboards making us aware of taking all the necessary precautions such as social distancing, sanitizing and the wearing of masks. This constant reminder of the risk of infection can in itself cause anxiety in children. Having to avoid seeing family members such as grandparents, aunts and uncles and cousins is also a major stress factor for many of them. Where extended family live under the same roof, the situation is possibly a little easier on the children.

Things have altered and life will probably never be the same as it was before Covid 19, so parents and teachers are going to have to try to be aware of sudden behavioural changes in students due to their potential anxiety, and to assist wherever possible.

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Home schooling

By Judy Nemeth Over the years it has become possible for parents to have a choice as to whether their children are home schooled instead of them attending a traditional educational facility. In certain instances, it would be the parents themselves who, for whatever reason, are the ones in charge of supervising the child’s education.

There have been instances where parents have taken their children out of school for several years in order to travel the world. The reasoning behind this being that they would receive a wider education from experiencing new sights and cultures instead of being confined to a classroom. One can only hope that general education such as literacy and numeracy was not neglected in such a case.

There are private home schools which seem to be popping up all over which are being run as an alternative to children attending large public or private schools.

Many of these are referred to as academic study centres. The classes are far smaller than most classes in regular schools, and this should have the result of more individual attention being paid to each child’s needs. The fact that the curriculum followed is often recognized internationally is a factor which could influence parents to go this route regarding their child’s future opportunities.

Whilst ensuring that a child receives a good education has always been a very important aspect of child rearing, there is more to education than being able to regurgitate facts and figures. If taking a new puppy to puppy socialisation classes is deemed to be important, then how much more critical is it for children to mix with others of a similar age and with varying personalities? However, being a pupil in a school which has overcrowded classrooms, and thousands of children enrolled across all the standards may suit many students but could be extremely daunting for others.

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There are benefits as far as traditional schooling is concerned due to the opportunities provided for participation in sport and other extra-mural activities such as chess, debating or being part of a school choir or taking part in a school concert. After school activities may have to be sourced externally where a child attends a home school. Possibilities include joining a private soccer or rugby club, taking up karate or art classes, whatever it is that suits the child’s personality or talent. However, the potential for bullying and being in a toxic school environment due to some form of prejudice are serious negative factors which would not have to be dealt with when studying on line at home or being enrolled at a study centre.

Factors such as the limited amount of attention which a teacher is able to give to each pupil in a large class can be detrimental to the child who needs more help in order to cope. The Individual attention which should be available in a small class is a definite positive factor when making the decision to take advantage of home schooling. In a mainstream school situation, children may be able to work without having access to wi-fi in their homes. However, when it comes to home schooling, then being able to go on- line for study purposes and to have a laptop and internet access are likely to be a necessity.

It will always be a matter of choice as to whether a child will be home schooled or have the traditional education offered by private or government schools. There are many aspects to be considered by both the parents as well as the child concerned, but home schooling may be an option for furthering talent and creativity which may not be fostered in a large classroom environment 80

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Giving art classes during Lock Down

By Riaan Marais A Short Story I have been teaching art since 1995. It was at the request of the lady who was giving me guitar lessons and who wanted to learn to paint that I started giving art classes So, we struck a deal, I would teach her to draw and paint and she, in turn, would teach me to play music. It wasn’t long before she introduced her friends who in turn also started bringing their friends to class.

At first, it was very intimidating to teach others. I was still very young and, when I look back at that time, very inexperienced. But the most daunting part of teaching was the human interaction because I am, by nature, an introvert. Luckily, most of my students were friendly and kind. I made many new friends and helped many aspiring students to become the artists they all wanted to be.

I also developed my artistic skills to a new level where I might otherwise not have been.

You see, when you teach a subject you really have to know it very well. Teaching has forced me to try always to be one step ahead of my students. You have to be able to draw and paint anything in order to teach art.

As humans, close interaction with other people is vital. We do not live in a vacuum whereby we know things through inheritance, nature or genetics. We learn from other people by observing them and enquiring of them as to how they do things. In this way we are able to see someone else showing us how to do something and guiding us if we make mistakes.

Lock Down Then we had Lock Down thrust upon us like a demon from hell and our interpersonal interactions were instantly severed.

My first reaction was that of relief as it was almost like being given a forced holiday.

I soon realised, however, that the financial impact of this was going to hit me hard.

Besides, I would be missing my students (between you and me, they are more like my friends). I had to make a plan.

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Thus, I started creating tutorials. At first, I did not know how to do this and where and how to present to my students. All of my students are adults and some of them are retired, so not all of them have embraced the new digital era into which we have now been pushed. So, the best solution I could come up with was to create tutorials which I could share with them via WhatsApp. They all embraced this method and they love the weekly tutorial I create for them.

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Here is how I did it Pick a subject which is interesting to you, but one which will also suit your students. Decide what format you want to present it in, written step-by-step or via a video tutorial. If it is a written tutorial you will have to take photos each step of the way. Take more photos than you will need as you can always delete the unwanted photos.

Then start drawing/painting your subject and make sure you explain the process to yourself. It sounds silly, but if you cannot explain each step to yourself and why you are doing it the way you are, you will not be able to teach it. Remember to take photos of each major change and make notes as you progress.

You can do this even without a computer. My very first WhatsApp tutorial was done within WhatsApp. I did a drawing and took step-by-step photos. Then I typed what needed to be done, after which I did the next photo. It took a bit of time to do it this way and my students had to wait for each step to be completed before receiving the following step. The next tutorial was one which I created on my computer. I opened a word processing document and dropped each step’s photo in place, typed the instructions and exported it as a PDF. This I shared with my students on WhatsApp. Some students had a hard time opening it on their phones, but they all found a way to get to their tutorial.

If you are making a video, make sure your lighting is sufficient to display colours and detail as perfectly as possible. It will not look exactly like the original art you are creating but shooting good video footage will be of great help to your students. If you plan to send the video as it is, make sure that you explain each step while you are painting. In my case, I decided to speed up my videos. This reduced the file size and data costs. It is also boring sitting through a video where there is lots of talking, cleaning brushes and pauses in between each stroke. So, for me, it worked better to double up the speed and to do a voiceover explaining each major step I took. Then you can either share the video directly via WhatsApp or you can upload it to YouTube and share the link with your students.

I opted to go for YouTube because it is permanent. If you have to clean up your phone of pictures and videos, your tutorial will be lost. Not so with YouTube, unless you delete it there.

Conclusion Although I could continue teaching online, I would still rather have face to face interaction with my students. There is more reciprocation and they can ask questions immediately if they are struggling with something. Online lessons get tedious for both student and teacher. Messages take a long time to type and some of the clarity regarding what is being said, and questions being asked gets lost.

But it is not all negative or bad. I saw some students take on the challenge and they are now more competent than they were before. Not having the teacher next to them forced them to pay more attention to the task at hand.

All in all, COVID-19 has changed our lives forever. Teaching my students online has also taught me a few lessons. To get clear messages across to students, I need to let them work things out by themselves and not jump in too quickly to fix their mistakes for them. Even during hard times, the best we can do for ourselves is to be proactive and creative. So, be creative and, if you can, teach others to be creative as well.

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