Академический Документы
Профессиональный Документы
Культура Документы
NO. 2
2010
www.bowman.co.za
5>
CONTENTS
TRAILBLAZERS
24 > C
hris Saunders & Brett Rubin: Photography
inspired by personal passions
BUILT ENVIRONMENT
50 > Design for the people
EDUCATION
6>
84 > U
ncovering the mysteries of the magic mirror
tents
COMMUNICATION DESIGN
90 > Un-packed: A story about boxes and bags
POPULAR CULTURE
120 > Avant graffiti
7>
FASHION
140 > Inspired jewellery
DESIGN THINKING
152 > Design challenge of this century is education for all
EDUCATION
8>
170 > D
esign Achievers: A leadership launch pad for
young creatives
174 > A
frican students join the crème of South African
Design Achievers
TERTIARY RESOURCES
194 > Kate Moross’ guide to freelancing
216 > P
ics made from basic tools: Photograms and
pinhole photography
220 > A
nimation Academy opens new doors for young
creatives
EDUCATION
College of Human Sciences
School of Arts
Our programmes prepare you for a multiplicity of careers in the contemporary art world: professional
artist, corporate art advisor, community art specialist, arts and culture journalist, animator, art educator,
art historian, art critic, multimedia designer, music video producer and video director.
EDUCATION
11 >
CREDITS
PUBLISHER > PRODUCTION >
Cameron Bramley Charl Lamprecht and Stacey Rowan
cameron@designmagazine.co.za
ADMINISTRATION & ACCOUNTS >
GROUP EDITOR > Claudia Madurai & Michelle Swart
Jacques Lange
jacquesL@iafrica.com CREATIVE DIRECTOR >
Jacques Lange
EDITOR >
Suné Stassen DESIGN & LAYOUT >
sune2000@mweb.co.za Bluprint Design
EDITOR’S FOREWORD
“good business arises from a design-centric process diverse angles and disciplines. Because of creativity,
that incorporates marketing, research and ideas” powerful brands are built and improved upon, result-
and design is acknowledged as the “bottom line”. ing in new markets and targets. We visit a true South
African icon Marianne Fassler, learn more about the
Knowing that design is not a luxury nor an elitist making of the Tinga Tinga Tales and find out about the
activity but rather a necessity that responds and soon-to-be-released first batch of animated feature
serves basic human needs, it is difficult to under- films produced in South Africa. En route to ethical
stand how any culture or country can exist without architecture via Noero Wolff Architects is a case of
even the very basics that creativity, innovation and the everyday and architects Alejandro Aravena and
imagination can provide. We have always – ever Marcelo Rosenbaum use their design skills to im-
since the Stone Age – expressed certain basic needs prove and empower the lives of many people, while,
in order to survive, communicate, travel and feed at the same time, alleviating poverty.
ourselves and others – not to mention our basic
needs for medical care and protection against the ED> will continue to scout for these balancing acts
elements and much more. between the needs and the wants that equally and
successfully address so many human conditions
As a biannual publication, DESIGN>EDUCATION through the application of creative thinking in an
(or just call her ED>) continues to focus on trendy and innovative and problem-solving way. The ultimate aim
valuable morsels, delving deeper than the usual is to produce something that can be of relevence to
show-and-tell and sharing valuable insights into the market and its users.
worldclass productions and designs done by extraor-
dinary teams of talented and skilled individuals. Have a great and inspiring read!
EDUCATION
14 >
BEING
TRUE
TO HER
MUSE By Jacques Lange
15 >
passions, the fashion industry, entrepreneurship and much more with ED>
What are the origins of Leopard Frock? Leop- The name was a tongue in cheek play around
ard Frock was established in the early 90s the Leopard Rock generic place name for an
after I moved from my shop in Hyde Park Corner. African game park. Of course it also describes
I needed more space and thought it made what I do…make frocks, often in leopard print.
sense to have my workshop and retail space
in one integrated unit. Since then I have been You are one of the very few designers in the
trading from a typical Saxonwold double storey world that have managed to keep leopard
in Johannesburg. I have never regretted the print en vogue. Why do you have a passion
move out of the shopping mall, although I some- for this and what is your secret for reinvent-
times miss my shop window which I just loved ing new interpretations? Contrary to popular
dressing up. Now of course the Internet is my belief, I don’t always use leopard print in my
shop window and I can trade 24hrs a day. collections. I do however use it as a leitmotif
EDUCATION
16 >
EDUCATION
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into my place, my time and my muse. It never fails vibrant clothing manufacturing industry in South Africa.
to inspire me. If I had to look at fashion magazines, Companies like Transvaal Clothing and Rex Truform
retail chains or the Internet for inspiration I would be manufactured garments of a very high standard for
a bad dressmaker. I live in South Africa, I consider export all over the world. We even had a Fashion
myself an African. As such, what I do and how I live will Fortnight twice a year where buyers came not only
be unique. I am interested in politics, music, history, from all over the country and outside its borders to
art and theatre – all places where one has the oppor- purchase for boutiques but also from Europe. But
tunity to reflect on heritage, politics and the human then came the dreaded sanctions and by the time we
condition. One can be both African and universal became players again the Asian Tiger had destroyed
especially when one is creative. Perhaps growing up manufacturing in the USA and Europe. We were no
in the 70s to 90s was unique because of the shift of longer competitive. That is how markets work.
power, but it was also a very unsettled time all over
the world. I also try to keep focus on what is happening As an industry we cannot remain stagnant. We have
in politics right now. Alluta coninua! a lot of skilled people who are now unemployed. The
industry is still hemorrhaging jobs and the govern-
It was only in the early 90s that South Africans started ment has no real vision for the industry. This is the
being exposed to the flowing robes and national cos- problem. The government is so busy politicing, it
tume from all over Africa. I started being inspired by has lost focus….the clothing industry is just one of the
those clothes after I received a copy of Africa Adorned, neglected areas. South Africa has become a dumping
by Angela Fischer in 1983. Angela Fisher and Carol ground for cheap Chinese imports and 2nd hand
Beckwith have been documenting African ceremonies clothing. The best we can do as consumers is to buy
and dress for the past two decades and their work only South African products and to demand com-
has been the most influential in shaping my love for petitive prices.
the continent. Carol and Angela brought Africa to my
living room and they were more inspiring than any I believe the long-term is a series of short-terms and
specific designer…but then, how can one not give cred- as a manufacturing industry we have not moved for-
it to those magnificent Ashanti Kings, those exquisite ward, but the Internet has made a huge difference in
Himba women, those noble Massaai? I also collect that we can show on a ramp in Sandton and instantly
Barbara Tyrrell who was one of the first iconic histo- be in the homes of people all over the world. The
rians to document the way tribal people of South- designer-focused Fashion Weeks have given us a
ern Africa dress. Her sketches are iconic. platform to perform and then it is up to us what we
do with that material.
In your opinion, what are the roles responsibilities
and challenges of the fashion industry in the context You have always been very experimental in your
of the creative economy? Dressmaking is a huge selection of textiles, prints and colour. Are these some
business all over the streets of Africa (as it is in India of your signatures and how do you maintain your re-
and China). Tailors can operate anywhere anytime as inventive qualities? I love colour. I was lucky enough
long as they have a machine and some basic tools. to grow up in a home where my mother, the painter
When one talks about the much bigger picture, the Hannatjie van der Wat, constructed huge colourful
challenges are numerous. We used to have a very canvasses and where we were surrounded by colour
EDUCATION
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EDUCATION
23 >
Audi Fashion Week 2008. Photos by Nicolene Olckers and Paballo Thekiso. does not know simple terms like ‘tulle’, when I really need the money to meet my
‘godet’, ‘rouche’, ‘bustier’ etc. This means that wage bill. Seriously, it is a real motivation
they are therefore also not capable of attend- to make something really new and original
ing a fashion show and writing a critical to entice your consumer. I always think it is
evaluation. They cannot describe the gar- so stupid of the retailers to fall back on basics
ment and certainly cannot gauge if is de- when times are tough. What they really
rivative or not. It is mostly about hype in need to do is to tempt, to seduce, to lure the
this world of fashion in South Africa. consumer back for something really special
to spice up their depressed lives!
You have also been reinventing your per-
sonal image over the years. The flaming red What are the most important lessons that
hair has been a constant. Is this part of you have learnt as a fashion entrepreneur
your business strategy? My dreads have over the years? I am not the most impor-
been around for about 9 years now. They tant element in my business. I am only
are a real labour of love and they are un- important in that I inspire the product and
likely to change into something else. My facilitate the process. My clients are at the
personal image has evolved over the top of the pyramid and my skilled staff man-
years because I have grown up, matured, ufactures my product. Without them I
got more comfortable in my own skin. I would not have a business.
don’t change myself to attract attention
from anybody else. I just do it for me. There is an enduring quality to your work.
To what would you ascribe your longevity
You are described as an artist, designer in the fashion industry? Being true to my
and entrepreneur. What came first? That muse and ‘living my art’, as Adam Levin
is how I am described, so I guess I am that. said.
I guess designing is a practical outlet for
me. I never wanted to put paint to canvass What do you still aim to achieve in future?
or to express myself in any other way than Hopefully more of the same. Nadine
through fashion, but, in my case it had to be Gordimer was such an inspiration at 89.
so much more than just fashion. Or perhaps Vivienne Westwood and Rei Kawakubo of
I should rephrase it. I wanted to create Comme des Garçons are both still very ac-
fashion, not copy or follow it! I hate shop- tive in the industry and continue to inspire
ping. I don’t buy magazines. I hate new clothes generations of young designers. When I am
and have to really bond with something no longer inspired by what I do every day,
before I own it. I never attend fashion shows I can do something else. I am privileged to
and I shy away from the fashion crowd. spend every day doing what I love. <
EDUCATION
24 >
CHR
SAUNDER
& BRET
RUBIN
PHOTOGRAPHY INSPIR
PERSONAL PAS
By Suné Stassen
25 >
IS
Chris Saunders is a young British “I hated the University course though.
photographer based in Sheffield who After the college I applied for a docu-
humbly describes himself as resident mentary/portraiture course and just as
snapper of much of that fine city’s I was accepted, much to my annoyance,
outstanding music scene. During the they changed the curriculum to a fine
past decade he has managed to blend art photography course. Not exactly
two of his passions to shape an illus- what I have signed up for! This is prob-
RS
trious career of shooting famous, in- ably another reason why I like the fol-
famous and not so famous actors, lowing quote from Elliot Erwitt: ‘My
comedians, authors and film directors. theory is that photography is so simple
that people feel the need to invent all
“At first I was a really keen musician sorts of bullshit in order to justify it.”
in my teens and wanted to be a rock
star before I got into photography in One day, purely by chance, Chris saw
TT
my early 20s. Before I stumbled across the comedian Bill Hicks on TV and
it, photography was not my first loved his performance. He decided
choice for a career. It actually started then and there that he had to meet
when I borrowed a friend’s SLR [single- Hicks and that photography might be
lens reflex camera] to take some photo- the ideal means to achieve this. Luck
graphs of this really cool pet cat I had was on his side since Hicks’ next per-
and I took to photography straight formance was pretty close to where
away”. As he is still playing in a band Chris stayed and so he went down to
N:
it is pretty normal for Chris to move the venue. “On his arrival I explained
between his passion for music and to him that I was a photography stu-
his passion for photography. dent, just getting a portfolio together
and if he would mind being photo-
After buying his first SLR he initially graphed? He was very willing and the
went on a two-year college course in photograph I took of him is still one of
Sheffield and then to University in my favourites.” Hicks died 18 months
Manchester. According to Chris, the later and he has subsequently devel-
college course was really worthwhile as oped a huge following that keeps on
it taught him the traditional practical growing to this day.
EDUCATION
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signings and readings. Chris be- where there is a sofa, in the form shooting and the owner of the
came friendly with the manager of a huge pair of bright red lips house came out with the inten-
and he agreed to let him set up a which would be great to position tion of taking them for a walk. I
little studio in his office so that Lynch on. So I planned out how immediately roped the dogs
these famous people could be long I’d take photographing him into the shoot. I think it works
photographed before their pub- in each spot, how I’d light each though and adds to the strange
lic appearances. “I got to photo- shot etc. When I arrived at the feel of the shot.”
graph quite a few famous names hotel I was told that because
this way. Not that a lot of these Lynch was behind schedule I’d Comparing the differences be-
photographs are any of my fa- only have 5-10 minutes at the tween doing portraiture and
vourites, but at the time this was most and that because the hotel shots of a live performance is
a great opportunity to build my was so busy that day I’d have like day and night. Obviously the
portfolio”. Today, Chris has been to photograph him in his hotel photographer has a lot more
a pro for ten years. room.” This is the nature of the control when shooting a por-
game. You need to be adjustable trait, while with a live perform-
He says that each commission at a second’s notice and still pro- ance you have to anticipate and
brings its own challenges and you duce top quality work. “The room wait for the perfect moment,
should always have a number was small and due to a number whether it’s in the emotion of the
of approaches in mind for a job of people hanging about for in- performance, something hap-
so that you have options to fall terviews his surroundings made pening with the lighting, or a
back onto when things suddenly it nearly impossible to shoot combination of both which is
take a different turn. Chris ex- what I originally planned. I had when Chris believes he usually
plains the process of one of his to resort to a close-up shot gets the best shots. “Great exam-
most memorable shoots when outside on the balcony – still ples of some of my work, that I
he had the opportunity to cap- one of my favourite shots to date. am extremely pleased with, are
ture the world famous film direc- I just love it!” shots of Amy Winehouse, Tom
tor David Lynch in 2001 while Morello, Pearl Jam and Peaches
he was promoting Mulholland Sometimes it is to your advan- which I think display the latter
Drive. “I was told I’d have half an tage not to plan too much and best. I can’t stand photographs
hour (a luxury!) to photograph allow for other elements to of vocalists just singing blankly
Lynch at his hotel so I looked naturally find its way into the into the microphone. As far as
on the hotel’s website just to composition, like the shot he did the settings on the camera go,
note that there were a lot of of the band, I Monster. Chris use a wide open lens on aper-
furniture pieces designed by explains: “I had the location set ture priority, +1 exposure com-
Phillipe Starck which sparked up beforehand but the idea to pensation, high iso and take it
off numerous ideas. These ideas have dogs in the shot didn’t come from there. It depends on the
including a shot in the lobby about until we had started setup of the lighting.”
27 >
TOP LTR: Bill Hicks and I Monster. ABOVE LTR: David Lynch and Amy Winehouse. © Chris Saunders.
EDUCATION
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TOP LTR: Tom Morello and Peaches. ABOVE LTR: Pearl Jam and Harold Pinter. © Chris Saunders.
29 >
EDUCATION
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RIGHT: Cutting Room. ABOVE: Design Indaba magazine 2009. © Brett Rubin.
EDUCATION
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TOP LTR: Grolsch Green Light District campaign and shoot for Margot Molyneux. CENTRE LFT: Suzaan Heyns’
Spring/Summer ‘10 Collection and Stiaan Louw’s Next Generation campaign. ABOVE LTR: Collaboration with
menswear designer Cameron Foden for an exhibition, Tomorrow’s Society. © Brett Rubin.
33 >
EDUCATION
LION
34 >
HEAR
Scenes from The Lion of Judah. Images courtesy of Character Matters.
> View the trailer here.
N-
35 >
RT
ferent. Character Matters of Westlake in Cape Town
have done just that, turning Deryck Broom’s direction
into animated beauty and they aren’t the only ones...
EDUCATION
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and resources. Character Matters will release The animals. The film is commissioned by Animated
Lion of Judah, director Duncan Macneillie is produc- Family Films in the USA and is marketed toward the
ing Jock of the Bushveld and Triggerfish are in pro- US Christian market. This family film centres around
duction with Wayne Thornley’s Zambezia. the group of animals (a pig, a horse, a rat, a rooster,
a cow and a donkey) who look for their friend Judah
The passion, creativity and determination of these (the lamb), whom they try to save, as he will be sac-
designers, animators and filmmakers exceed any rificed by the townspeople. The impending doom
thoughts of the challenges they may face, boldly car- for the brave little lamb spurs his furry friends onto
rying on South Africa’s boom in home-grown produc- some hilarious adventures culminating in their
tions, ensuring the country and continent’s impact search for the ‘King’ who was born in their stable
on the mainstream film industry for years to come. years earlier. The King however, is Jesus, weaving
the story into a time in history, and many other oc-
The Lion of Judah will be the first to be released on casions setting the characters into humourous situ-
the international film circuit during the final quarter ations and historical events. Actors such as Michael
of 2010, after a year and a half of production – and Madsen and Ernest Borgnine, as well as Grammy
then some for conversion into 3D. The story is Award winner Sandi Patty, provide the animated
adapted from biblical themes, positioned as an voices.
Easter-like story from the eyes of a gang of barnyard
Scenes from Jock of the Bushveld. Images courtesy of Jock Animation (Pty) Ltd.
> View the trailer here.
37 >
Even on www.thelionofjudahthemovie.com the well as abroad. Such niche markets are still un-
back-stories on the characters are extensive and tapped, for example: the Afrikaans-speaking mar-
the artwork and animation has high production ket. The dubbed Heidi from South African TV was
value, giving the audience or viewer a sense of a a hit in the 90s and there is no reason why there
rich, well-rounded product. The more thought won’t be an animation in the future sporting ‘Die
there is in the details, the better the audience can Taal’. This is how the industry can choose it’s bat-
relate and emotionally invest in an on-screen en- tles, still providing quality on par with the interna-
tity or situation as character is definitely king at tional production houses but competing within a
Character Matters. The fact that the target audi- certain market – how many other Christian 3D an-
ence is Christian Americans, and the movie has a imations will there be showing at the same time?
biblical theme, doesn’t pigeonhole the distribu-
tion of the film nor would it make any less money. The Lion of Judah looks to be hitting all the right
As many will know, the market and success of the notes, but all this didn’t come without hard work.
Christian sector, as well as the need for more According to Character Matters, during the peak
‘wholesome’ content, is large. Hillsong in Australia production 36 people would be working on the
and many other churches/organisations in Ameri- movie at the busiest times. Finding Nemo or Shrek
ca have huge followings and generate large reve- have teams of 300-400, and so the scale of the
nue and interest in their respective countries as, accomplishment and grand scale of a +-90 minute
EDUCATION
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production is seen in perspective. The making of Character Matters’ entire studio was committed to
the film required many roles, such as concept art- the production of The Lion of Judah as the project
was large, with a tight deadline. What this means
ists, illustrators, 3D modellers, 3D texturing, light-
ing, visual effects people, compositors and ren- for the newbie animator, is that, showing a good
dering artists. The animating was done using the work ethic and not being shy to do many freebies
program PMG Messiah and textured and rendered and internships during your early years in the in-
using the Lightwave 3D program. dustry will pay off and people will notice. That’s
why people will notice The Lion of Judah. The ani-
The nature of the film industry in general is char- mation studio’s in South Africa will be essentially
acterised by people who have a hunger to work ‘punching above their weight’ and with the audac-
(usually long and hard), a passion and love for per- ity of 36 vs 400, we will be able to compete with
fection, as well as a certain investment ownership the internationals.
of the responsibility for the final outcome of the
job/production – which means the bottom line as- The news gets better: Character Matters also has
sistant illustrator would want the project to do a TV series called Zoovolution for the international
well, just as much as the director wants it to. market as well as pending negotiations for a The
Lion of Judah sequel. Away from Character Matters,
the director of the 3D animated feature Jock of the
Bushveld, Duncan Macneillie, has grown his team of Zambezia. The story is one of self-discovery and
to around 25 and should wrap production in De- how Khaya learns to fight for his community in-
cember. The film follows Jock, our fearless runt of stead of being so self-orientated. The city itself is
the litter, who with his master Fitz, the prospector, built in a huge baobab tree, with one open side
encounters adventures, builds ‘crazy’ friendships revealing a cross section of the levels and stages
and defies death. The story is set in the 1880s Gold teaming with birds everywhere – this setting is a
Rush South Africa with an array of African animals visual assault in itself. Lets hope we don’t have to
(e.g. baboons and monkeys to name a few) not to wait too long for this one!
mention the sprawling veld and James the powerful
Zulu warrior. The animation quality of what has Just as the characters overcome obstacles when
been released is also looking great and the film will the odds are stacked against them, the animation
definitely do justice to the animal classic. industry also soldiers on and achieves. And you
cannot help but draw parallels with the industry
Triggerfish Animation also has Zambezia coming and the very stories they tell, when ‘small lambs’,
in 2011, the story of a falcon, Khaya, who once such as these animation studios, fight with the
breaking the shackles of living under his over-pro- hearts of lions. <
tective father, discovers a life full of excitement
and opportunity in the intricate and grand bird-city
EDUCATION
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JOULE
AFRICA’S FIRST
TRULY SUSTAINABLE
ELECTRIC-POWERED
VEHICLE
41 >
EDUCATION
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Joule went through various itera- With this important milestone, shape, which required the exper-
tions until a refined concept stage Helfet shifted his focus to the tise of Keith Bright. Under Helfet’s
was reached. design of Joule’s interior. guidance, Bright shaped the inte-
rior in a similar process to that of
Keith’s immense experience in the the exterior, to be installed into the
automotive design industry came
Paris show car existing body shell. With an exte-
to the fore when shaping the rior and interior design in place,
As an MPV, the interior design
serviceable vision of the found- the prototype was ready for its
requirement stated that Joule
ers into an elegant form. Keith debut at the 2008 Paris motor
had to accommodate six passen-
was instrumental in creating the show.
gers. This required a three-seat
understanding that Joule had to
configuration in the front, offer-
portray aesthetic appeal and avoid In a world of compact and oddly
ing space and functionality, and
the Tonka-toy impression created shaped concepts of electric vehi-
made possible due to the unique
by some earlier electric vehicle cles, Joule offered a refreshing
advantages offered by electric
concepts. At this stage all the de- and attractive alternative to an
vehicles such as fewer compo-
signs existed only in the form of internal combustion-engined
nents required and no need for a
electronic data and the next step competitor, and it did not go un-
gearbox and transmission. But
was to turn the concepts into a noticed. The international media
this design also posed some
physical mock-up. launch immediately put Optimal
unique design challenges such
Energy on the map and Joule was
as the elimination of the centre
In order to make this possible, applauded for its stylish design
console to create space in the
Keith Bright of Brightglass was foot-well for all front occupants, and unique flowing lines that
commissioned to shape the ‘plug’ thus limiting the space available give it such broad appeal.
from an egg-crate design created for the packaging of wiring and
by Helfet. An egg-crate structure components. When six became five
formed the base of the ‘plug’, and
comprised of sections and cross Helfet managed to use the avail- While the six-seater configuration
sections made of wood, filled with able space in the best possible garnered plenty of praise, Optimal
foam and shaped to create a basic way by creating an interior theme Energy research indicated that a
representation of the electronic that featured a floating instru- 6-seater configuration might limit
model. To ensure an accurate ment panel and optimised seat- the marketability of Joule by posi-
portrayal of the Helfet’s design, ing position for all passengers tioning it in a niche segment of the
Bright meticulously shaped the through which the interior space market. A decision was taken to
foam model by hand and coated of Joule could be highlighted. The introduce a five-seater configura-
it with layers of fibreglass to cre- interior theme echoed some of tion, better suited to the needs of
ate a usable surface from which the flowing exterior feature lines, the target market, and this creat-
a mould could be created. visible in areas such as the dash- ed an opportunity for the growing
board profile and the door-panel design team to renew the interior
A body-shell was pulled from the trim lines. of Joule.
moulds to create the first physi-
cal representation of the exterior, Once again, the design needed With a revised interior design
and Joule started to come to life. to be converted into a physical brief in hand, Helfet and his team
43 >
EDUCATION
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Initial interior concept (top left). Other revisions of the interior concept (top right and below).
EDUCATION
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Renderings by Zagato.
46 >
EDUCATION
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50 >
DESIGN FOR
THE PEOPLE
Economic recession, global warming,
the explosion of social media cultures,
civil unrest, emerging third world pow-
ers and terrorism are just a few of the
ever changing aspects and issues that
confront us on a daily basis.
After graduating with a Bachelor of Architecture The general attitude often seems to be that low-
degree from the Universidad Católica de Chile in 1992, cost social housing with its limited budget simply
he won a commission to design the Mathematics has to mean downgrading of standards, size and
Faculty building at this university. The success of quality. Yet Aravena’s approach is just the opposite.
this building, among others, resulted in further For him there should be no compromise on the
work on a number of university-related projects. In level of design excellence, irrespective of the limited
1994, Aravena established Alejandro Aravena Archi- finances available. He would rather design and
tects, of which he is the principal. In a professional build what he can with the money at hand, even if
career spanning more than 15 years, Aravena has this means building half of a good house when
engaged in an array of high-profile projects, both presented with limited financial resources.
within his native Chile, as well as internationally.
His work has included a global range of private, This attitude is exemplified in Quinta Monroy in
public, educational and institutional projects. the northern Chilean coastal town of Iquique. This
housing project, completed in 2004, epitomises this
Despite these high-profile projects and increasing pragmatic, problem-solving approach that both he
international acclaim, Aravena also makes an exten- and Elemental have adopted. In this instance, the
sive contribution in the area of low-income housing. Chilean government requested their creative problem-
In 2001 he founded Elemental S.A., along with archi- solving in housing 100 families on the same 5 000m2
tect Pablo Allard and engineer Andrés Iacobelli. Ele- plot of land that they had illegally inhabited for 30
mental, which is affiliated to the Universidad Católica years. Working with the current US$7 500 housing
de Chile and the Chilean oil company, COPEC, deals policy subsidy per family unit, which was expected
with pioneering architecture, infrastructure and to cover all elements such as land, infrastructure
transportation that are socially and developmentally and architecture, the challenge was to find a way
oriented. of aligning their design ideology with the contex-
tual reality. This posed a whole array of restric-
While Aravena’s work straddles two contrasting tions and constraints. In fact, simply taking into
design markets it is interesting to see that he makes consideration the site price and local building in-
no distinction in his approach to low-income social dustry prices, the housing subsidy would not
design and to upmarket commercial design. Instead, amount to much.
he opts for no compromise when it comes to design,
irrespective of the nature or financial significance of How is it possible to maintain design standards in
the project. It is the low-cost end of the design spec- such a context? Normally one would expect houses
trum with all of its constraints and restrictions that often gradually to gain in value. Yet, in the case of low-
proves more challenging. This is precisely where truly cost social housing, the finances deployed are simply
good design needs to be effectively implemented. regarded as a social expense. Part of Aravena’s
EDUCATION
52 >
contribution has been to change this perception Their solution was the design and implementation
so that effectively designed low-income housing of half a good middle-income house. Duplexes were
would increase in value and hence be viewed as designed that would offer enough density to cover
an investment and not just an expense. the site expense, while simultaneously avoiding
overcrowding. These two-floor dwellings would be
In this particular project in Iquique efficient land able to provide room for expansion within the sup-
use was also of fundamental importance. Both the porting, yet not constraining structural frameworks.
number of families and the land available were a In this way each family would have a fully functional
constant. Yet, it was a far more complex equation dwelling with basic services already installed, but
than simply dividing available land by the number with a frame that would easily allow for expansion.
of family units. For Aravena and Elemental factors Elemental focused on providing that half of the
such as decent living conditions, the possibility for house that required special expertise, while leaving
expansion and ensuring sufficient natural light the more easily constructed second half to be
and space were also significant variables which filled in by each family. This idea of a neutral frame
needed to be factored into the equation. would also allow for customisation that could add
53 >
personality and individuality to each home, and Today Quinta Monroy remains a thriving residential
thus, a sense of ownership that is often lacking in community, owing much to the well-thought through
generic and bland low-cost housing. design approach of Aravena and Elemental. One
can often overlook seemingly insignificant elements
Allowing residents to make choices as to exactly in the design process. And yet, when Aravena spells
what they wanted within their homes was another out each part of this process in his pragmatic, real-
way of involving residents in the Quinta Monroy istic and sensible approach, it all seems so obvious.
project. Such choices were obviously constrained Design has a real part to play in addressing social
by the available funds. But, for example, residents needs and inequalities around the world. And it is
were integrally involved in making decisions about encouraging that people like Aravena are actively
fixtures such as water heaters and bathtubs, in- engaging in this task by employing their creativity.
stead of the architects dictating what they pre-
sumed the families would want. This cultivated a far Marcelo Rosenbaum is a Brazilian interior designer
greater sense of ownership and inclusion among who gives equal attention and priority to design-
residents. ing both high-end and low-end design projects.
EDUCATION
54 >
Rosenbaum set up a design office in São Paulo in 99.5% of the Brazilian population and documents
1992 and has since then been affirming the identity how Rosenbaum and his multidisciplinary team
of the Brazilian people through his use and inclusion improve lives by restoring homes in the Brazilian
of local cultural heritage, traditional techniques favelas. Home owners contact the television pro-
and the employment of craftsmen and artisans to gramme and explain who they are and what their
aid him in his design projects. needs are. Once a home owner is selected, this
information forms the brief for Rosenbaum and his
Rosenbaum was hired to design the VIP bar at Rio team. The physical renovation process takes 12
Carnival. His visual interpretation of Brazilian culture days to complete.
– complete with doily carpets, colourful embroideries
and local artisans’ work – was a surprise to the client It is the behaviour of people that define their spaces.
but a delight to all visiting dignitaries who felt that Rosenbaum addresses the owner’s needs by con-
the design embodied a spirit and flavour of Brazil. sidering the individual’s family, their relationships,
He has since consecutively won the annual commis- roots, memories, habits and needs. These factors
sion year after year. inform the design and decorative trends. Rosen-
baum sees the home as a mirror reflecting our per-
Rosenbaum shot to fame with his home makeover sonalities and not vice versa. It is the team’s aim
television programme Home Sweet Home. The show to create solutions that improve living conditions,
is flighted on the Rede Globo station and reaches minimise day-to-day costs, save resources, reduce
55 >
monthly expenses and in some cases, even provide manicurist’s home and added a home salon to her
a source of income. house. Another example is a home that was reno-
vated for a single father raising two children. The
The favelas are informal settlements or areas where father would have to leave his young children
the majority of the residents are low-income earners. alone at home when he was at work, so the team
A large part of what Rosenbaum and his team do is built a cinema and small shop on the ground floor
not to reject the home of a resident but affirm the to provide the father with a source of income to
resident’s identity by working within tight financial enable him to be at home with his children.
constraints and using existing objects of the resi-
dent in conjunction with structural reinforcement Rosenbaum discusses how one can learn to be rele-
and interior interventions to create something vant in one’s community. The strength of Brazilian
beautiful. culture lies in its ability to blend diverse cultures.
This cacophony of cultural elements has created a
Rosenbaum’s philosophy is centred on the belief need to improvise and deliberately create simplicity.
that good design can be a transformative tool for It is important to play to your strengths. Look at the
building self-esteem and encouraging education. predominant characteristics of an individual, a cul-
Two excellent examples of how Rosenbaum lives out tural group or nation and consider how these can be
this philosophy would be two recent Home Sweet used to best advantage. Many developing countries
Home projects. The team renovated a hairdresser/ share common values. It is the outstanding ability
EDUCATION
56 >
of poor people to develop skills needed in order to are used by Rosenbaum to bless and give back to
survive in crisis. There is a great deal of talent and underprivileged communities. He highlights the im-
genius that can be explored amongst people who portance of giving back and supporting communities.
have been in critical situations.
Just like Chile and Brazil, South Africa has many
Rosenbaum also highlights an emerging global socially relevant issues and needs that cry out to
trend of empowerment that is seen in public plat- be addressed and resolved.
forms that allow individuals to be the masters of
their own content. Examples of social platforms Mokena Makeka is a South African architect who
would be YouTube, MySpace, blogs, Etsy, eBay, provides a different approach to addressing these
Craigslist, Flickr, LinkedIn, Bebo and Orkut. This needs – by advocating the benefits and necessity
empowerment trend is an important social tool of public space design. He actively seeks to leave
that can provide platforms for collaboration, this world in a better state than he found it, serv-
awareness and ultimately, change. ing his community and country by devoting 90% of
his time to the design of public spaces.
Brazil is a country with a significant gap between
the haves and have-nots. Interior design skills that Makeka stresses that democratic practice and public
are usually only associated with a high-end market space depend on and reinforce each other. Throughout
57 >
The Caruaru
Collection of
furniture by
Marcelo
Rosenbaum.
history every regime that has violated human within South Africa where the majority of the pop-
rights has used architectural elements and deliberate ulation live in informal settlements with open toilets
town planning to intentionally segregate and strip and un-insulated shelters, Makeka’s call for a radical
away human identity. Makeka sites diabolical design improvement of basic standards for human living
decisions made during the apartheid regime to delib- need to be heard and met.
erately segregate and divide communities and people.
Over and above violating human rights, this under- In every country there are communities that need
mined public space as people retreated into gated help and social issues that must be addressed,
communities and withdrew from contributing to both on macro and micro levels. Designers can use
society. While apartheid is gone, the consequences creativity to actively solve problems. Be aware of
of those design decisions remain. situations and individuals around you. You have
the potential to be relevant. While there are many
Current and future design decisions will physically problems and issues that need to be addressed,
realise South Africa’s framework of democracy. there are just as many solutions. The trick is to recog-
Makeka is investing his skills into more humanised nise how you can use your gift to bless others. <
South African communities. At the core of his design
philosophy lays the opinion that it is a human right to
live in a designed environment. Living and working
EDUCATION
58 >
WOOD
RAW STUDIO MAKES
Raw Studio collaborates with different artists and designers on the prints for their projects.
59 >
Like his work, Raw Studio’s Peet van Straaten has amazing work in churches all over the country. My
evolved, each step bringing with it an essential father and brother were interested in woodwork
integrity that has culminated in his current studio, and we had quite a bit of woodworking machinery
which he established in Tshwane in 2005. in our workshop at home,” he said.
A large part of Peet’s thinking at Raw Studio is His integrity and love of wood has translated into
taken up by developing flexible, adaptable systems working with eco plywood in a way that venerates
of furniture that are driven by innovation, but also all the positive aspects of this product.
by necessity. The modular systems are designed to
be easy to install, customisable and expandable Previous adventures have informed Peet’s current
with machining and simple assembly in mind. thinking and approach which include cutting-edge
technology, functional design and environmental
Coming from a family of cabinetmakers, Peet consciousness. Peet’s clear determination to design
has this timeless craft etched into his DNA. “My and create products that focus on consuming less
grandfather was a fine cabinetmaker and did energy – not only in production but also during their
lifespan – is achieved by using sustainable materials
and manufacturing as efficiently as possible. His
diploma in architecture, focussing on advanced en-
vironmental and energy studies, which he did in
Wales, has helped him to make this an achievable
goal.
EDUCATION
60 >
ushered in the use of flat board eco plywood, designed for TriBeCa Coffee Company. It
which he has employed successfully ever works seamlessly with this company’s brand
since. and is expandable and user-friendly. The office
system will become a product that can be sold
A quick look at the endangered species list to more users without having to reinvent it
would convince most people that it’s just all over again.
not okay to use exotic solid woods any more.
In South Africa the market still uses mostly The notion of modular design, which on the
solid wood that cannot be traced back to a one hand is about units working together
sustainable source, so Peet steers clear of but on the other hand offer individuals the
these. To overcome this, Raw Studio imports opportunity to make up their own, culminates
Koskisen birch plywood (98% real wood) with Raw Studio’s widely featured Ikonik
directly from the mill in Finland, which is modular locker system. Even though steel
lockers are “sort of the epitome of industrial
certified for sustainable forest manage-
design”, Peet has always found them both
ment. The eco plywood is ideal because of
“beautiful and intriguing”. “A locker is a little
its excellent quality and wide variety. Suited
bit of personal space on a grid of other peo-
to a clean, simple and modular design ethos,
ples’ personal spaces.” The beauty lies in how
plywood’s cost-effectiveness allows Raw
people interact with their personal space in
Studio’s small outfit to produce numerous
relation to a social context through custom-
prototypes, which Peet and his team of five
isation. Raw Studio’s idea was to use the
manufacture for testing and aesthetic evalu-
locker design as we know it and build it
ation. Unfortunately the quality of local ply-
completely from plywood and present it as
wood leaves much to be desired, says Peet.
an empty canvas to graphic designers and
artists.
Raw Studio’s projects include office systems,
shopfittings, point-of-sale units, branded
Peet has had the opportunity to brainstorm
products, mass seating and acoustic panel- and bounce off ideas of various artists, design-
ling for universities and private clients. ers and architects. He views collaboration
as a “very valuable process – from time to
The studio’s retailed modular ranges require time it’s not a good idea to be left to your
extensive research and are designed to inter- own devices”.
act easily with customers, to enrich their envi-
ronments and make their life easier, even For Raw Studio the potential of collabora-
though Peet may never meet the customer tion has been really successful in teaming
face-to-face. up with freelance illustrator and surface de-
signer Ymke Hemminga who illustrated one of
One modular system that has been really their Ikonik lockers. A year ago she started
successful is the office system originally her company Scratch the Surface, illustrating
Enthusiastic hair (left) and Wings (centre), Peet van Straaten in his studio. Ikonik, a completely plywood version of the steel
illustrated by Ymke Hemminga. Ymke created the locker, is modular and can be stacked, hung and
61 >
EDUCATION
illustration for one of Raw Studio’s Ikonik lockers. customised with prints and colour.
62 >
surfaces mostly on paper, crockery, furniture Peet’s creative adventure has had many
and fabric. Her style worked well with the faces and lived in many places. There are some
aesthetics of the personalised wooden lockers. things that he thinks are vitally important to
She is definitely someone to watch – super remember when starting your own business:
talented,” says Peet of their partnership. “Get your hands dirty; theory and formal
She has been exhibiting with Raw Studio on education is just a start, making it work is a
a regular basis. matter of trial and error; don’t be afraid to make
mistakes; in the beginning you have to satisfy
“I draw, I write, I parent, I teach, in no specific clients, but make sure you relay something
order,” says Ymke Hemminga. Born in what of yourself in the design and stick to your
she calls a “little slow-motion village of guns; try to be innovative in all your work,
Benoni-esque boredom” in the Netherlands innovation is what spurs progress; work in
she spent years thinking and travelling and collaboration with others, don’t isolate
then landed up in South Africa. She has both yourself, but don’t prostitute your ideas (if
fine art and creative writing/playwright they are good).”
qualifications and has worked as a freelance
illustrator and writer. Inspired by all the “ab- Peet’s intuitive ability to live out his passion
surd and beautiful aspects of being human”, for good design – which he says is more a
Ymke reflects the humour she sees in mundane feeling of things being in their rightful place,
daily acts, like doing dishes and groceries. the right solutions for the specific problem
“It’s all we’ve got to rise above ourselves, to and beauty – has created a perfect perspec-
connect and evolve”. Her hope is that her tive in which Raw Studio can thrive and
illustrations create a moment, evoke a grin prosper. <
or a giggle amidst our “mind-numbing” daily
domesticity.
EDUCATION
64 >
ALTERNATIVE
assist them to turn their knowledge, intellect
and visual skills into virtues outside the
traditional context of the profession.
ARCHITECTURE
With creativity being at the core of architec-
By Liani van der Westhuizen
tural thinking, interdisciplinary practice,
collaboration, technological advancement
Architecture is a rapidly changing and sustainable development affirm the
profession. ED> explores the blurring advantages generated from a greater dis-
of the boundaries of architecture as a tribution of professionals working in ‘alter-
native’ architectural jobs.
discipline and showcases three individ-
uals who have redeployed their skills,
knowledge and experience outside the KARIN HARCUS-HARRISON
traditional context of architectural
Most of us will have difficulty in identifying
practice. the relationship between mortar and thread,
but for Karin Harcus-Harrison the similarity
In the first ever book entirely devoted to between constructing buildings and making
architecture, the Roman architect and writer garments is obvious. After completing her
Vitruvius stated that Roman architects MProf in Architecture at the University of Pre-
practised a wide variety of disciplines, toria in 2005, she embarked on a bachelor’s
which, in modern terms, could be described degree in fashion design at the London Inter-
as engineers, architects, landscape archi- national School of Fashion (LISOF) in Johan-
tects, artists and craftsmen. Vitruvius called nesburg.
for architects to be ‘skilful in many arts,
equipped with knowledge of many branches Karin considers her career in fashion as a
of study and varied kinds of learning’. natural progression of her architectural career.
She sees the design processes involved in
Described as a social art and also an artful fashion and architecture “in constant conver-
science, architects design, invent, explore, sation with each other” and inevitably draws
write, sketch, teach, speculate, theorise, film, inspiration from both mediums.
map, critique, analyse and imagine; all in
an attempt to positively shape the environ- Karin considers the theoretical basis of her
ment in which we live. Architectural training architectural studies to be an invaluable
and experience in the profession provide resource in the conception of her garments.
designers not only with the specialist exper- Influenced in particular by the theory of Decon-
tise to flourish in the construction industry, structivism, she questions the traditional
but also with a wealth of generalist skills to method of patternmaking and disregards
65 >
Karin Harcus-
Harrison’s final
range at the
LISOF Degree
Fashion Show in
2009. Photo:
Ivan Naude/
LISOF.
Karin Harcus-
Harrison’s
fashion
sketches in
preparation of
her final range
at LISOF in
2009.
One of Karin
Harcus-
Harrison’s
garments at the
2008 Sanlam SA
Fashion Week.
Photo: Ivan
Naude.
Karin Harcus-
Harrison
modelling one
of her own
creations for a
fashion shoot in
2009.
EDUCATION
66 >
Participants discussing
housing typologies with local
children in Salvador da
Bahia, Brazil as part of the
ASF-UK Building
Communities workshop in
March 2009. Photo: Liani van
der Westhuizen.
67 >
EDUCATION
68 >
and to place them at the centre of decisions Energy is harvested from the wind and sun,
that affect their lives. Architecture Sans Fron- a nearby river is the source of running water
tières-UK does just that. and irrigation and his bakkie, tractor, and
water pump and even the generator rely on
With an increased interest by fellow built used sunflower oil to operate.
environment professionals and students,
and the successful delivery of workshops Jaco considers architecture as a series of care-
ful considerations between a self-sustainable
in Brazil, India, Japan, UK and South Africa,
Melissa is an example of how architects’ use of energy, the efficient functioning of
creativity and design skills could be har- the natural systems of energy supply and
the implications of low-impact technology
vested to improve life-standards and address
social and environmental injustices. With a on the environment where he employs low-
new set of values and a sense of purpose tech solutions rather than high-tech ones
she is well on her way to empower others to ease maintenance and repair work,
to become equally relevant. which he does himself. “Communication
methods are inescapably tangled in every-
For more on Melissa’s work at Architecture day technology,” he jokingly admits. “But
Sans Frontières-UK, visit www.asf-uk.org. once the farm is fully operational, I would
like to wean myself and rather use Skype
and Linux than Telkom and Windows.”
JACO BOOYENS
The remaining element in this balancing
When driving through the Overberg in the act to become self-sufficient is food pro-
Western Cape, you might pass a farm where duction. Jaco’s current livestock count in-
you’ll come across architect Jaco Booyens’s cludes a few sheep, goats (for milk), poultry
project for self-sufficiency. In this ambitious and tilapia fish. The vegetable garden and
project, which he modestly calls “work in fruit orchard supply fresh produce for con-
progress”, Jaco investigates the meaningful sumption and enough organic waste to
connections between architecture, ecological sustain the methane gas digester and com-
systems and technology in an attempt to offer post system.
a solution to a more sustainable future.
With future plans that include cultivating
The first two components of his three-fold oil-rich plants for bio-fuel, implementing
investigation relates to the built environment permaculture principles and even convert-
and technology where the rammed earth ing his paraffin refrigerator to run on plant
buildings on the farm are constructed with oil, Jaco effectively employs his insights of
clay and stone extracted within a one kilo- architecture as a synergy between place,
metre radius from site, thus substantially building and habitation to fulfil his vision
reducing transportation and material cost. for a self-sustainable existence. <
69 >
Jaco Booyens at
work, during the
final stages of roof
construction for his
clay and stone farm
dwelling.
EDUCATION
70 >
ETHIC
ARCHITEC
Delft Childcare Centres, Delft South, Cape Town, 2004. A set of spaces mediate
between the street and the more private spaces of the Centres. Lined with seats and
partially roofed, they form part of the public spaces of the community. Anyone from
the neighbourhood can utilise these spaces, although they belong to the Centre.
71 >
CAL
& THE CASE OF
Noero Wolff Architects is an enigma. Like
THE EVERYDAY
all true anomalies, the firm refuses to be
stereotyped into a neatly labelled box
(starchitect, image-maker, style-breaker),
preferring instead to remain unclassifiable
while negotiating the path seldom explored.
To use the firm simply as an example of
CTURE
ethical and everyday architecture (although
these terms are hardly simple) seems a
limitation of what they stand for as a whole.
What becomes obvious after meeting
partners Jo Noero and Heinrich Wolff is that
By Anastasia Miranda Messaris
all they really want to do is to create dignified,
beautiful, positive spaces for people.
EDUCATION
72 >
Looking at the list of projects that this firm > T echnology plays a pivotal role in transform-
has been charged with creates is the impres- ing the sketch design into the built object.
sion that Noero Wolff is a practice based Through technology a sincere attempt at
largely on modest, socially generative, creating an ethical building can fail due
73 >
EDUCATION
74 >
to unresolved and misunderstood building ma- > raw! They both still prefer hand drawing to the
D
terials and their limitations and capabilities computer.
and, significantly, the skills within the company
who is tasked with the building’s construction. The concept of ethical architecture is too vast and
Once again, for technology the importance of multi-faceted to simply describe. Furthermore, at-
context is imperative. Noero Wolff is known for tributing all of its nuances to one firm appears to
their resourceful and uncomplicated detailing be a single-minded attempt at understanding the
of simple local materials such as sheet metal practice in question. What one can, however, take
and steel. from this discussion is that a sincere attempt at
understanding ethical practices in architecture –an
> lways be interested, always be involved and
A
architecture that is designed for the purpose of im-
always be assiduous. Both Heinrich Wolff and
proving the lives of those who encounter it – is an
Jo Noero are still actively involved in the educa-
admirable first attempt at broaching this subject.
tion of young architects at the University of Cape
Noero Wolff stands as testimony to a belief system
Town and mercilessly pursue knowledge that
instilled in most architects at tertiary level that a
may contribute to their general understanding
practice could design striking and necessary archi-
of architecture and who it is built for.
tecture, both inspired by and for the everyday. <
> n optimistic stance toward the future of South
A
Africa and the architectural profession never All images courtesy of Noero Wolff Architects.
hurt anyone. And lastly,
The Red Location Museum of Struggle, Red Location, Port Elizabeth, 2006. It is designed to challenge
conventional views of museum design. The conventions of representing history as a single story are
challenged through the design of the museum spaces as well as its geographic positioning.
EDUCATION
Do tw ec ntr
n’ or ts f ies
Ne chit ou
t m k ro
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ticed
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excellence – LIVE! Last year’s winners included:
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essential in promoting new and well
Future Project of the Year
established firms who set the benchmark Spanish Pavilion, Shanghai
for innovation around the world.” Miralles Tagliabue EMBT, Spain
Rafael Viñoly, World-renowned architect &
2009 Super-Jury Chair Interiors and Fit Out of the Year
Corian Super-Surfaces Showroom, Italy
Amanda Levete Architects, United Kingdom
Structural Design of the Year
Arena Zagreb, Croatia
Upi-2m, Croatia
OLD
By Suné Stassen. Visionary. Legendary. Perhaps
even a little bit wacky? These are the words that
spring to mind when talking to Jody Aufrichtig –
the brain behind the Daddy brand – about his
latest project, the brand new Old Mac Daddy farm.
MAC
Daddy Long Legs Art Hotel is the boutique hotel;
another one is called the Grand Daddy; the pres-
idential suite is called Sugar Daddy; the bar is
Daddy Cool; the cinema on the rooftop in the
middle of the penthouse trailer park which is
also open to the public is called Ag Please Daddy.
Now the latest hotel project, Old Mac Daddy, has
been added to the Daddy collection.
the start Jody wanted something funky, fun, func- unique. The history of the Voortrekkers, trekking
tional and energetic, but above all, he wanted people through unknown and rough terrain with their ox
to smile when they interacted with their brands. wagons made this concept even less far fetched.
“It’s all about the feel good feeling,” says Jody. Adding the mystery and intrigue of nomads and
gypsies and remembering the song Caravans that
It was a troublesome birth. The Airstream project fuelled our imagination for far away places, mys-
was born five years ago when Jody was travelling terious and romantic, made Jody think that he had
through Zimbabwe. He found a beautiful location, definitely hit the jackpot.
ideal for another boutique hotel. But due to the
political risk in Zimbabwe coupled with the inabil- Uninspired by modern South African caravans,
ity to get finance, he thought of a different solu- Jody was looking for something unique when he sud-
tion. What if your valuable investment actually has denly remembered the stunning shining silver Air-
the ability to pack up and move to another loca- stream trailers of the 50s and 60s that grabbed his
tion at a day’s notice? At 2 AM in the morning the attention when he saw the movie What’s eating
thought of caravans immediately sprang to mind. Gilbert Grape when he was only 13 years old. These
The idea of a convoy of Land Rovers, each hooking shining beauties would be the ultimate must-
a caravan and trekking to the next location excited haves to complete this unique concept. But he didn’t
him and Jody knew he had stumbled on something realise that they were sought-after collectors’
EDUCATION
80 >
items, manufactured and found mostly across the search for a family somewhere in northern Ohio.
Atlantic. Jody and his business partner Stefan Botha even-
tually found ten original Airstream trailers which
When Jody bought the former Metropole Hotel in had been in the family of a local fire chief for three
Long Street – now the newly transformed Grand decades.
Daddy – he was relieved to find that the rooftop was
constructed with solid concrete slab, perfect to set Importing second-hand vehicles are taboo in South
up his first trailer park. This unique project, com- Africa and getting these beauties to Cape Town be-
bining seven of Cape Town’s top creative talents, each came a nightmare in itself. Getting customs to under-
commissioned to decorate a trailer with a unique stand that you want to import a few vintage trailers,
theme and bold details, made this first project the put it on your hotel’s roof and turn it into accom-
phenomenon that it is today. A four-star rooftop modation just did not cut it. Negotiations with the
trailer park! head of customs and 16 rejections and an affidavit
later eventually resulted in an import permit. Get-
The first trailer park was not without its challenges ting the trailers to South Africa was another hel-
but at the end it was Jody’s passion that prevailed. luva business since the trailers did not fit into
The team faced their first major obstacle when they standard shipping containers. Finally in Cape Town
arrived in the USA and realised that authentic Air- it was a huge and costly operation to lift each trail-
stream trailers were not readily waiting at a depot. er on to the roof of The Grand Daddy Hotel,
These collectors’ items are scarce and with only “weighing between 1.5 and 3.5 tons per trailer,”
two days to go they were eventually tipped off to Jody explains.
Storyboard and interior views of the Give bees a chance Airstream designed by Tamara Joubert.
Storyboard and interior views of the The private life of plants Airstream designed by Pelican & Peony.
81 >
After the steep learning curve of this first project, The trailers arrived in March this year and after a
the latest addition to the Daddy collection, Old Mac few months of preparation the artists and designers
Daddy, seemed to be a breeze. were handed their new canvases and given six weeks
to complete their projects.
Still, a project of this nature is never without chal-
lenges. Careful planning, coordination and detailed “Before we could hand the trailers to their creators,
project management skills are of the utmost im- a lot of work needed to be done like polishing,
portance for achieving success. It has been curated adding a protective sealant for the exterior and in-
and project-managed by Jody and Deirdre Aufrichtig, terior, stabilising the chassis, putting in new floor-
Nick King and décor stylist Tracy Lynch. ing and adding extractor fans to suck out hot air.
We added heat resistant laminates to all the glass
windows; every trailer had to be rewired to 240
KEY LESSONS IN PREPARATION volts to ensure sufficient power supply for the
Although these vintage ladies are made of alumin- four-star rated trailers that are kitted out with air-
ium and don’t rust, Jody explains that: “they are cons. Finally, all the surfaces needed to be prop-
over 50 years old so they looked atrocious when erly prepped before the artists and designers
they arrived. The surfaces on the outside were could apply any paint or wallpaper.”
heavily oxidised so we become experts in polish-
ing them to the shiny madams you see today. It “We learned the hard way,” says Jody, “so all small
took us about a month and a half to polish 10 or 11 appliances are stuck down and all surfaces and
trailers.” upholstery are stain-proof ”.
Storyboard and interior views of the Life Before Colour Airstream designed by Leasa Mensing.
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Storyboard and interior views of the For better or for boerewors Airstream designed by Julie Kenney.
Storyboard and interior views of the Mills & Boon Airstream designed by Kirsten Townsend & Jeannie Sherwood.
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We had an overwhelming response with just under Detox. It is very soft with gentle washes of sub-
1 300 people who participated in the voting process.” dued colour palettes like hues of grey.” All trailers
are kitted out with mini-bars, cotton linen, and
One trailer was sizeable enough to include a bath- central heating for those cold winter’s days and
room, complete with a Victorian bath. Interesting most have SMEG fridges to add that extra cool.”
to note that this beauty was an original US com-
mand centre until the team managed to buy it. Old Mac Daddy is a family destination, priced for the
South African market. A kiddie’s area will receive
The rest of the trailers only have a bedroom from soon receive a creative touch from artist Sacha Oliver.
where you step out into a wooden cabin with a Where possible only organic and free-range prod-
62m2 lounge and an en suite bathroom. A big deck ucts will be on offer and Mac Daddy does have its
in front allows guests to enjoy beautiful views, own vegetable garden.
with two of the units overlooking the lake and a
family farmhouse called Daddy’s Villa. Here the This seems to be another success story in the
aesthetic continuity of the project was pulled to- making for the Daddy collection – a powerful com-
gether with design elements by Pedersen+Lennard. bination of business and creativity and bound to
set the stage for a magical experience. <
“Because the trailers are bold and quite intense in
detail we decided to call the style of the lounges Photographs courtesy of Old Mac Daddy.
Storyboard and interior views of the Yellow Submarine Airstream designed by Cecile van Loggerenberg.
Storyboard and interior views of the Dirkie Sanches Suite Airstream designed by Joe and Mark Stead.
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UNCOVERING
THE MYSTERIES
OF THE MAGIC
MIRROR TENTS
Imagine the movie Moulin Rouge come to Zingara brings her magic to her local
life. And what you get is The Spiegeltents. audiences, one can’t help but to be re-
Seen as the domain of heart breakers minded of the Klessens family “and their
and dream chasers and a symbol of the amazing love affair with these remark-
fin-de-siecle nightlife, these mirror tents able palaces of glass and light that has
were used throughout Europe as travel- enthralled audiences for over four gen-
ling dance halls and entertainment ven- erations.”
ues. Originally from Belgium and built in
the late 19th century, the Spiegeltents were
When carpenter Willem Klessens went
filled with mirrors which allowed discreet searching for a organ for his newly built
eye contact with other visitors, a mere ves-dance hall in 1920, the only dance organ
sel for art of seduction and flirtation. The
he could find was part of a dance tent. The
Klessens, a Belgian family were respon- purchasing of this dance tent saw the
sible for these magnificent creations. creation of the Spiegeltent. The opening
of the dance tent the following weekend
South African audiences can now experi- brought with it a leap of success. Kless-
ence a sense of the Moulin Rouge for ens then realised that he could be more
themselves, with the opportunity to see successful at this in one weekend than
one of these legendary Spiegeltents up doing carpentry for three months
close, whilst enjoying its warm hospi-
tality, when Madame Zingara’s Theatre Success is when opportunity meets prep-
of Dreams reopens. The 2010 Love Magic aration. Willem saw an opportunity and
Tour kicked off in Cape Town on 1 June started using his carpentry skills in the
and will be heading to Johannesburg in preparation and construction of his
October, with shows planned for Durban new dance hall, a Spiegeltent he named
early in 2011. These magic performances The Classique. His plan was to take his
will take place in the 80-year-old Spiegel- new creation and travel the village fairs
tent called Victoria, one of the most lux- in Belgium’s northern parts, setting up
urious tents in the world. While Madame in a different village every week. The
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EDUCATION
Inspirational Innovation
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UN-
90 >
PACKED
A STORY ABOUT
BOXES AND BAGS
By Andrea Bokelmann
HUMBLE BEGINNINGS: Believe it or not, the manufacturer. This marked the beginnings
once upon a time, the package was as simple and of a movement towards using the package as
nondescript as its definition implies: “1: pack- a means of establishing that special relation-
age noun 2: a box or other container in which ship with the consumer through visual means.
goods are stored.”
It all started with the basic human need: Food. NOT JUST A BOX: Enter the full-blown age
As people began collecting food, storing and of consumerism at the beginning of the 1950s,
transporting it, they saw a need to develop and the addition of a new criterion defining the
ways of containing and protecting their find. humble package – a new role that catapulted
These very first primitive – but no less innova- the art of packaging to the forefront of visual
tive – packaging solutions were created from communication: The brand.
natural materials such as woven grass, cured
animal skins and hardened clay. No longer was the humble package simply a
means of facilitating the transportation of the
The development of new technologies over product or enhancing the image of the manu-
the centuries was reflected in the evolving inno- facturer, it now had a life and purpose of its
vations in package materials and production. own: To communicate a brand, to adopt a per-
Grass, clay and skins were replaced with paper, sonality of its own, to speak to the consumer and
glass and metal – all significantly more durable say: “You like me. You want to take me home,
and better suited for the purpose of protection because I have something unique that you’re
and containment. As the trade market grew, so not going to get anywhere else!”
too did the need for packaging solutions that
were best suited to the needs of a product. This Packaging has long since moved past just being
inspired the continued exploration and develop- a physical object that holds some form of visual
ment of a variety of packaging materials, such appeal. It has become the embodiment of an
as the plastic packets, cardboard boxes, glass experience; a tool to engage the senses and stim-
bottles and metal cans widely used today. ulate a desired emotional and subconscious
response in the consumer. The theory of sensation
Up until about the end of the 19th century the transference states that whatever people see
package merely served as a facilitator of the and experience on the package, they subcon-
handing over of the product from the retailer to sciously attribute to the product itself. Essen-
the consumer. Its main goal was to serve the tially, the package has become the product.
purpose of protection and transportation and
nothing else. This was proven by a study conducted by mar-
keting innovator Louis Cheskin, whereby the soft
In the first half of the 20th century imagery and drink, 7-Up, was filled into cans that had 15%
words were introduced in order to communi- more yellow in the green of the design, than what
cate basic details about the manufacturer of the consumers were used to. This minor change
the product, with simple elements such as in the brand aesthetic had such a significant
pictures of the factory or a brief description of psychological effect on the consumers that
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Dieter Zermatten adopted the reuse and reduce the overall aesthetic of the design and, by exten-
approach when designing his Play bag, a design sion, the communication of the brand.
that won the House and Leisure Green Designers
competition in 2010. This portable storage bag Designers and marketers are realising that it is not
transforms into a play mat, reducing two prod- enough just to adopt the green approach, but that
ucts into one practical design that is versatile bigger changes need to be far-reaching: impacting
and durable, making the consumer’s life much socially, as well as environmentally. Design can
easier, as well as reducing the strain on the envi- only claim to be truly sustainable if it assumes the
ronment. responsibility of the environmental consequences
of the material used, as well as the social conse-
M&A Designs is a South African package design quences of the content. Package design no longer
company that has, to a large degree, been lead- aims just to sell a product, but to make a difference
ing the way in sustainable and environmental in the environment, and to use its powers of com-
packaging in the country. They are dedicated to munication to its most meaningful potential.
educating their clients, and guiding them in mak-
ing environmentally friendly design and produc-
tion choices. Not only do they always take the
greenest route in every design solution, but also
support sustainable and eco-friendly farming
practices at the supply level.
People from all walks of life from all over the world
interact with some form of package design countless
times every day. The question is what we, as design-
ers, communicate to a world that is constantly inter-
Dreamball.
acting with our designs. Remembering the famous
last words of Spiderman’s uncle Ben, “With great
power comes great responsibility”, I ask what de-
signers intend on doing with the gift we have been
given? Will we remain set in the consumerist ways
of making a product sell, no matter what the cost,
or will we create boxes that lead the way in trans-
forming our world? <
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By Zelda Harrison
STEFAN G
BUCHER:
THE MONSTERS
MADE ME
DO
IT!
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Stefan G Bucher is the man behind 344 Design and the Daily Monster
– an online drawing and storytelling experiment. His monsters have
invaded computer screens across the world, and their savage ad-
olescence is chronicled in the book 100 Days of Monsters (2008).
Stefan shared some insights into his word in an interview with ED>
Tell us about your art studies and your move to the USA: My whole
life seems to be an ongoing quest to make my circumstances match
with what’s in my head. I was born and raised in Germany, and while
I’m glad for my education and for a safe and, in some ways, down-
right idyllic childhood, I also didn’t fit in at all. This was frustrating and
depressing, and also made me deeply unpopular. Nobody likes a weirdo.
Along those same lines, studying art wasn’t ever a choice, just an ac-
knowledgement of what was already bubbling in my head. There was
never even a thought that I’d do anything but art. It was a foregone
conclusion. Art Center College of Design [Pasadena] just gave me
some serious tools for getting ideas out of my brain in one piece.
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New York Times Super Bowl logo (left) and The Electric The Graphic Eye: Photographs by International
Company ink sequence (right) designed by Stefan G. Bucher. Graphic Designers, UK edition (left) USA edition
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Tarsem’s The Fall designed by Stefan G Bucher. 100 Days of Monsters designed by Stefan G Bucher.
The Echo Park Time Travel Mart (EPTTM) shop façade and news display Jona Frank Right (left) and All Access: The
sign. EPTTM Mammoth Chunks and Leeches designed by Stefan G Bucher. Making of Thirty Extraordinary Graphic
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TINGA
world by storm with stories and products inspired
by traditional African folktales. Much like The Lion
King of the 90s brought a breath of fresh air to chil-
dren’s entertainment based upon African folklore,
TINGA
Tinga Tinga Tales, targeted at preschoolers, has been
described as an ambitious project that showcases
indigenous knowledge, packaged and narrated
through modern technology.
TALES
Claudia Lloyd, head of animation at Tiger Aspect
Productions in the UK can take credit for this fresh
idea that has been packaged to appeal to young
children all over the world. Tiger Aspect set up a
EDUCATION
Scenes from Tinga Tinga Tales Images courtesy of BBC CBeebies. 110 >
of TACS have taught many artists who have gone large market especially amongst tourists visiting
on to become recognised masters of the genre. Africa. It can be said that Tinga Tinga has emerged
Some painters have moved to other parts of Tan- as part of the African experience.
zania and even abroad. No matter where these
artists reside, they remain linked to each other
and to their homeland by family, friendship and, ARTISTS AND DESIGNERS
of course, their beautiful artwork.
Illustrators and designers, including Celeste and
After more than 40 years a vibrant Tingatinga com- Melissa, both graduates of the University of Nairobi,
munity has emerged and established itself as an design most of the characters for Tinga Tinga Tales
original East African cultural tradition. which are then hand-painted in the original Tinga
Tinga style by local artists such as Mbwana Sudi,
In the early 70s a company developed which pro- Maulana Saidi, Hasani Kamale, Abasi Rafiki and
duced T-shirts especially for children under the Zachi Chimwanda. The hand-painted characters
name Tinga Tinga with animals depicted in bright are then scanned and rendered in appropriate
colours. Today these T-shirts still command a formats for animation by the design team.
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When it comes to the soundtrack, the Tinga Tinga The voices in Tinga Tinga Tales are impressive
sounds are also very much African. One can imme- with the likes of Edward Kwach, a famous radio
diately recognise the jingles associated with Eric personality, providing voice-overs. Children’s
Wainaina, a Kenyan singer-songwriter. He is famous voices are also included in songs and used for
for his Twende Twende song in which he collabo- characters.
rated with Oliver Mtukudzi of Todi fame. Eric is a
famous singer and songwriter specialising in Afro- Alfred, one of the main designers and a graduate
fusion; sometimes with a Kenya blend of Benga of the University of Nairobi says that the work is
rhythm and East African guitars. He has received intense but that he enjoys every minute of it. He
numerous international awards, including the has been working in the animation industry for
Best East African Artist at the pan-African 7th KORA more than ten years. After graduation, Alfred pur-
All-Africa Music Awards and was recently named sued a career in graphic design before succumb-
by the Guardian newspaper as a Kenyan cultural ing to the lure of animation. An opportunity came in
icon. In 2008 he was also named ‘Messenger for 2009 when he was selected to join other anima-
peace and non-violence’ by the United Nations’ tors from Africa at a UNESCO-sponsored work-
Office on Drugs and Crime. shop. At the workshop he got an opportunity to
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produce his first full animated work, entitled Olokut. CHARACTER DEVELOPMENT
His love for animation has seen Alfred giving talks
and workshops to university students. He is a African narrative is anchored in traditional skills
founding member of the Association of Animation passed on from generation to generation and Tinga
Artistes (A3, Kenya) that seeks to promote animators Tinga Tales is no different. The storylines are based
and consumers of animation. on animals and natural resources such as water,
drought, food and strength. Kenya has over 52
The smooth continuity of the series camouflages tribes, each with numerous untold folktales that
the many hours of concentration and hard work can all be developed into Tinga Tinga Tales. In
put in by the production team. Three animation traditional folklore, the rabbit has always been
teams of five animators each work on a 10-minute the cunning one, often pitting large animals such
episode for up to five weeks. This work is intense as the elephant and the rhino against each other
and requires expertise in CelAction and Pho- for his own selfish gains. The story of how the
toshop as the designers are tasked with creating tortoise got himself a broken shell or why he wears
backgrounds and props in digital format. The a coat has developed from local communities
animators then come in to bring the stories to life who encountered tortoises in their environment
and piece together each episode. on a daily basis. The peacock has always been
the epitome of beauty because of its colourful
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feathers and this is certainly not lost in the Tinga cracked shell holds, for instance, an underlying
Tinga Tales. message to children that they should never be
selfish and should always be ready to help others.
Even cunning Hare and Rabbit are forced to turn
FORM AND MEANING from their wicked ways in order to survive. <
The strength of the Tinga Tinga Tales lies in the Images courtesy of Tiger Aspect Productions, BBC,
educational value that is added in a very childlike Disney, Homeboyz Animation and Tingatinga Arts
manner. The producers go to great lengths to Co-operative Society.
maintain the traditional authenticity of colour,
form and storyline. Each storyline has a learning > View clips from Tinga Tinga Tales here.
component that motivates positive behaviour
and attitudes amongst young viewers. The sto- > View a BBC video news story on Tinga Tinga
ries express the need to uphold moral values and Tales here.
be consistent in doing good, while always showing
gratitude to others. This again is consistent with
African folklore, in which good always triumphs
over evil. The one story of the tortoise and his
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WELCOME TO THE
3 DIMENSION
By Jason Aldridge. The very first time you go to
the cinema as a child a certain magic is created
and a familiar ritual ensues. The build-up of a long
ticket-line (where you urge the adult to choose the
seats right at the front), the sweets and other ac-
coutrements are collected for the journey, and af-
ter the tickets are checked, you meander down a
dark, burrow-like tunnel. Deep within, amongst
many others, you take your seat in a padded land-
scape surrounded by curtains and soft shuffling
popcorn boxes. Once settled, the whispers and
sounds of suckling straws are muffled and seem
crushed by the large dimly lit space above you.
Suddenly, the lights die a slow-motion death – the
darkness taking on the comforting warmth of your
duvet on a winter morning, whilst the rain tip-taps
outside. Turning out the lights like this when
you’re fully awake eliminates those around you
and the experience becomes all the more personal.
Finally, the light flickers on the white space ahead,
and through cinematic sound and filmic specks
RD
We cannot deny that cinema is a unique experi- The first time I ever heard of 3D was when I was
ence in itself. If a movie is released on DVD and on about six or seven years old, squinting through
the big screen simultaneously, the consumers will some green and red cardboard glasses into a kid’s
still go to the movies because the outing is viewed dinosaur magazine and the image of an old black
as a special activity, a modern pastime. There is a and white movie model scared me half to death.
new version though, a way to ‘upsize’ the cinema
tradition through a pair of red and green filtered Films started off being just black and white images,
plastic glasses. The hero of the story is now elevated a selection of wide shots that really resembled
from the background and our perceptions of space theatre. Then these collections of imagery started
and perspective – and also reality – are integrated to benefit from improved film editing techniques
into the world of the characters we watch. and shot selection and the medium conjured up
more climactic and suspenseful stories. With time
The 3D movies offer enhanced viewing and al- came the addition of sound to the players’ voices
though animations, primarily aimed at a younger and music to the surrounding cacophony of the
audience, make wider use of this technology, live- film’s world and the live piano accompaniment
action movies like Transformers 2 (2009) and Avatar was forgotten. Improved film stocks elevated mov-
(2009) make the 3D experience the hot new medium ies from the default black and white to something
for cinema-goers. The specific visual attributes which could truly rival paintings for their ability to
and subject matter are amplified in these films evoke emotion through realistic and surrealistic
and the movie becomes more of an event when it’s shades, art closely imitating life in its real repre-
only in 3D for limited time. sentation of colour. This was a total game changer.
Even with innovations such as surround sound,
3D works by projecting two images of the same VHS, DVD, HD technology and the digital revolu-
frame/picture, and the glasses ensure that each tion, as well as continuously improving filmmaking
eye only receives one of the images via differing equipment and techniques, the 2D format has just
polarisation (darker and lighter tones) or colour/ been refined over the years. Movies, and they way
chroma (red and green) for each lens (right and we watch them, haven’t changed drastically since
left). So when your brain puts the two images to- the last major innovation – the change from black
gether, the 3D effect is created lifting the image and white to the first Technicolor film.
from the screen and hovering above and in front of
you. This simple explanation involves a more com- The commercialisation of 3D marks a huge turning
plicated filming and production process and with point in film history and it seems it will have lon-
a budget of $237 million, James Cameron (director gevity and staying power so that the 3D experi-
for Avatar (2009)) made the highest grossing movie ence can be improved and refined. Some films are
of all time. already dubbed by viewers as ‘...not worth it if you
don’t see it in 3D...’ and so when watching the 2D
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versions, the public’s opinion already suggests that While this seems elaborate or far-fetched, the de-
it’s a lesser or inferior experience. sign concept of storylines with multiple/alternate
endings already exists. From those teenage novels
Even sport has gone over to the 3rd dimension. A where you turn to a certain page, based on certain
game between Manchester United and Arsenal choices you make as the character, to role playing
was the first English Premiership game to be and computer games with different endings and
broadcast in 3D on 31 January this year – Arsenal stories, based on which side you choose to com-
being the first Premier League team to lose in 3D. pete on, the idea is already there. Now looking at
the way 3D visually invigorates the actual viewing,
The Masters has also enjoyed 3D coverage and the the audience’s choice or vote (calculated as a per-
2010 FIFA World Cup was also reportedly broad- centage) could affect the story much in the way a
cast in 3D by some networks. This technology may reality TV audience votes with a remote at their
be seen as a gimmick in some respects, but it cinema chair. The characters would complete the
brings with it huge profits and success. It’s not as movie based on how the audience voted and so
if every movie will now be in 3D, but it’s here to one could enjoy different outcomes of the same
stay in some way, shape or form as part on the movie based on where the film was shown and
cinema experience. with whom you were watching it.
The 2D experience is still valid, and 3D is used The purists would maybe brand the 3D movie as
when it is necessary to amplify the contents of a more biased toward eye candy, accusing filmmakers
narrative, the digital effects and other imagery in- of shying away from credible storylines and originality
volved. The same principle applies to films that are within the narrative. With Avatar, critics like Owen
shown in black and white as a creative choice and Gleiberman for Entertainment Weekly (www.ew.com)
using film or HD cameras are to the filmmaker as says: “Cameron is such a skilled nuts-and-bolts
using oils or acrylics are to a painter. filmmaker that the story he tells is never less than
serviceable; it has none of the nattering clutter of
So with the arrival of 3D, the future of how we ex- one of the latter-day Star Wars films. But it’s never
perience and consume media is bright with many more than serviceable either. What it’s in the service
possibilities to consider. Maybe one day 3D can of is the creation of a relentless ’Oh, wow!’ acid-trip
evolve to virtual reality, placing the viewer literally videogame joyride.” And “As spectacle, Avatar is
amongst the screen action and able to view the indelible – a true rush – but as a movie it all but
action from multiple angles. The experience would evaporates as you watch it.”
not be unlike the PC or console games available in
which one is able to choose multiple storylines When asked by Fred Topel (for Crave Online) how
and alternate endings, depending on choices you important the 3D exhibition of the story is to the
make. The viewer could travel and weave through movie, James Cameron said about Avatar: “I don’t
climaxes and cliff-hangers that the JJ Abrahms’s think the 2D, 3D, really affects the narrative power
(creator of the LOST TV series) of the world could of the story. That has to exist as its own thing. And
create. I think every film has to have a certain amount of
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AVANT
GRAFFITI
By Weyers Marais. I am sure you will agree that there
are enough articles, blog posts and interviews out
there that entertain the debate about graffiti; whether
it’s art or vandalism. This article won’t go that way, so
relax and enjoy a glimpse of what is happening at the
‘top of the food chain’ as Falko One, local writer and
pioneer from Cape Town puts it.
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“The seed for Splitpieces was planted with an idea “When we started doing this, I was writing with
two years ago, but it took a year for me to understand Sethone. We just wanted to do this to see if it was
how it would work. What I wanted to show is that possible. Only once we were done with the first
everybody is fighting for the same thing at the bot- three we understood what was really involved to
tom, but there is something new going to happen make it work. In the beginning I did sketches and
at the top of the food chain. Splitpieces is basically tried to work out all the measurements exactly, but
one mural divided into pieces stretched over different then you always get a different wall than what was
walls in different places. Some pieces are done over originally promised so at the end the process was
three walls, others use eight walls. Although the walls not simple at all. Once we’d done the first piece we
are different sizes and dimensions, if you have to could at last show people what we had in mind
piece all the sections of the mural together it will fit and everyone automatically fed into what they
like puzzle to complete the bigger picture.” thought it all meant. A very similar process to any
other artwork, isn’t it? Once completed the aca-
Looking at the photographs of Splitpieces makes demics will come and interpret the art for you,
it look quite simple at first, but then I realised that never mind what the artist originally intended to do.”
all the walls had different dimensions and making
that work must have been a challenge. The maths So was Falko trying to tell a deep, meaningful story
must have been intense? with the Splitpieces? “When I first started I didn’t
123 >
have an explanation. The meaning developed as “I’m keeping the content as simple as possible; I
the murals developed and as I continued to work, don’t want it to look like I tried too hard. A try-hard
other people started interpreting the murals and and a wannabe are the worst. Less is more. If you see
giving it meaning which is really great, if you think two girls in a club and the one on the right-hand
about it. Some say the murals are unifying be- side has her hair all done up, she’s got the makeup,
cause they are done in different areas. Now it has the blusher, the fake eyelashes and the bangles
become a unifying tool, because when you go ask and all while the other one is pretty plain with just
for permission in one area to paint someone’s the jeans and a T-shirt, you are going to be more
wall, you need to explain to people what you are attracted to the simpler one because she is real
busy with and that their wall is part of a bigger and you know what you are getting. It’s all about
goal. Then you show them the sketches to explain packaging. There are people in art who try too
what the bigger picture is.” hard; they use all the colours and the extras pre-
sented in a beautiful package. But if you are really
“People loved the idea, even though they knew good, you should be able to present your concept
they wouldn’t see the completed work. They just successfully even as a skeleton and people would
loved the idea that they were a part of something already be impressed. It’s the pretty girl theory!”
bigger. I think people like to belong.”
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Wondering how he planned his content without influenced by what was around me or what had
adding too many ‘bangles’ and still keeping it simple, happened on the day”.
Falko explained that the first three attempts did
involve detailed planning because he also used Falko explains that the only thing you have to keep
this as a way to understand the process and the track of is your measurements, because that
concept before he could really get into it. “I sketched
would be important for the other pieces to follow.
out and did a little preview drawing for each one. I
“We had to work out the ratios and percentages
would sit and draw it exactly how it would be. Once
for the scale of one wall to fit another, it was hectic.
on site you would have to measure it to get the
In Photoshop I only allowed myself to use three
sections right.”
tools: brightness, contrast and transform. No crop-
ping or cut and paste tools were used. The compu-
By the fourth one there was no planning and Falko
ter was just the tool used to bring all the pieces
would just start drawing. This freestyle way allows
together.”
for the visuals to naturally develop while continuing
with the creative process. The next piece in the puzzle
needs to be informed by the previous one and you This quality of Falko’s recent work is really what
always know in advance what needs to happen made the experience at the Splitpiece exhibition
next. “The planning of the first lot made it really so special. Knowing that the images and different
difficult, especially when we had to find a wall to pieces within one final work were not coordinated
fit a specific piece, whereas when we were free- and manipulated by computer and that all the
styling, we could just figure it out as we were go- pieces were done in a freestyle, highlights his in-
ing along. The content just developed; sometimes credible skill.
125 >
“Well ja, just one Splitpiece can take up to a month. own the idea and turn it into an advertising campaign
It’s a mission, you fill your car with petrol, a boot full for their brand. I was prepared to be their corporate
of paint, you have a skeleton idea for the sketches slave as long as I could get funding to bring my
and off you go. Then you just mission until you concept to life. One Splitpiece is expensive if you
find a wall. Sometimes you find the perfect wall, take into account a tank of petrol, a month’s worth
but then the owners don’t want you to write on it of work, a lot of paint and an assistant to work
because they are selling the property or something. with me. The first corporate didn’t catch on to the
I was in Philippi yesterday, in the farm area and the vision, despite an initial positive response. So I
same thing happened; there was this really beau- went out and I did it on my own.”
tiful, perfect wall, but the farmer wouldn’t let me
paint it. You know, sometimes you just feel like “At the time I did a Sportscene campaign where I
giving up hope.” had to customise some shoes. This venture was
meant to be because I ended up sitting next to the
Splitpieces must be pretty expensive to do if you brand manager. Turns out she was leaving the
take into account that Falko needs to travel all company in two weeks, though she still organised
over the country to succeed with this concept and for Sportscene to give me x-amount of money to
the materials don’t come cheap either. do my Splitpiece. The beauty was that they want-
ed nothing in return which is more than what one
“When I first came up with the Splitpiece idea, all can be said about most corporates. They just wanted
I had was the theory behind it and a few sketches. to invest in me to do a Splitpiece. So they gave me
I took this idea to one big corporate, explained my the money and I went off and did one which I was
idea to them and I even told them that they could really stoked with it was awesome. I also made a
EDUCATION
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video of the process which is a really great add-on for Adidas. The idea is to eventually take each sec-
to the foundation of this concept. They also allowed tion and turn it into a toy. Eventually when you put
me to add the video to YouTube while they covered all the toys together it will create the original piece
all my costs.” again. He is also talking about a Splitpiece conun-
drum where he wants to do a Splitpiece of which the
A few months later the same company agreed to order of the pieces is not restricted. So no matter
pay Falko to travel throughout South Africa and do how you move the pieces around, you will always
a number of Splitpieces with the agreement that create a picture. “I’ve spent a week trying to figure
he would eventually have enough material for an this out, but it’s like a rubrics cube. It’s hectic. This
exhibition. It was not that easy for him to get the idea should be launched in September and it will
road trip funded but they also realised that with- be a worldwide campaign.”
out it an exhibition would not be possible. The ex-
hibition was very successful. “Today I am really Falko finds himself in a fortunate position as the
grateful to them for taking the leap of faith to invest content of this campaign will not be prescribed to
in my idea and enabling me to do this.!” him by someone else. “The grand finale Splitpiece
would consist of doing one section on each conti-
So what is next for Falko? He explains that he has nent to project the characteristics of the specific
a part II and a part III for Splitpieces but for now it continent. For instance, in Europe I would like to
is only an idea. He is first going to do a Splitpiece get the Paris skyline in the background.”
127 >
As soon as these monstrous tasks have been com- which is great. But then you get the ones where
pleted it will be back to hermit-mode for a while. you get told ‘This is how it’s going to work,’ which
“I’ve got some other companies I would like to ap- is really not that great. Working for yourself is
proach for similar work but a lot of work still needs tough, even when people think it’s so nice, you’re
to happen before that and it’s really difficult to get so lucky you can do that… No, it’s tough! You get
a meeting with the right people at these compa- up the same time, you’re on the road, you have to
nies. Unfortunately, our world works on recom- fight with people to get paid. People think that be-
mendation. You only get the work if somebody else cause you are self-employed, life is easy, but it is
said, hey, this guy is good, ask him to do it for you.” everything but. You must remember when you
earn a salary there are many things that automati-
Finally Falko would like to incorporate all the Split- cally get sorted for you. When you work for your-
pieces into one book and travel the world talking self it is a very different ball game and you become
about his work. a Jack-of-many-trades. But in the end I would rath-
er work and enrich myself. So I’m happy, even if it
Like with most other artists, you sometimes have means to struggle from job to job because at the
to jump in and do other projects that will help to end of the day it’s for me.” <
pay the bills. “The corporate gig is ultimately what
pays the bills, doing a few covers, etc. Fortunately,
with most of the corporate gigs I get a lot of leeway, > See more of Falko One’s work here.
EDUCATION
128 >
THE
HOTTEST
ACT
IN
VIDEO
DJ-ING
By Azane Louwrens
129 >
Craig Schackleton and Wayne Ellis-Lee from these are operated separately and therein
Afterlife are said to be the hottest VJ act in lays the newfound skill of Video DJ-ing. The
South Africa. Hailing from Durban, Craig is a audience however will experience this as if
self taught DJ who teamed up with Wayne, it is a single video.
a sound technician and DJ. After combining
their skills, they began what is today recog- Their skills as DJs are evident when one
nised as video DJ-ing. considers that they may produce creative
videos for a band they know little about. Their
So where does Video DJ-ing originate from? natural ability to translate music tempo
The term itself became popular in its associa- and rhythm into various video layers within
tion with MTV’s Video Jockey but its origins the creative video system is much like when
date back to the New York club scene of the normal DJs will simply; hence their name
70s. However, its antecedents date back as for this profession – Video DJ.
far as the late-1910s. Historically, VJ-ing gets
its references from art forms that deal with the If this is not cool enough, they recently
synesthetic experience of vision and sound. started playing with VMS (Video Moving
These historical references are shared with Systems) which takes projecting into a new
other live audiovisual art forms, such as dimension. Using movable mirrors in front
‘Live Cinema’, to include the ‘camera obscura’, of the projectors, the whole venue (from
the ‘panorama’ and ‘diorama’, the ‘magic roof to floor) now becomes a canvas to
lantern’, ‘color organ’, and ‘liquid light project on.
shows’.
In the music world, notably they have worked
In addition to this, Video DJ-ing also has a with the band, Goldfish. Their first project
number of applications. In the music world, was VJ-ing at a 12-week-long Goldfish gig in
instead of a band or DJ playing only music at Camps Bay, Cape Town. The theme for this
the venue, Video DJs, like Craig and Wayne, event was ‘Submerged’. Taking the passion
will add creative video mixing and trans- of the Goldfish musicians, they pre-produced
form the same old songs into new styles and video footage of them surfing and having
genres. Essentially, this is ‘music with mov- fun at the beach. This footage was projected
ies’. These ‘artists’ have also taken this con- onto two big screens as well as on the front
cept to the corporate world where they are of the DJ table. On the nights of the event,
able to transform a venue by bringing live Craig and Wayne overlaid live footage as
video footage and company logos into the well as various other video layers such as
branding of the event. the Goldfish logo, Goldfish animations and
typical aquatic colour layers. The latter,
Video DJs, will in most cases, (and depending combined with live footage of the crowds
on the theme and event), pre-produce video and footage of Goldfish on each night of
footage. At the actual event, they will over- the event, was mixed altogether into a ‘sin-
lay this with various other projected layers gle video experience’, in support of Gold-
ranging from simple colour overlays, to fish’s style of crazy visuals and animated
animations and live camera feeds. All of characters.
EDUCATION
130 >
Afterlife VJ-ing at Levi’s Young Guns (above left). VJ Software (above right). Afterlife performing with Goldfish (below).
EDUCATION
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The Afterlife team incorporates animation and images created by Mike Scott when performing live with Goldfish.
133 >
EDUCATION
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EDUCATION
136 >
South African newspaper Beeld high heels with a tracksuit. Being audience and earned instant
says the term comes from an old truly zef takes guts.” praise from well-known celebrities
make of car, the Ford Zephyr, which and respected publications.
small-town folk here would pimp INTERNATIONAL HIT
up with modified engines and Burlesque star Dita von Teese
And guts are certainly what Die wrote on Twitter that the South
bulging tyres, to rip through de-
Antwoord had in March and April, Africans were among “the best
serted streets during late-night
when they made their first two of Coachella”, and later the New
dicing sessions. Disapproving
overseas trips. They began with York Times commented that Die
neighbours called these rough
a mini tour of Europe and the Antwoord “fully lived up to its
types ‘real zefs’.
US, and then returned to North reputation”.
Koos Kombuis, one of the coun- America to perform at the pres-
try’s best-known alternative Afri- tigious Coachella music festival The LA Times was also taken by
kaans musicians and authors, in California, with a crowd ru- the “deliciously trashy” trio, re-
said earlier this year that ‘zef’ is moured to be as large as 85 000. porting that the “suspected nov-
a word from his childhood, and Joining a line-up that included elty act proved they had an over-
means ‘common’. But, “these days world-famous Jay-Z, Beyonce whelming magnetism and a
it’s not necessarily negative. I like and Gorillaz, the South Africans ferocious, deadly serious lyrical
being common. It’s like wearing sent shock-waves through the flow.”
Scenes from Zef side, directed by Sean Metelerkamp.
137 >
LOOKING FOR maintain an air of bizarre intrigue. suggest,” reviewer Miles Key-
ANSWERS It’s never quite clear whether lock writes in the Mail & Guardian
they are indeed the portrayed Online.
But who exactly are Die Antwoord, bunch of poor, low-life pals from
and why has their particular brand run-down suburbia, or a slick as- US-based music guide Pitchfork
of music and brutal image created sembly of manufactured perso- goes a bit deeper in its offbeat
such a stir? The group call them- nas created to thrill and shock analysis Who the hell are Die
selves a “fresh, futuristik rap-rave audiences who’ve grown weary Antwoord? , calling the outfit
crew from the dark depths of Africa” of conventional music genres. “Jones’ latest identity-skewing
(sic). Its members are conceptual Either way, it works. art project, which, on the sur-
artist Watkin Tudor Jones, who face, is just the most recent in a
performs as the roughed-up gang- Writers following the craze have never-ending line of ‘did ya see
ster ‘Ninja’ alongside slinky blonde their own opinions about the that?!’ blog-hopping music me-
soprano Yolandi Visser, aka ‘Yo-Lan- group’s strategy: mes”.
di Vi$$er’, and a rather quiet, portly
chap known only as ‘DJ Hi-Tek’. “Well, let’s just say that there’s a But, “considering the mix of ab-
whole lot more method to their surdity, genuine talent and im-
By opting for cleverly crafted, darkly surreal live shows than pressive production values, you
cryptic media interviews, the trio such seeming slapstick might can’t help but think: are these
EDUCATION
138 >
guys for real?” Pitchfork’s Ryan SO BAD, IT’S GOOD Watookal,” says Ninja. “I’m like
Dombal writes. all these different people, f****d
For those who may not immedi- into one person.” Yo-landi chips in,
ately appreciate or understand in her little voice: “Whateva, man.”
GANGLAND TIES
the group’s skilful fusion, Richard
The group’s heavy use of slang and Poplak, of Canadian publication Poplak believes this makes Ninja
irreverent lyrics emanate from The Walrus, offers an artful de- “the ultimate South African”. The
the culture of the Western Cape’s scription of zef rap: “an ungodly idea is “thrillingly, gloriously
coloured people, who were forced potpourri of top-40 hip-hop, radical”, and an essential step
to settle on the dusty plains out- chintz house, rave music, DIY towards racial cohesion in South
side Cape Town during the apart- beat-making and bad techno.” Africa, he writes.
heid years, so authorities could In other words, a combination so
too make space for more white wacky and disturbing you can’t Well, we’ll never quite know
families within the city. help but be drawn in by it. whether Die Antwoord are actu-
ally out to unite an entire nation
Most communities on the so- Jones’s bad-ass alter-ego, Ninja – or simply cause a bit of contro-
called Cape Flats are descended – who has metallic incisors, heavy versy and entertaining hype
from slaves brought to the coun- gold neck chains and a patch- along the way – as they’ll prob-
try from east and central Africa, work of prison-gang tattoos – is ably never tell us, but that’s okay.
the Khoisan who lived in the re- also straight out of the Cape Flats. Their rise to fame has been a
gion at the time of colonisation In fact, “this is where Ninja spent gritty and fascinating study, and
in the 1800s, and other indige- years, mining for meaning among has carved out new, brave arenas
nous African, and white people. the violence, the misery, the of performance and expression.
This complex racial mixing – strong familial bonds – develop- Let’s hope there’s a lot more to
combined with a legacy of cross- ing not just a style, but an entire follow ... <
over culture, displacement and persona”, Poplak writes.
oppression – still haunt the area
Jones has been compared to Em- > View Die Antwoord’s website
today, and crime, drug abuse
inem in this regard, posing as a here.
and gangsterism are rife.
“white-boy rapper who success-
But there are also likeable things fully appropriated the energy > View the Zef side video here.
that stem from this notorious place, and anger of the black ghetto”,
like a highly expressive and often- editor Kevin Bloom comments in
The Daily Maverick. > View The Ninja video here.
impersonated dialect – a mix of
mainly English and Afrikaans that’s
But Die Antwoord themselves put This article is republished courtesy
often very funny if you get the gist
it best in their $O$ album intro, of www.mediaclubsouthafrica.com
– and a thriving hybrid of hip-hop
implying they embrace even
music from groups like Brasse
more than just “zef-ness” and
van die Kaap and Kallitz.
Cape Flats street cred: “I repre-
It’s this that Die Antwoord has sent South African culture. In this
picked up on and, perhaps, par- place, you get a lot of different
odied to blow the minds – and things … Blacks. Whites. Coloureds.
ears – of fans. English. Afrikaans. Xhosa. Zulu.
EDUCATION
And all this since February 2010, when the group mate style.”
emerged from relative obscurity with a series of
YouTube videos and their debut album, $O$, posted South African newspaper Beeld says the term
as a free download on their official website. comes from an old make of car, the Ford Zephyr,
which small-town folk here would pimp up with
Within days it went viral and the unexpected modified engines and bulging tyres, to rip through
swarm of hits, amounting to more than a terabyte deserted streets during late-night dicing sessions.
of data, crashed the group’s server, forcing them Disapproving neighbours called these rough types
to switch their hosting to the major US-based blog ‘real zefs’.
site Boing Boing.
Koos Kombuis, one of the country’s best-known
A quick look at YouTube today, four months on, alternative Afrikaans musicians and authors, said
shows that their Enter the Ninja video has amassed earlier this year that ‘zef’ is a word from his child-
5.1-million hits, while Zef Side has 2.2-million hood, and means ‘common’. But, “these days it’s
views, which clearly attests to Die Antwoord’s cult- not necessarily negative. I like being common. It’s
like global following. Their curious name is Afri- like wearing high heels with a tracksuit. Being
kaans for ‘the answer’. truly zef takes guts.”
Visit us on www.samro.org.za
140 >
INSPIRED JEWELLERY
Ensuring that her handmade pieces are high in exhibitions and design expos. “These are great
quality and integrity, Tiffany Marx produces and valuable platforms to meet potential clients
jewellery items that are both fresh and attrac- and to catch up with your peers in the industry,”
tive. There was no hesitation for Tiffany to open says Tiffany.
her own studio straight after graduating from
the Cape Peninsula University of Technology. This “Sometimes, when the opportunity presents
step, she knew, had to be taken with confi-itself, I loan all my jewellery out to friends and
dence if she wanted to become an independent associates when they have to attend business
designer. functions or weddings and I load them with
business cards and, voila! – an instant market-
As a start-up business, Tiffany had limited re- ing team. I have also established great relation-
sources for marketing and had to find innova- ships with the fashion editors of some top mag-
tive solutions to make her mark in a very com- azines and I send them jewellery on a monthly
petitive industry. She explains: “You have to get basis to use in their shoots. It’s tricky to get
creative, especially when there is no marketing your foot in the door, but once there, the impact
budget. I am very good at shamelessly advertis- is priceless, and although you do a bit of run-
ing by wearing my own jewellery and sharing ning around, it’s fabulous advertising.”
the details of the pieces with anyone who wants
to know more. People love to listen to design- As in any business, communication and people
ers who are passionate about their work. This skills cannot be emphasised enough. People
immediately creates an interest.” love personal attention and if there is a mutual
respect and a strong work ethic, it is a win-win
Her pieces are quite eye-catching so people ask situation to a potential client. “Making sure
her about them all the time, so she is her own that I always get the contact details of potential
walking talking billboard. Although she has clients does not only make for good business
produced brochures and other marketing tools, but also gives you the opportunity to build re-
the personal ‘showcase approach seems to lationships with potential clients. Of course it is
work best for her. The public just love speaking hard work not to lose touch with those who
to the actual designer and this is another rea- love your work, but people do appreciate that
son why it is vital to attend and participate in extra effort.”
EDUCATION
142 >
Tiffany describes her style as modern, clean and Besides being creative and a good designer,
definitely not commercial. “Some of my work is there are many other life skills that are vital if
very minimalist and other pieces are very feminine you want to be successful. In the field of jewel-
and pretty. It is important for me to keep producing lery design Tiffany feels that you first need to
fresh concepts. I also continue to try and reinvent establish which part of the jewellery industry
existing things. I think I have managed to find a you would like to specialise in. Ambition is vital
midway between way-out but practical and com- if you consider going solo like she did. To get
fortable pieces. This is why I believe so many your work noticed should be a major priority.
people appreciate my work. These pieces are also You need to be a risk taker and a hard worker
jewellery that I personally love to wear. It is very with strong work ethics and a game plan. Tiffany
seldom that I need to produce a piece that does explains, “I did a test run before I went solo and
not excite me. So far so good, and, it’s great fun!” started running my own shows and exhibitions,
just to see what the response would be, and if I
Tiffany explains that one of the most valuable could stand a chance to be a successful inde-
abilities of any well-trained designer is to find pendent designer. I never expected the amazing
inspiration in almost everything and anything response I received and if I did not take the risk,
around you. “I have always been inspired by I would never have known that I can make it on
nature – the shapes of pebbles, texture, line, my own”.
balance and rhythm in organic shapes and
landscapes. Japanese details and motifs also Her favourite two pieces are undoubtedly those
inspire me. The secret lies in the quality and the she designed for the AngloGold Ashanti Urban
uniqueness and the skill you use for interpreta- Tribes collection in 2009. “These two pieces were
tion. This will determine the level of the final the biggest technical challenges to date and
product.” working with so much gold on such a big scale
was pretty stressful and intimidating.” Together
Independent jewellery designers are often chal- with Brett Bouwer, who is also a goldsmith,
lenged with the struggle to strike a balance be- they tackled this exciting brief set by the spon-
tween what they like and what the mainstream sors, AngloGold Ashanti. The theme was Urban
public demand. Tiffany says that she has al- Tribes, and they had to choose a ‘tribe set’ consist-
ways made jewellery that she loves and she has ing of five pairs of fictitious characters that in-
been really lucky that her style is popular with cluded their two pieces called The Futurist and
the public. “I have not really paid much atten- Urban Street. “We even received personality pro-
tion to trends and fashion; just stayed true to files for these characters,” says Tiffany, “and they
my sense of aesthetics and produced jewellery had detailed breakdowns of their hobbies, life-
that I love to wear. Every now and then I get style, interests and more”. Eventually Tiffany and
private commissions that incorporate designs Brett set out to design pieces that would fit
that my clients are dead-set on. Although I try their personalities and lifestyle. “Once the con-
and guide them, one also needs to understand cepts were finalised, we manufactured mock-ups
and respect the fact that we all have a different from metal and paper and used these to deter-
sense of what is beautiful.” mine the amount of gold we needed to request
143 >
Vision (above) by
Tiffany Marx. Photo
courtesy of AngloGold
Ashanti.
Cherry blossom brooch
(right). Photo by
Timothy Atkins.
Rock ring (below) by
Tiffany Marx. Photo by
Timothy Atkins.
EDUCATION
144 >
LTR: Large pod ring, Curved flower ring and Volcanic ring by Tiffany Marx. Photos by Timothy Atkins.
145 >
from AngloGold Ashanti. The final results were pieces already reflect the natural elements that
great and we were amongst the winners of the inspired them,” says Timothy. And that was
competition in 2009.” enough. Keeping with a simplistic styling and
showing the pieces in stark contrast with the
Besides having a whole lot of talent and a bril- black Perspex created the perfect setting to
liant marketing strategy one also needs a number truly reflect the elements and unique character-
of other creative tools to incorporate into your istics of each piece.
game plan if you want a striking presentation of
your final product. Creative applications like ex- Timothy continues: “When shooting jewellery
hibition displays and photography can give the you have to know the complexities of lighting
edge to your final display or marketing strategy, and explore it. Every photographer has his or
provided that the application of the one disci- her own way of doing things, but I believe that
pline strongly complements the other. by understanding the production process of
jewellery can be an incredible help for the pho-
Working with a photographer who understands tographic process. Due to the reflective nature
the subject matter is crucial so that the true char- of metals, I used a jewellery tent and constant
acter and quality of the product can be reflected. light, which is specifically designed to provide
Photographer, Timothy Atkins, who have been soft light. This process is very time-consuming
collaborating with Tiffany explains that: “it is quite as each piece and every detail reflects the light
crucial to first understand the jewellery, the differently. When shooting specific pieces, dif-
creator and the process of making the jewellery ferent parts of the jewellery reflect more than
before you can snap away.” others so you have to carefully take different
sections of the same piece at different expo-
Elaborating on their latest collaboration, Tiffany sures while positioning the camera on a tripod.
and Timothy explain that they have met several This process is call bracketing.”
times to discuss and study the characteristics
of the pieces and what it meant to her. Timothy And finally, after the shoot the best shots are
believes that experimenting with different op- chosen and postproduction kicks in when indi-
tions is always a good idea so that one can even- vidual stages of the shoot gets edited. Some
tually select the best option. In the case of Tif- photographs are combined through the use of
fany’s work the original styling that they planned software, while unwanted reflections and col-
for the shoot was overpowering and took away our are also taken care of,” explains Timothy.
the element of uniqueness.
It seems that the synergy that is created by Tif-
“I eventually decided to photograph her complex fany’s jewellery and Timothy’s photography
designs on clean black Perspex to enhance the makes this pair a winning combination. <
shapes, shadows, reflections and focus. The
EDUCATION
146 >
AN
ECO-
BRIDE?
Weddings are complex affairs. For Durban University of Technology “I have been designing and mak-
centuries soon-to-be-brides had Creative Fashion Design Develop- ing custom gowns for the last
a plethora of things to consider ment lecturer and owner of Dimity seven years. With each garment
when planning for their ‘special evening and bridal wear label, I become more and more aware
day’ and priorities shifted from Wendy Schultz, is now question- of the lack of concern for the en-
generation to generation to align ing the eco-friendliness of these vironment during the production
with the zeitgist of the time. Yet much-sought-after garments. She processes, like the manufacturing
one aspect remains the primary is currently completing a Masters of textiles and distribution. Today
priority: The wedding dress. In Degree at the Fashion & Textiles it is common to see a public figure
most instances the wedding dress Department. The focus of her study showing off her show-stopper gar-
is the first and often the most ex- is the development of an environ- ment on TV or viewing gowns in
pensive aspect to deplete the re- mentally friendly bridal gown the glossies emphasising the
sources in the wedding wallet. But, collection for the responsible sheer quantity of the fabric and
unbeknownst to most, wedding consumer. where it was imported from. By
desseses also deplete the earth’s now, we are all well aware of the
resources. Very few brides ever “I don’t want to just make wedding vast negative effects the global
question the impact that these of- dresses. I want to create emotion- textile industry has on the envi-
ten multi-layers of fabric and the ally durable gowns that a bride ronment. The saying ‘I’m only
abundance of jewels, lace and dec- will never want to get rid of, due to going to get married once so I want
orative accessories plastered on her emotional connection to the the best no matter what’ is no rea-
these dresses have on the Mother garment itself. Either the origin of son to be more wasteful and less
Earth’s resources…until now. the gown or the passion some- responsible towards the environ-
one else crafted into it, creates this ment on your wedding day.”
connection,” says Wendy.
147 >
According to Wendy, her turning need to be created. I wanted to EcoBride gown, the fabric must
point occurred while doing re- design a collection of gowns made either be a new organic fabric,
search on this very topic for her entirely from environmentally- where the raw materials are farmed
MTech study, while trawling through friendly fabrics, whislt having so- and the fabric milled close to its
the Internet on the look out for any- cially and ethically sound proc- source of final use, or the gown
thing ‘eco and wedding’ related. esses in place,” says Wendy. must be a second-hand/vintage
Although, she discovered a wealth piece that would have otherwised
of ‘green’ wedding sites, they only Wendy’s first step was to uncover been discarded. Both types are
pertained to vintage wedding what exactly could be considered rarities in South Africa. Research
dresses or second hand gowns. eco-friendly when considering on obtaining organic fabrics, and
Although these may be more eco- the various processes required the EcoBride movement in general,
friendly inclined than the normal by bridal gown design and con- continues to evolve with and as
wedding dress, they are not prac- struction. Fabric sourcing, de- the textile industry develops.
tical for women who need custom sign models and theories and
fits, or for those wanting to sport technical sewing procedures all She says: “Thus far, I have put
the latest Spring/Summer 2011/ needed to comply with the vari- together a strong collection made
2012 collection with a ‘clear con- ous sustainability standards. from re-useable fabrics which I have
science’? sourced from local antique and
Wendy’s research indicates that second-hand shops. This will de-
“This insight presented a clear the sourcing of fabrics remains to termine the aesthetics of my pro-
gap in the local market and I real- be the biggest hurdle which holds totype collection and will dictate
ised that an alignment between back the development and growth everything to follow.”
trendy eco-weddings and the bridal of an eco-friendly bridal movement.
gowns worn to these functions For a gown to be considered as an
EDUCATION
148 >
The second step of development To ensure creative thinking, de- The EcoBride brand services that
requires the most creativity and sign models and theories were are offered also include the re-
technical knowledge, as each piece incorporated into her thinking working of existing gowns, even
of sourced textiles must be as- processes. Theories like emotional those ancient 1850 heirlooms
sessed according to meterage durable design, body dressing that have been in families for gen-
availability which is often very re- and the green fetish, cradle to erations. These transformations of
stricted especially with vintage cradle, consumer behaviour, and the old to the new, entail the crea-
materials. The condition of the ‘slow’ versus ‘instant’ fashion tion of completely new or adjusted
piece also needs to be determined systems, assisted in clarifying gowns created from the old and
and if and how a pattern could be what needed to be included in trousseau collections of lace and
cut from it. “A prototype example the design process and assessing textiles, She explains that “these
of this is a vintage silk bourette the development of the collection two propositions fit into the ‘emo-
safari suit which was cut up for a according to what should, or tionally durable design’ model,
corsetted gown with an old tray would, sell. since the resulting gowns carry
cloth reinvented as a peplum!” an inherent sentimental value to
explains Wendy. the owner. These gowns will never
end up in the bin!”
149 >
Another design ethos of EcoBride Woza Moya at HillAids and St bridal range produced in South
is the recycling and conservative Agnes Beader’s Association. The Africa. Now, soon-to-be-brides
use of raw materials. All off-cut beadwork and crochet are used can be well informed about what
fabrics are kept to be used in the for all the extra embellishments on they buy and where the gowns
creation of hairpieces, small purs- EcoBride gowns. “The emphasis come from. Enjoying their special
es or bunting used at the wedding on personal hand-crafted details day is now made easier, knowing
venue. In addition, EcoBride also and the use of sewing techniques that their wedding and their dresses
sources and uses old architectural which follow couture guidelines are eco-friendly. <
plans and recycles these to double means that EcoBride can be brand-
up as pattern paper, therefore ed as a ‘slow fashion’ brand,”
increasing the recyling footprint says Wendy.
in the production process.
With anticipation ED> will watch
Furthermore, EcoBride also com- the development of EcoBride and
missions crochet and beadwork hope that this new brand will set
from specialist crafters at local some valuable standards for a
unemployment associations like truly environmentally friendly
EDUCATION
120374
Rich aroma.
Refined taste.
EDUCATION
154 >
or an A3 sized solar panel. And, for me, what is The kids take ownership of the devices and take
most compelling is the single-minded insistence them home. Because they have no electricity, the
on the part of Negroponte and crew to not allow XOs are brought back to the Centre each day for
selfish business interests to ‘poison’ this initiative. recharging. While the kids are at school, the team
Please don’t get me wrong, I respect business mo- clean the machines and host basic literacy classes
tives, but in some priority areas it needs to be care- for high-school dropouts. They also host after-
fully managed. This means we can throw on Ubuntu school classes for teenagers. Add to this the abil-
and write stuff in isiZulu if we needed to. Of course, ity for kids to use the devices for recording and
it ships with Sugar, a Linux-based OS that offers a photographing special occasions at home and
whole lot already. you’ll see that what Thulani and his team have
achieved is short of a miracle. Thrown into the mix
These babies cost in the region of $229 US. Yes, are sporting programmes, a feeding scheme for 350
it’s a little steep. OLPC want it to be sub-$100 and children, performing arts, a student exchange pro-
are working hard on making that a reality. I urge gramme and a community vegetable garden. On a
you to play their video (click here), which talks national scale, the team has helped deploy XOs in
about kids being their mission and not a market. Dlamini, Swaziland, Limpopo, KZN and Mpuma-
And that is the key. Its not about the tech at all, its langa.
about education.
The challenges are many. To date, government re-
Allow me to bring it back home and share an in- sponse has been unenthusiastic despite strong
credible story that is unfolding by an incredible support from the district education authorities.
team of social entrepreneurs led by Director Thu- Funding is an ever-present menace and real support
lani Madondo and his team at the Kliptown Youth from corporates are thin, but improving.
Program. The backdrop is the impoverished com-
munity of Kliptown, Soweto. Many will remember And our design challenge? Get involved. Support
it as the place where the historic Freedom Charter the effort through active participation so that we
was adopted so many years ago. Today, this com- can help to design a future for all children, one
munity continues to be dogged by almost any so- child at a time.
cial challenge one can fathom. Thulani, a 20-year
Kliptown Youth Program can be contacted at thu_
old dynamo has established a facility with around
im@hotmail.com
300 XOs catering for all who live there. On less
than a shoestring and a dime, with passion and
heart, they are transforming an entire community About the author: Artist, designer, writer and en-
and giving hope to generations. American families trepreneur Mohammed Jogie studied Fine Art and
and individuals, not from South Africa or the local Graphic Design. He is founder of Creative Week
corporations or governments, have donated every and principal of ‘my main mojo’, a specialist crea-
one of these computers. tive consultancy. <
155 >
“Who you looking at?” (left). The Kliptown Youth Program Director and Programme lead, Thulani Madondo (right).
The Kliptown Youth Program veggie garden (left). Teens from the soccer programme join in (right).
Bunny ears up! (left). The charging station (centre). Charged and ready to go! (right).
EDUCATION
156 >
By Fatima Cassim
this prevalent theme,
Bruce Nussbaum
narrated the story of
how he became a design
guru. Nussbaum’s
ECONOMICS interest in the link
between design and
business began at
Business Week, where
his articles about
DRIVING
incorporating elements
DESIGN
Nussbaum, a self-proclaimed birdwatcher, the way design, and more specifically design
shared with his audience his experience of thinking, has been received over the years.
seeing a black swan while in Cape Town. To
him, a black swan represents a harbinger and The increasing acceptance and adoption of
signifies a shift in trends; it is a concept of ex- design thinking is also influencing the con-
pecting the unexpected in today’s world and temporary role of designers. Designers today
economy. are found upstream in the innovation process
and they’re playing a more strategic role. In an
In light of this, design can also be equated interesting article on design thinking in the
with the idea of being a black swan because Harvard Business Review, Tim Brown, the CEO
we are currently faced with an important and of IDEO (an influential innovation and design
interesting trend where design is becoming firm in California) highlights this strategic role
“more important to the bottom line than tech- of design: “Now, rather than asking designers
nology”. Nussbaum refers to this new trend of to make an already developed idea more at-
design driving economics as ‘designomics’. tractive to consumers, companies are asking
them to create ideas that better meet con-
Today, design has matured into an independent sumers’ needs and desires. The former role is
and intellectual discipline that is increasingly tactical, and results in limited value creation;
being sought after as a means of bringing the latter is strategic, and leads to dramatic
about unexpected and intentional change in new forms of value.”
the world. In the past there was a preference
for business leaders to employ left-brain or This changing role of designers within the
more analytical thinking as a problem-solving context of business and innovation is being
method. Owing to the complexity of the prob- influenced by a number of global forces. Nuss-
lems with which they are now faced, these baum identifies three such catalysts, namely
leaders have begun to realise the role that the rise and fall of nations, the rise and fall of
right-brain or design thinking can play in ad- generations and the rise of new digital cul-
dressing contemporary challenges such as tures. The rise and fall of nations refers to the
global warming and sustainability to name a transfer of world power “from the West to the
few. rest”. The acronym BASIC illustrates this point by
recognising emerging markets such as Brazil,
More than ever before, designers, in their pre- South Africa, India and China as leading play-
ferred black plumage, are being accepted into ers in the global economy.
business circles and are no longer disregarded
as ugly ducklings. The story of the ugly duckling With regard to the rise and fall of generations,
tells of a little bird that is disregarded by the Nussbaum discussed the nature of Genera-
other ducks and is teased for being different, tion Y. This generation differs from Generation
until he matures into a beautiful swan. The X in that there is a shift of focus from “materi-
moral of the original tale is about transforma- ality to shaping systems”. This implies that
tion and about acceptance. It ties in well with there is a changing concept of the nature of
EDUCATION
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designed products and it also points to the South African economy. However, in order for
significance of the design process and no such a culture to flourish and to aid the econ-
longer only the end-product of that process. omy, it is going to be important for design
Within the design process, the value system is thinking to be widespread within business.
moving from one of owning to one of sharing
and hence there is a great emphasis on co- The advantage of design thinking is that it is not
creation and multidisciplinary teams. Nuss- only restricted to designers but can be nur-
baum’s informal presentation and his “inti- tured in areas or domains outside of profes-
mate dialogue with 1 000 people” at the sional design practice. Roger Martin, Dean of
Indaba were in keeping with this idea of a col- the Rotman School of Management in Toronto,
laborative approach. Canada, also affirms that “we are on the cusp
of a design revolution in business” and as a
The changing values of Generation Y cannot result, “today’s business people don’t need to
be separated from the influence of technology understand designers better, they need to be-
and the rise of new digital cultures. In particu- come designers”. The challenge, therefore,
lar, social media (such as MySpace, Facebook lies in education’s ability to incorporate design
and Twitter) are facilitating the rise of digital thinking in general education as well as busi-
cultures and allowing them to co-exist with ness education to produce “T-shape” thinkers
real-world cultures. More power is being – that is, thinkers who combine the vertical leg
placed in the hands of the people and, as a of analytical thinking with the horizontal leg of
result, a new challenge for designers is to de- lateral and creative thinking. Since design is
sign with these people and not for them. All swimming in previously unchartered waters,
this points towards dramatic cultural and so- there is no imminent end to this tale. This is
cial shifts which business needs to consider in only the beginning for design in business and
order for innovation to be relevant and sus- ultimately, the secret of success for design is
tainable. Consequently, design thinking, as a for it to continue to be like a swan: smooth
human-centered methodology, facilitates in- and unruffled on top, but paddling furiously
novation through a better understanding of underneath. <
what people want and need.
EDUCATION
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THE GHANA
THINK TANK:
DEVELOPING THE
FIRST WORLD By Christopher Robbins
161 >
I am an American, paid by the Japanese, to developed world had a lot to learn from
tell how you think. At least I was. the developing world.
For much of my life I worked in foreign coun- New York could – and should – learn from
tries, problem-solving in places far from my Kokrobite (a small fishing village in Ghana).
hometown. I grew up in New York City, but
then worked in West Africa, former Yugoslavia
and the Fiji Islands. During this time I saw how The Ghana think tank begins
many international organisations hired
people to solve problems in places they In 2006 John Ewing, Matey Odonkor and I
didn’t even live. formed the Ghana Think Tank. Carmen Mon-
toya joined the project in 2009. In brief, the
These external solutions often didn’t work, Ghana Think Tank is a network of think tanks
or even hurt: replacing a well with a pump from the developing world, formed to solve
that then breaks, which forces people to go the problems of the First World. We started
back to the river for their water source; build- in 2006 with think tanks in Ghana, Cuba and
ing a chimney to help smoke escape from a El Salvador, and have since expanded to
Mapping out problems and solutions from the think tanks.
mud-hut kitchen, which causes an increase include Mexico, Serbia, Iran and Ethiopia.
in mosquitoes and malaria; designing tech-
nology to create local products that no-one To begin, we collect problems in a specific
will use… community of the developed world – so far
we have targeted the United States and the
The irony was that while I saw external solu- United Kingdom: Boston, New York, Provi-
tions fail, I was seeing tonnes of working dence, Westport, Cardiff, Penarth and Liver-
solutions coming from the communities pool. To get these problems, we use a number
themselves. I saw people make a forge for of different techniques. We interview people
melting metal out of mud and a goatskin. I on the street, build custom mailboxes, dis-
saw maps of ocean currents made from tribute postcards, and have even built a video
woven sticks, and stories memorised with booth that records people’s 30 second-
patterns made from string. problems for upload to the think tanks’
server.
Pretty quickly, I realised that it was ridiculous
to think that the ‘developed’ world could We send those problems to our think tanks in
have all of the answers for the ‘developing’ Ghana, Cuba, El Salvador, Mexico, Ethiopia,
world. I had seen the impact of external Iran and Serbia. The think tanks then propose
solutions, and knew that in many ways, the solutions, which we enact physically back
EDUCATION
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in the community that proposed the prob- The El Salvador think tank (members of the
lems, whether they strike us as brilliant or rural radio station Radio Victoria) clearly
improbable. In the past, solutions have in- takes a critical stance as they create solu-
volved games of street chess initiated be- tions, using their think tank as a platform to
tween neighbouring but isolated cultures; interrogate American culture – a term they
renaming a dog ‘Love’, dog-tags and all; hir- rightfully take issue with: “We are at the
ing immigrants to attend social functions centre of America, so why would you be
in a wealthy Connecticut suburb; combat- called America?”
ing pesticide use through a dandelion pro-
motion campaign, including dandelion
It was El Salvador who proposed many of
recipe-books and replanting workshops;
the more socially awkward solutions, hav-
helping people replace the PowerPoint
ing us hire immigrant day labourers to at-
presentations in their lives with social the-
tend social functions, and replace Power-
atre, and projecting slides of local traffic
Point presentations with social theatre.
accidents caused by speeding onto public
structures.
Our Iran think tank (formerly the Sazmanab
Project) uses humour and heartfelt ges-
Actions have ranged from tough (building
tures. Their solution for the generation gap
cement bollards to prevent parking on side-
was to collect ‘funny, dirty memories’ from
walks) to fun (painting the undersides of um-
brellas with sunshine and then doing sunny- the elderly.
day things in the rain) to edgy (teaching drug
addicts to build African instruments out of In Wales, they solved the problem of mean
found materials, so they can play them to people on the street by designing T-shirts
earn money instead of robbing.) carrying the owners’ smiling portraits. “A
large number of people have no concept of
social interaction with other passing stran-
Cultural difference and gers. They look through you or worse, at
problem-solving you, like you’re something they’ve trodden
in, with disgust and bitter resentment.” So
The project is focused on the differences we stopped people who were walking down
between cultures, and how these affect the street with scowls on their faces, asked
problem-solving and assumptions. Over them to smile, took their photo, and made
the years we have found that our different them T-shirts with their smiling faces. They
think tanks do not form one solid front of were all invited to a T-shirt collection event,
the developing world, but each use their own so they could meet, have a drink on the
strategies to solve other people’s problems. beach, get their T-shirts, and smile.
163 >
EDUCATION
164 >
In Wales, they solved the problem of mean people on the street by designing T-shirts carrying the owners’ smiling portraits.
165 >
So, every think tank has a different approach > Learn more about the Ghana Think
to problem-solving, coming from very dif- Tank here.
ferent cultural backgrounds. Some solutions
have worked incredibly well, while others
have been embarrassing struggles with
unintended consequences.
EDUCATION
CANNES LIO
Ad campaign for Jonga Trust, created by Greame Bettle and copywriter Robert Selmer-Olsen.
CREATIVE CO
By Joe Krenzer
“Not everyone c
artist can come
167 >
ON YOUNG
OMPETITION
ED> caught up with these two young creatives and exciting challenges and a chance to exercise
just before they jetted off to Cannes. the bit between my ears.”
Where did this venture begin and where did Robert explains that he always wanted to work in
you study? Greame says: “I started out doing a creative field. “I tried acting but thought that I’d
a diploma course in advertising at Varsity College move to advertising in the hope that it would be a
but that turned out to focus on account man- more financially stable career. After a short stint at
agement, so I enrolled at Vega Durban and Vega JHB I started work at Publicis. I then moved
studied under a great lecturer, Greg Tregoning, to Jupiter in November last year and things have
where I got my degree as an art director. I was been fantastic ever since. It’s amazing how fast
then offered a job at Jupiter Drawing Room in things move in this industry.”
Johannesburg and has stayed there ever
since.” Would you consider yourself to follow a specific
style or trend? “Each brief comes with its own
“We spend the majority of our lives at work challenges and visual language. But it does help
and wasting that in an uninspiring job seemed staying in the know of what’s hot and current – be
such a waste. So that’s why I decided on a ca- it the latest YouTube videos or new media available.
reer in advertising. Each day brings with it new Just when you think you have seen it all, there is
someone in the agency who will find something very common, it can be cured and requested dona-
fresh. The Web has been great in that sense; your tions to help a good cause. We were primarily tar-
resources are vast and the users dictate trends. geting people with money to donate. The secondary
Not us,” says Greame. market would be the people with eye problems to
create awareness of available treatment.”
What inspired you to enter this particular cam-
paign? “We wanted to focus on the quality of life Should design have a conscience and reflect
you lose due to visual impairment. We were a bit something about our society? The response from
worried that the eye chart was clichéd, but at the both creatives was clear: “There is a big trend to-
same time we wanted to keep the message simple. wards doing design that actually has a purpose.
I suppose the final outcome was a happy medium Opposed to just doing ‘pretty’ work. The nature of
between of simplicity and creativity,” says Robert. our industry is persuasive and we try and get people
to buy, so we should at the same time give back to
Greame explains that the process for the Young the community. This is a good way to use creativity
Lions was pretty hectic. They had 48 hours to pro- to make a difference to people’s lives that very often
duce the entry from start to finish. Although that’s don’t have a voice of their own. We think that all
not much different from some creative briefs faced people who work with mass media should be
daily. The brief was released on the Friday morning aware that they have a huge responsibility towards
and they had the weekend to brainstorm and cre- large audiences.”
ate the ads. “You have to do two press ads which
are either two different ads or two ads that are part According to Cannes Lion CEO Phillip Thomas
of a campaign. It’s daunting not knowing whether “Winning the Young Lions Competition is a hugely
you’re going to land on something great or find rewarding experience that will change your career
yourself in the land of OK ads,” says Greame. “Then forever.”
comes the waiting and wondering if the ads will do
anything and trying to second guess what angles Greame says, “We would love to stand up on the
other people might have taken that could be better international stage and receive a medal. I think
than yours.” that would be a true career changer. In my opinion
the South African leg is just the beginning. It’s
“The medium was dictated to us in the brief. We the international win that would make all the dif-
used the eye chart in a visual which represent the ference”.
things you love that are gradually getting smaller
to the point that they can’t be enjoyed anymore. When asked if they had any advice to young crea-
All we had to figure out was what these things tives, they both replied that there are so many
would be.” South African designers that are well respected
and have received international acclaim. You can
What message are you conveying and who was also follow your dreams, remain inspired and at
your target market? “It’s frightening to know that the same time not forget to have lots of fun while
some people in our country have treatable visual doing so. “If you love your craft it’ll love you back.
impairment but don’t have access to basic medical
care and so believe they are permanently blind. At time of writing, results of the Cannes Lions Young
We tried to convey that this is a condition that is Creatives Competition was not yet released. <
EDUCATION
Turbo-charge your career
Jozi: Durbs: iKapa:
DESIGN ACHIEVERS
A LEADERSHIP LAUNCH PAD FOR YOUNG CREATIVES
student of the Design School of Southern Africa
won this year’s Design Achievers award. Michael
developed the Dry-Pod, a concept for a com-
pact shelter to protect homeless people from
adverse weather and other conditions. The
Design Achievers award ceremony was held at
Maropeng at the Cradle of Humankind on Africa
Day, 25 May.
EDUCATION
172 >
Nominees interacting
with exhibits at
Maropeng (far left).
Zamokuhle Mbuli
discussing her work
with Dr Bonakele
Mehlomakulu (left).
Nominees capturing
the spectacular views
of Pretoria during a
site visit to Freedom
Park (far left). Photo
by Jana Langenegger.
Nominees interacting
with exhibits at
Maropeng (left).
2010 Design
Achievers nominees
and visitors from
eight other African
countries.
EDUCATION
174 >
AFRICAN
STUDENTS
JOIN THE
CRÈME OF
SOUTH
AFRICAN
By Suné Stassen
DESIGN
ACHIEVERS
175 >
EDUCATION
176 >
Lynette says that because the University of Na- confidence in their local talent as they sourced
mibia doesn’t have big rooms where students can South African designers for this event, certainly a
learn how to weave their own fabrics, they can only less cost effective exercise. Local designers stood
learn the basics of surface decoration, together in disbelieve knowing that they would have also
with learning felting and weaving on a very small delivered a quality event.
scale. “I want to learn all the aspects and proc-
esses of the textile and fashion business so that I “As a designer it is really frustrating when there is
can be equipped and skilled no matter the direc- a lack of confidence, combined with a lack of sup-
tion my business will eventually take. It is impor- port, so for me, it was a wonderful opportunity to
tant for me to also understand all the processes so be invited to participate in the 2010 Design Achievers
that I can one day do quality control and know scheme. This was a chance for us to see that there
what is needed to produce top quality products. are people who really care and that want to sup-
We all depend on skilled people from a variety of port and help us in our careers, without hidden
sectors to ensure a successful production line.” agendas. I love learning and wanted to meet as
many people as possible in my field so that I can
As in a number of other African countries, many gain as much knowledge from them as I could. It
qualified people leave Namibia to pursue their career was an amazing experience especially because
somewhere else. According to Lynette, some of there were people from all over Africa. It really
them do return to Namibia but they keep a very low came as a surprise and I did not expect all of us to
profile. “The most important designer in Namibia, be on a similar wavelength especially because we
that I am aware of, is my lecturer, Melanie Harte- all came from different economies, social struc-
veld who studied in SA but came back to Namibia. tures and politics, but we all jelled extremely well
She is doing fantastic work with her students and and this was a very inspirational experience.”
she is truly supporting us. In recent years she
started the Pambili Association with the vision to When asking her what vital skills she has developed
have a strong impact on future design training, that will stand her in good stead in her private and
mentoring and research in Namibia through net- professional work ethics, Lynette responds: “I
working, exchange opportunities and much more. have wanted to be a fashion designer for a very
For her it is all about educating and empowering long time. I knew that I also had to take business
young designers, crafters and young professionals management and accounting. Even throughout my
to become aware, involved and active in social de- years at university and through my choice of work-
sign issues. I find this mentorship programme ex- shops, I made sure that I developed my knowledge
tremely valuable,” says Lynette. in marketing and business management, together
with my creative skills which I have always felt is my
So from a university angle, creativity seems to have strong suite. Some people have already comment-
a very strong grounding but for the rest of Namibia, ed positively on my business proposals, so I de-
well let’s just say they have a lot to wake up to! cided to set up my own business as I feel comfort-
Lynette explains that during the recent Miss Namibia able and confident that I can really give it a go.”
contest it was evident that Namibia does not have
177 >
Lynette Diergaardt’s
collection of gowns
inspired by the
Renaissance era and
contemporary Namibian
wedding gowns.
EDUCATION
178 >
Collin Ngoni Meda is a second year student at reasonable price. And, we know that we are not
the Zimbabwe Institute of Vigital Arts (ZIVA), going to earn much for our design because the
established in 1999 by acclaimed designer Saki people have no insight into the need of a bal-
Mafundikwa. Today, against all odds, ZIVA is ancing act between our design costs and their
celebrating a decade of design excellence. printing costs. There is also no appreciation for
the research and effort you put into a job and
When speaking to Collin, it seemed that the therefore no need to add value in the eyes of the
situation in Zimbabwe did not differ from many client. They don’t think that have to pay for it.”
other African countries. In his opinion, the cre-
ative industry in Zim is a bit ‘all over the place’. Now it’s a question of ‘how can this ambitious
Most people leave the country immediately af- young talent take on this enormous task to
ter they graduate and the chances are slim that grow an appreciation for the creative industry
they will ever return. When they do return after and, at the same time, change a nation’s per-
many years it is evident that they are com- ception?’ Through small baby steps. “I have
pletely out of touch with their heritage and will started a ‘freebranding’ project, through which
try and enforce a style that is not typically Zim- I hope will be able to educate the clients. As
babwean. “Which is why we don’t even have a the saying goes: Start in your own backyard
Zimbabwean ‘look or style’,” explains Collin. first and grow it from there. I intend to work
“And even if graduates do want to stay after through the street of businesses where our de-
graduation, the people in Zimbabwe have no sign school is situated and offer the business-
understanding about the importance of brand es a free branding proposition. This initiative
development and the contribution that design could provide a vehicle to educate businesses
can make for a more prosperous country, hence about the power of branding and I truly believe
the reason that employers don’t see the use of that once they see the benefits we would have
paying you for what you are worth. This in itself planted a very powerful seed.”
forces young designers to pursue a career
elsewhere.” But, as we all know, there is a very fine line
between throwing your weight behind a good
To develop and grow a creative industry, Collin course and putting a value on the expertise
feels that they do have some systems in place you bring and the time you spend bringing it.
but Zimbabwe seriously needs to upgrade. Sometimes it has a lot to do with the ability to
“For instance, I don’t know from what century survive with a very basic kit, “because every-
our current printing methods are from. So we thing is sometimes so destitute that we are
tend to either do our printing in SA or out- almost forced to just jump in and think basics
source it to other countries. People will take before pay,” explains Collin.
advantage of our current situation and charge
us astronomic amounts in US$. So, when you This young man is seeing the ‘freebranding’
have a client that needs 1 000 letterheads we project as his CSI project and a way to give
are put into a really tight spot – not to out price back to his community. He already, long before
ourselves but still deliver top quality work at a his studies, registered his own company which
EDUCATION
180 >
dealt with computers, until he wanted to focus on in double mediums adding English as their second
graphic design. Upon re-establishing his company medium. “If you work across borders and with forward
with a friend, he realised how little interest and knowl- thinking countries then you can take your skills
edge the Zimbabwean people had for design. “Be- there and create a winning team,” commented Bongani
cause of my own appreciation for design, this situ- Ntombela, a past Design Achiever.
ation motivated the ‘freebranding’ project, which
is really something I do outside the company. So yes, Allen Charlis Muziki from Uganda reminded us
we do have paying clients. As a branding company through his own work that the power of creativity
we want to show appreciation and development of is still used for social commentary and awareness
brands. I guess in my privileged position in com- campaigns and that illustrations and sketches can
parison to others – I get food, I have a place to become the voice of ordinary people, a mere pow-
sleep – this makes it a lot easier for me to do work erful vehicle to educate a nation.
for free. I sort of have more favours than the need
for money,” explains Collin. “Saki Mafundikwa has
In Kenya, Michael Kituto Muiya told us that it is
also taught us to look after ourselves, to become
custom to place a qualified designer in a leadership
a jack of all trades and to not be afraid to experi-
position like a project manager, which is pretty in-
ment and try out other design areas.”
teresting as most people consider designers to be
nothing else but ‘arty farty’. The latest craze in Kenya
OTHER AFRICAN PERSPECTIVES is the newly developed animation industry, which is
already experiencing a boom, especially after the
Emmanuel Twagirimana, from Rwanda, explains launch of Tinga Tinga Tales in the UK, soon to be
how the 1994 Genocide in his country negatively launched in Kenya. Produced on location in Kenya by
impacted and affected the existing manpower short- Tiger Aspect Productions in conjunction with Home-
age in all fields of expertise. Rwanda now has to boyz Entertainment, Tinga Tinga is a perfect example
rebuild a new workforce and is forced to call on of how creativity can be used to preserve cultural
other countries to supply experts, especially in the traditions and storytelling of real African stories.
fields of engineering and design sectors. They are
striving to develop a knowledge-based economy Zophia Kukua Palmer, a young student from Gha-
and have even sent students abroad to study na, told us that her country is working more and
fields like engineering and science so that they more towards applying art and design to effect
can bring the skills back to their country. change and will also be launching award schemes
to drive this. In conclusion she left us with her fa-
In the mean time, the Kigali Institute of Science and ther’s words of wisdom: “Thinking is your capital,
Technology (KIST) is also seriously addressing this innovation is your enterprise and hard work is
issue through offering a variety of engineering and your success.” This has been Zophia’s personal
industrial related courses like architectural and mission statement ever since.
civil engineering, as well as Art and Humanity studies
that include design, jewellery and more. With most of Other delegates included Raymond Akorah from
their lecturers coming from neigbouring countries, Nigeria and Segametsi Portia Kapele from Botswana. <
like Kenya and Uganda, they have decided to teach
EDUCATION
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YOUNG
CREATIVES
KEEP
EMERGING By Suné Stassen
To recognise outstanding achievements in any area eventually decided to study at the AAA School of
of brand communication, advertising, communica- Advertising.
tion design and experiential design, The Loeries
launched the Young Creatives Award initiative in When asked what exactly an art director at Net#work
2007. To be considered a talented young individu- BBDO does and what the day to day schedule on a
al at the beginning of your career, you have to be new project is, Jo explains: “As soon as I receive a
under the age of 27 and submit a portfolio of your new brief it is my responsibility to conceptualise
work. Two of the 2009 recipients awarded as the an original idea for the advert, whether it be for TV
best new emerging talents in SA, were announced or print media. This process should ideally develop
at the Loeries Awards in Cape Town. Both recipients in collaboration with a copywriter, followed by a
received a Gold Loerie plus an all expenses paid trip creative director’s review, before it is approved and
to the international One Show in New York City. the final concept presented to the client. At the
moment I don’t have a copywriter, which prevents
Sanjiv Mistry, a copywriter from Ogilvy in Cape Town me from working on bigger projects where team-
and Jo van der Linde, art director from Net#work work is required.”
BBDO, were the well deserving recipients. Shortly
after their return from NYC in May of this year, ED> But, working for such a well-respected agency
met up with these two jetsetters. will definitely stand her in good stead and having
already worked on big accounts like Nedbank,
Not really knowing at the time that she could be Chicken Licken and Mercedes Benz can only pre-
a future talent, Jo van der Linde only took Art as a dict an even greater future for this young talent
school subject because her teacher advised her (View Jo’s portfolio here). “The best piece of work
to. Needless to say, Jo received distinctions and I had the most fun working on was the Chicken
Jo van der Linde (left) and Sanjiv Mistry (right).
Licken campaign for 2009,” says Jo. “Even though the He explains that one of the great things about work-
brief was quite open, we still needed to communicate ing at Ogilvy is the stature and range of clients they
to the public, that when ordering any of Chicken Licken have. He has personally worked on projects for huge
meals you have a choice between ‘Hot or Not’” (View international brands like Volkswagen, Castrol and
the ad here). Coca-Cola, as well as well-known local brands like
Old Mutual and The Sunday Times. “Clients are, I
Sanjiv Mistry started off by gaining a BA Degree suppose, the biggest difference between the real
from the University of Natal before he completed his working world and the student world. Sometimes, no
LLB through UNISA, whilst also working towards a matter how right, how perfect or how revolutionary
Copywriting Diploma at the AAA School of Advertis- you feel an idea may be, when the client doesn’t agree
ing in Cape Town. Straight after college he began with you you’re forced to shelve that thought and
working at The Jupiter Drawing Room as a junior come up with something else. You really need to have
copywriter. a thick skin and learn to not take the rejection of an
idea personally.”
“Currently, I’m a copywriter at Ogilvy (Cape Town).
Together with my art director, Prabashan, I concep- Last year they shot a commercial for the Volkswagen
tualise ads and other communication campaigns for Golf 6. It told the story of a cheetah who had to have
our clients, helping them to engage with their target its leg amputated, but who still got to feel the thrill-
audiences in meaningful, memorable ways. Prabashan ing rush of being a cheetah by riding in Volkswagen
and I are just one of about 12 creative teams in the Golf (View the ad here). “The entire experience of
agency. Our responsibilities include selling the ideas making that ad, from the brainstorming process to
to clients, as well as seeing the ideas through the the pre-production and selection of a director, to the
various stages of production,” says Sanjiv. post-production and reception that the commercial
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More importantly, these products only perpetuated What makes the work even more interesting is the
the stereotype that comics were meant for kids and manner in which Spiegelman brings the narrative
that the adult market only consisted of ‘fan-boys’ full-circle by illustrating the conversations between
living vicariously through super-hero versions of him and his dad. It’s important to realise that
themselves. Spiegelman is telling his father’s story through his
own eyes. Maus uses autobiographical storytelling
One could argue that the graphic novel was eventu- by way of comics to tell what has been classified as
ally able to legitimise itself as a literary genre, one of the single most important graphic narratives
championed by seminal graphic novelists such as next to Joe Sacco’s Palestine. The Schindler’s List of
Will Eisner and Art Spiegelman throughout the 60s comics one could say.
and 70s. The question remains what exactly would
beget a more adult-orientated piece of work within My Hello Neighbour forms part of a series of auto-
the field of graphic novels? Could such a piece of biographical comic strips that reflect on my life as a
literature constitute a legitimate literary work? I child, the domestic issues that came with it and my
dare not mention detective comics, vomics (horror Mediterranean heritage (my name – Roberto Millan
comics) or images of half-clad Amazonians running – says it all). It was an ordinarily balmy summer af-
violently towards the reader with sharpened spears ternoon by many standards and we’d just arrived
and a temperament to match. Although these com- back from lunch out with the family. Rufus, the next-
ics can be considered more adult, they still fall una- door neighbour’s frisky dachshund, was caught red-
bashedly within the target market of the post-pu- handed doing the nasty with Honey, the family Lab-
bescent fan-boy. rador. It was through the same crack in the
neighbour’s wall that Irene (one of my sister’s clos-
My interest in comics certainly doesn’t use its dis- est friends at the time) would occasionally slip
position in the past to play on previously stereo- through, stop and ask for pasta.
typed conceptions of how comics are meant for
kids. Controversial comics artists such as Robert Hello Neighbour is made up of ten frames, each
Crumb and the Bitterkomix crew already made their carefully planned in three separate stages of pro-
point when toy-toying with shock-value stereotypes duction. I had documented the memory in my jour-
regarding sex and race in their run for the money. I nal years back, and finally found the opportunity to
believe the ascent of the graphic novel into the field start illustrating it near the beginning of 2009. The
of literary legitimacy lies firmly within the genre of frames had first been constructed as a written script
non-fiction and autobiography. where sequences were determined by a fixed dia-
logue and narrative.
It is through autobiographical representation that
Art Spiegelman won the exalted Pulitzer Prize in Once a script had been produced it was possible to
1992 for his Holocaust narrative Maus (Volume 1). move on to the second stage of the process where
Both volumes of Maus tell the remarkable story of basic layouts of each frame could be planned and
Spiegelman’s parents’ survival of the Nazi regime roughly illustrated from memory. I had a very clear
and became famous for its portrayal of Jews as mice sense of where, when and what was happening at
and Nazis as cats. The work is largely biographical the time of the experience and only needed to run
as the artist anchors the narrative through a series through two or three compositional pencil layouts
of one-on-one interviews with his father Vladek. before illustrating the final pencil rendering in detail.
EDUCATION
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Reference images were used for certain objects dictionary. A cheeky play of “What does this
such as certain types of plants in our garden at the mean?” and “It means that”. I wasn’t used to read-
time, or the inside of my father’s car. ing in this way and neither was my dad. “Read the
sentence again,” he’d say. “I’m not sure Rob. Say it
The final stage involved the inking of the work. I was again?” Coincidentally, My ma was ‘n mooi vrou
fortunate enough to get my hands on some square- largely dealt with the estranged relationship be-
tipped calligraphic pens. What’s great about those tween the author and her father. I’d hoped my fa-
pens is that they provide for a dynamic brush stroke. ther wouldn’t pick up on it, but if my Afrikaans was
You can’t fake a good brush stroke by colouring it in, anything to go by, he’d figured out both the author’s
so it made sense to use a pen that would make ink- story and mine.
ing the work just as fun as pencilling it.
Pierre van den Heuves aligns his definition of the ABOUT ROBERTO MILLAN
reader-author contract with the notion that the au-
thor, through the creation of an autobiographical Roberto graduated with a BA Information Design
text, sets out to make himself the protagonist of a degree from the University of Pretoria and is cur-
narrative, if not combining his roles as a narrator rently completing his final year of MPhil in Visual Arts
and main character. Communication that usually (Illustration) at the University of Stellenbosch. He
occurs between characters in a narrative is ad- also works part-time for the CCIBA (Centre for Comic,
dressed directly to the reader as a result and it’s the Illustrative and Book Arts – www.cciba.sun.ac.za ) as
ambiguity between narrator and protagonist that project assistant and website manager.
encourages a dialogue between the reader and an
autobiographical text.
ABOUT CCIBA
Research also suggests that the reading of comics
requires active participation on the viewers’ part. Founded in 2009, the CCIBA is an interdisciplinary
Where animation and film only require a reader, research, teaching and service institute based in
comics demand a different sort of reader involve- the Department of Visual Arts at the University of
ment. This suggests that comics extends itself be- Stellenbosch. The Centre is involved in the develop-
yond the boundaries of viewing and marks an ac- ment, promotion and teaching of the various di-
tive shift towards reading and interpretation. The mensions of comic art, illustration and book art.
result is that the relationship between the audience
The Centre also aims to extend and consolidate the
and the creator is affected, as well as the rate at work undertaken by a number of parallel and re-
which information is acquired. Autobiographical lated initiatives that have taken place over the last
representation within comics holds a unique dispo- five years: The Comics Brew Festival of International
sition in terms of its potential as a democratic nar-
Comic Art; the TransAtlant-ink exhibition and the
rative art form where participation and viewer in- Young Cartoonist Project; the Stellenbosch University
volvement allow for a level of intimacy that isn’t Department of Visual Arts programme and MPhil in
present in alternate literary modes. Visual Arts (Illustration); the establishment at the
University of Stellenbosch Library of a Special Col-
I’d always struggled with the taal [language] and lection of Comic Art; the Durban Cartoon Project;
regretted not bringing along an English-Afrikaans and the Igubu Comics Project in Cape Town. <
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KATE
MOROSS’
GUIDE TO
FREELANCING
By Sarah Stewart
Kate Moross is a designer and art director who Kate is involved in many multidisciplinary projects.
was initiated into the design world during her BA She is the owner and director of ISOMORPH Records
Graphic Design studies at Camberwell, University who sign bands and release limited edition vinyl
of the Arts in London. It was during her university records, she has a signature clothing range at Top-
shop, has a signature Kate Moross range of products,
years when she was designing band posters for
has opened a temporary pop-up shop with other
clubs that she landed her first major client – a
young designers, regularly designs music videos
Cadbury’s billboard campaign used across Britain.
for the musicians on her label and is now running
This was the start of great things for Kate. She was
her own design firm WE ARE ISO. And she is only
eager to finish her studies and have more time to 23 years old!
dedicate to the work that was flowing in. She has
since designed campaigns and advertorials for In an interview with ED>, wunderkind Kate shared
Nike, Vogue, Virgin Mobile, Pepsi and Diesel. some practical advice on work ethics, business
EDUCATION
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practice and legal issues for students and Interning at a few companies will most
young designers who plan to work as free- likely tell you what you do not want to do
lancers. and this is good to know. Try everything you
think may fulfil you and do this while you
are young. Stay hungry to learn.
PHILOSOPHY
Once you have started freelancing, re-
Kate’s philosophy is centred on the idea search a project and be thoroughly pre-
that design should be inclusive, not ex- pared on every aspect of it. Actively search
clusive and she argues that as a consumer for experienced people in industry and ask
herself, she likes commercial products to their advice. Ask them specific questions
be well designed. When it comes to choos- as these are much easier to answer and
ing your clients, Kate’s advice is to not will be more beneficial to you.
impose your ideas onto a project but in-
stead select work that you believe in.
Be honest when informing a client of the
services you offer. Specify what you can
PRACTICAL ADVICE do and never say you can do something
if you are not confident about doing it.
Take responsibility for your education be-
fore and after your tertiary years. Univer- Be open-minded and read! Kate sites Keith
sity provides a platform for learning where Haring, Johannes Itten, Josef Albers, Sol
you will not be spoon-fed. Take every oppor- Lewitt, Steven Pinker, Malcolm Gladwell,
tunity to add to your body of knowledge Roland Barthes and Susan Sontag as
and develop your skills. Use your time at the scientists, thinkers and writers who
university to grow your portfolio and ex- inspire her the most.
periment with ideas, typefaces, colour
palettes and more.
WORK ETHICS
If you have already begun to take on free-
lance work while studying, continue after Being punctual and developing a good
you have finished your studies. However, work ethic are the two most important
it is wise to work for a corporate company characteristics a freelancer can develop.
for a period of time to learn how the busi- They do not come naturally and have to be
ness works. While working for a company, worked on. Be diligent and work hard.
pay close attention to how business is run
so that you can develop a sound under- Even though you may be a one-man show,
standing. Once you feel confident with your clients will expect you to have the
work operations, minimise your work hours necessary software, to answer the phone,
to a part-time basis and start taking on to have work done on time, to return emails
freelance work. and to always be able to make meetings.
Kate Moross Foil Tee.(far left). TELEPATHE T-shirt (left). Comanechi Gossip Panthers ‘06 tour poster (far left). Cutting Pink with Knives poster (left).
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When accepting a project proposal, talk travel, flexible time and the luxury of be-
to the client, understand fully what his/her ing your own boss.
expectations are, probe them with ques-
tions, then talk to experts, think about Kate has found that the only difference
the proposal, write it down, understand it between working for a big or a small com-
fully and then begin to draw. pany is that their attitudes differ. The
process that she follows when tackling a
project does not differ.
BUSINESS PRACTICE
EDUCATION
Radio (bottom left). T-POST, June 08, Issue 37 (left). with Alex Sushon and Sick of nature flyer series.
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Window doodle for Topshop (top left). The Teenagers T-shirt for Merok (top right). Testcard flyer (bottom left).
Polydron catch photograph (centre right). Sony Walkman advertorial for Vice UK. (bottom right).
201 >
actually spent working on the project. A fixed send them a letter of appointment that will
flat or stipulated fee is when the designer and state who you are as the designer and who the
client agree on the designer doing work for a individual or company is that is employing you.
specified amount of money. Fixed fee is set to The letter is addressed to the individual who
fixed events and covers you for changes that will be responsible for paying your fee. The let-
might be made to the finished work. The de- ter will define what the scope of work, by what
signer must accurately estimate the necessary date it will be completed, how much the work
time and overheads expected for the project. will cost and how much and on what basis the
This can be difficult if the scope of work is not designer will be paid. The letter will be accom-
clearly defined. Define clearly what the project panied by a separate document that dictates
entails i.e. what you the designer is responsible the conditions of engagement or terms of
for. You will find that there will be some jobs agreement. Both parties and a witness must
that you work a lot harder on for the same sign these.
amount of money as an easier job. Kate advises
that graphic designers ask for 50% upfront and Conditions of engagement will include a clause
50% on delivery of work. Know what you need that refers to copyright and would state that all
to earn each month and work hard to double it. design work remains property of the designer
unless the client buys the copyright. The client
has the right to the use of and benefit from au-
LEGAL ISSUES thorised copies of the work. A secondary clause
will state that the payment of the fees must be
Register as self-employed and employ an ac- made 30 days on receipt of invoice. Prime inter-
countant to file your annual tax return. est rates will be charged for any overdue ac-
counts.
Kate began working without pre-agreed con-
tracts and says that while 90% of her clients Kate Moross finds fulfilment in creating visual
have been trustworthy, she did have a bad ex- design that has a conceptual foundation and a
perience, which left her to learn the hard way. considered aesthetic that together successfully
communicate a narrative. Do you love what you
A contract is a safety measure for both the de- do enough to wake up every morning and work
signer and the client, as neither party wants to for yourself? <
be taken advantage of. When an individual or
company accepts your proposal you need to All images courtesy of Kate Moross.
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CAN ARTY-FA
A MASERATI?
You are young, passionate
completed your studies and
famous designer. But nev
finding any job is hard eno
pressure from your family to
not help. So what about
creativity with sound busin
203 >
RTY DRIVE
? By Weyers Marais.
According to Bruce Nussbaum, a former editor at become mainstream during the past decade or so).
Business Week and design thinking advocate, crea- After varsity life speeds up drastically so you have to
tivity is THE core competency today. He says that be open to learn and at the same time stay on track
design can be the bottom line for business. Nuss- with the demands of the industry. Next up is the
baum is not the only expert who holds the view that the design map. Nope, not the job market, the design map.
design skills you have learnt at varsity are in fact a
prime commodity today. Nussbaum also made the statement that “design is
all-encompassing”. This suggests that the design
While still in varsity I decided not to go and look for a industry is large and finding your ideal spot in it
job but rather to establish my own design business. could be a great challenge. I have found a great tool
I had to find a mentor who could help me develop to narrow this search.
different life skills from those I developed at varsity.
For the purpose of establishing design recognition,
During my first consultation with Murry Kilgour, my the European Design Training Incubator (edti) has
business coach, he asked me what my strengths drawn up a comprehensive map of the design in-
were. After extensive research on Marcus Buckingham dustry – all on a single A4. While originally designed
and Donald O. Clifton who wrote the book Now, Dis- to represent the full scope of design and its value to
cover Your Strengths, concluded that every person the business sector, this map can also be helpful to
possesses a collection of strengths strung together designers. Once we become more familiar with our
with unique nuances. Throughout the book they em- strengths we can use the map to find where we
phasise that the world’s paradigm of working with could possibly fit into and play a role in the design
strengths and weaknesses is back to front: The industry. The map is divided into three parts: do-
world says that you should recognise your weak- main, specialities and deliverables. Now it becomes
nesses and do your best to improve them. The authors clear why we have to know our strengths before we
say, though, that we should, in fact, rather focus 90% job hunt, because just as the map illustrates, you
of our time strengthening our strengths and as little don’t go straight from domain into deliverable un-
as possible time on our weaknesses. Just outsource less you know what your specialities are. New
them. They also say that your strengths are aligned knowledge about your strengths and passion can
with your passion and, therefore, working within help you navigate the map to a place where you
your strengths is where you will be happiest. You could be happiest and most productive. With this I
can just look at what you are passionate about to don’t suggest it is any easier to find your place, but
know what you should be focussing on. My first ses- the map from edti certainly eliminates a lot of
sion with the coach taught me that this is a funda- guessing and unnecessary branching out on the
mental point of entry that can make the difference way to doing what you are passionate about.
between chasing a salary and chasing a passion.
By now you are probably saying, “enough with all
Discovering your strengths is incredibly empower- the preparation, I thought it’s time to make some
ing and offers revelations about yourself and your money”! Well, the toughest lesson I learnt after
potential, but this is only the beginning if you want starting my business is that if you do not under-
to be a ‘lifelong learner’ (an industry term which has stand the value that you add you will sell your work
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impact of our design (research and sustainable There are many design management blogs available
practice), and we generate a multitude of options on the Internet and they are all in agreement that
for design solutions through a creative process design has an incredibly valuable role to play in
(ideas and opportunities). business. If businesses perform because of value
added through design, then there is potential
The one area they mention and which is perhaps most growth for the economy at large. The edti was es-
familiar to communication designers, is branding. tablished as a platform for sharing resources and
Branding focuses on the corporate identity and a meeting place for partners in Europe to bench-
entrenchment of the value systems of a business mark learning in different areas of design. The edti
of which just one dimension is the organisation’s understands that design has the potential to boost
logo. Let’s take the brand value of a well-known SA the economy and is therefore investing in the de-
brand like Woolworths. velopment of design education that will produce
future designers who can add value to business.
Woolworths recently appointed Vince Frost, a world- They also understand that for this to happen, de-
renowned Australian designer as their new creative signers need to be able to communicate with the
director. Frost was appointed specifically with the business sector and understand business prac-
task of evolving and overseeing the implementa- tice.
tion of the new Woolworths brand. When comparing
the old and the new Woolworth’s logos, it is immedi- This brings me to my next and final point: How de-
ately evident that simple changes to a logo have the signers relate to business.
power to reposition a brand in the consumer market.
The potential value of design in business is usu-
It is fair to say that a seemingly simple creative appli- ally underestimated. It is time for us as designers
cation can have a disastrous or profitable effect on a to join the business world. I know that Business
business. Comparing the old and new Woolworths Studies is usually not our favourite subject, but it
logos we can recognise the old identity as sophis- is perhaps the most important than you think.
ticated and classic. In keeping with changing times Give it a chance, you might just find it fascinating!
it has evolved into a more modern brand that re-
mains sophisticated. Other well-known brands like Developing the skills to successfully read your tar-
Puma, Adidas and Levi’s can be recognised in an get market, producing top quality products and
instant. Removing their unique identity would be services and strategising your business accord-
a disaster to these brands and business would ingly should be an energetic and passionate ven-
certainly suffer. ture. Shortly after starting my own design busi-
ness just 11 months ago I learnt that I can’t just
Creativity and design are a lot more powerful than wing it with my creativity and people skills. “Crea-
usually recognised. We are talking about the bot- tive, technical and business skills are the vital in-
tom line of business; a successful logo and brand gredients we need for a successful studio. Yes, we
identity will increase the profit margins because do differ from other businesses because of our pri-
their connection with their target market is spot-on. mary skill; creativity. Talent is not always enough
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ASK
I am writing this letter to you with my ruling
pen so please read carefully. In your first year
after graduating from the institution of your
choice, you need to have a New Year’s
resolution. For starters, I would suggest
‘DR
300dpi. Things will appear much clearer that
way.
TRUTH’
are a number of skills and competencies
which you need to consider. According to
Joanina Pastoll, creative director at Cross
Colours, the entry-level expectations of
By Fatima Cassim design graduates in South Africa “is actually
quite high”...
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fairly recent and should demonstrate your expertise are numerous. In keeping with the general view in
in your specific design discipline. It is also advisa- favour of internships, Johan van Wyk reiterates that
ble to choose one or two projects that show versa- doing an “internship is super valuable. Not so much
tility and provide a broader view of your abilities as in a CV requirement, but in the way it impacts on
and interest. Secondly, it is essential for you to the production standard of your portfolio and the
know your strengths and to be able to discuss the contacts you make while doing your internship.”
projects in your portfolio. According to Joanina Pas- Making contacts and networking are valuable in
toll, you must be able to discuss your concepts in a that they can help you with referrals and recom-
clear and succinct manner. Johan van Wyk shares mendations when you are looking for a job.
this sentiment when he says that “someone who is
bright, keen with diverse interests, and who can
communicate who they are in ten minutes, stands
the best chance.” This view clearly substantiates
the emphasis on both presentation skills and com- PROFESSIONAL CONDUCT
munication skills.
Professional conduct is a broad area that comprises
a number of key skills including teamwork, organi-
sation and time management. Working in the indus-
try is different to being a student because gradu-
WORK EXPERIENCE ates will be expected to work in creative teams
rather than by themselves. The professional envi-
Although most graduates would have little, if not
ronment dictates that you put yourself aside and
any, formal work experience, internships are invalu-
adopt a collaborative mentality. A good starting
able as a means of gaining some hands-on experi-
point is to understand the vision and mission of the
ence in an actual work environment. Where possi-
company in a mature and meaningful way.
ble, you should try and secure an internship in an
established design company while you are study-
ing. The choice of company where you intern is im- Good organisation and time management are other
portant and should be selected based upon your competencies that will stand you in good stead as
goals and personal interest in terms of design. The an entry level designer. As previously mentioned,
amount of responsibility and work that an intern is creative skills are not the only requirements needed
assigned depends largely on the individual com- in order to be successful in the design industry. You
pany. In addition, although most companies hire also need to exercise your left brain thinking skills
interns, the companies are busy and can’t give you as well. You will be required to organise and man-
a huge amount of mentoring time. Therefore Joani- age your workload, liaise with clients and meet
na recommends that you should rather spend a deadlines, to name but a few. It’s all about being
relatively long time at a company (like a few weeks professional and having a good work ethic.
during the holidays). This way, students can build a
good relationship with the employees at the com- Good luck, and always remember: designing great
pany and also prove themselves in the work which means being true to your abilities and always push-
they have been tasked with. ing boundaries. <
EDUCATION
EURO RSCG 4847/E
Dear Dr Truth Entry-level design graduates need to possess
technical and conceptual design skills relating to
Oh gouache. Being an entry-level design the design discipline which they have been trained
graduate makes me feel like I’m in first in. Technical design skills comprise of knowledge
year all over again. The stress has set in of the basic elements and principles of design, un-
and I don’t know what to do. I have Hunt- derstanding of media and materials, and a good
ed. I have forced myself to Net#work. I grasp of discipline-related terminology. Graduates
even went as far as visiting Jupiter and also need to be proficient in the relevant software.
other places that Mather. I haven’t had any
success in getting a job in the design in- Equally important to having the necessary techni-
dustry and all I want is for someone to hire cal skills, design graduates should have good
me. I am so confused. Please help. problem solving abilities. You should have the
ability to think critically and conceptually. Al-
Dear Confused Creative though design skills form the basis of building a
career in design, most design professionals be-
lieve that success in this industry is not just about
I am writing this letter to you with my rul-
creative talent.
ing pen so please read carefully. In your
first year after graduating from the institu-
tion of your choice, you need to have a Entry-level graduates in particular need to be
New Year’s resolution. For starters, I would proactive and show some initiative, and in the
suggest 300dpi. Things will appear much end, success depends largely on your attitude and
clearer that way. willingness to work hard.
DESIGNING
THE FUTURE
Can design contribute to social development and
create awareness amongst communities around
social issues? Presently, this is a question of great
concern in South Africa because of the imbalances
brought about by the apartheid system, which
weakened our society for decades.
EDUCATION
214 >
creating a sustainable design solution that could he wishes to tackle, overcome or portray and inte-
be beneficial to all parties involved. grates this consideration into his design. This allows
that important social message to have a voice – so
“The revolution that is needed involves the con- to speak – bringing its message across in an inspir-
sumer, client and government realising that sus- ing manner. “This affects the commercial market,
which in turn influences the bigger manufacturers
tainable development is not only viable but neces-
to become more sustainable,” adds Martin. In so
sary for the future of South Africa,” comments
doing, a small niche product can have a great in-
Mokena Makeka, architect and principal and founder
fluence on the commercial market and the fact that
of Makeka Design Lab. Sustainability in design
it carries a message of a social nature helps a great
plays a major role in contributing to social develop-
deal in creating an awareness of social issues. “I
ment through the implementation of three princi-
started my career at the same time as the birth of our
ples: The economic, the social and the ecological
new democracy. Much of my design work has been
dimensions of design. For a design to be successful
an exploration and expression of our new emerging
all three aspects have to be considered; some in
cultural identity. For example, the Zulu Mama café
more detail than others depending on the relevance chair, which was woven in Khayelitsha as part of my
to the designer’s agenda. However, all three prin- job creation project, the Riempie couch, the Fiela
ciples are completely interrelated and can often feather lights and Songololo sofa were all designed
create problems where there are seemingly none. and created as a direct response to our society’s need
What is evident is that the responsibility of a design- to find a new identity for itself at this pivotal moment
er to be aware of all these principles and their re- in history.” Martin has also launched the New Slant
sulting relationships is of paramount importance. shelving system, which was designed by disabled
craftsmen for NPO Carecraft, “There is a great need
One such designer who is tackling the complexi- to employ the disabled in this country, which is
ties of design principles head on is Cape Town- usually overlooked by most,” concludes Martin.
based Haldane Martin, one of South Africa’s most
successful furniture designers. When Martin works It is evident that design contributes in a substan-
on a new design, he first considers a social issue tial way to social development through the efforts
215 >
of willing individuals, organisations and retailers and 12 high school learners who attend schools that
that have the passion, determination and courage participate in the MTDTD programme, as well as
needed to promote the awareness of social issues exposure and opportunities for participating learners
through the medium of design. in the professional and corporate arenas. Adjudi-
cators of the annual national design competition
Another such initiative is the Making the Difference have noted that year on year competition submissions
Through Design (MTDTD) education programme – one have become a mirror of the social issues South Afri-
of the ways in which Woolworths contributes to up- cans are faced with on a daily basis a desire to rectify
lifting education in South Africa. The programme’s the imbalances the country faces.
goal is to enrich the educational experience and
bring the visual art and design curriculums to life The MTDTD education programme sits firmly as a
for Grades 10, 11 and 12 learners and teachers. pillar within Woolworths’ Good business journey, a
comprehensive five-year plan (launched in 2007).
MTDTD, a corporate social investment initiative, was The plan incorporates a series of challenging tar-
launched in 2006, in association with the Western gets and commitments centred on four key priori-
Cape Education Department, Design Indaba and Sappi. ties: accelerating transformation, driving social
The initiative comprises a 600-page design resource development, enhancing Woolworths’ environ-
manual which serves as a valuable and much needed mental focus and addressing climate change.
teaching tool to support educators to teach design
on a daily basis. The manual is made up of 23 modules There is no doubt that the efforts of all these ded-
divided into four broad categories namely: Com- icated role players in the design arena greatly in-
munication Design, Surface Design, Product Design fluence society as a whole as well as various cul-
and Environmental Design. These categories cover tural spheres. Through perseverance and hard
subjects as diverse as advertising, textiles, industrial work they create a more informed, inspired and
design, animation, jewellery and ceramics, architec- innovative country, allowing for positive growth
ture and theatrical design. Other aspects include an and a sustainable future through design. <
annual competition, which is open to Grade 10, 11
EDUCATION
216 >
PINHOLE PHOTOGRA
217 >
Photograms and pinhole photography developer for one minute, then one minute
AND
though both methods do require a dark- be rinsed for ten minutes in running water
room, photographic chemicals, photo- and then hung up with a plastic peg until
graphic paper and an enlarger, the methods dry.
are easy to execute and one can expect
EDUCATION
218 >
where the hammer hole is positioned, good quality. Once you have developed
pierce a tiny pin hole in the middle of your image in the photographic chem-
the indentation. Cover the hole with a icals (same as discussed for photo-
blob of Prestik® – now you have your grams), your image should appear
‘lens’ and ‘shutter’. crisp, you should achieve white, black
and grey areas and the grey areas
Once your pinhole camera is complete should show a good tonal variety. If the
you are ready to start taking photo- image is too light you need to expose
graphs. You need to load your camera for a longer period of time, if the image
(tin) in the darkroom. This means cut- is too dark you need to expose for less
ting a piece of light sensitive photo- time. Remember that your pinhole
graphic paper slightly smaller than photograph is a negative, so your
half the circumference of the tin and light areas will appear dark and your
placing the paper opposite the pin dark areas will appear light on the
hole on the inside of the tin. Make print. This negative can be turned
sure that the shiny side of the paper into a positive using the contact print
faces the pin hole. You are then ready process.
to start. Remember when choosing
your subject matter get close to your Photograms and pinhole photography
subject as the pin hole usually creates are fabulous teaching tools to demon-
a wide angle. Remove the Prestik® strate basic photographic principles,
that was covering the pinhole and try such as, available light and shutter
and ‘shoot’ with the sun behind you speed (or exposure times), as well as
and position the ‘camera’ on a very demonstrating how a camera works –
stable surface. Depending on the light albeit at a very basic level. These
your exposure times will vary consid- methods can be used to introduce
erably. Be prepared to first test for the photography to learners from Grade
best time for your camera. Generally 7 to Grade 10, as a further more tech-
speaking with a small to medium sized nical study of photography is suitable
tin, in bright sunlight, your exposure to learners in Grades 11 and 12. <
time should be between 10 – 30 sec-
onds. On an overcast day or in a very Inga Forde teaches Visual Art and
shady area your exposure time could Photography for Grades 10-12 at the
vary from 1 minute to 5 minutes. You Frank Joubert Art Centre in Newlands,
could also shoot indoors, but be pre- Cape Town.
pared for longer exposure times.
EDUCATION
220 >
ANIMATIO
OPENS N
YOUNG C
Only ten years ago, the idea of ning formula is that South Africa to sometimes 400 animators per
animation as a career path for a produces generalists – animators project is hard to achieve, simply
young South African was about who have a broad understanding because there are not enough
as fantastical as this imaginative of the technical and creative re- skilled animators out there. Linton
visual art form is in itself. But, quirements within this new and Rensburg, media officer of the Cape
with a boom in animation block- exciting visual environment. Local Film Commission reiterates that:
busters from companies such as animation studios of approximate- “We need to grow our human and
Pixar and Dreamworks, and the ly 30 to 50 people are producing skills capacity to be able to take
likes of Aardman Animations’ work of the same quality as studios on the work that we are being
Oscar winning Wallace and Gromit, of 1 500 people in Los Angeles. The awarded.”
the popularity of animation in all local industry is also effective and
it’s forms has grown considerably, highly productive. Already, this It was for this very reason that
with a great demand for skilled home-grown industry has a number the Cape Film Commission, in
animators to enter the workplace. of feature length, uniquely South public-private partnership with
And with South Africa gaining African, projects set to hit both the Service SETA and the False Bay
ground as a top film destination, local and international circuits College, launched the Animation
it has now also starting gaining within the next year or two, some Academy at the Good Hope
ground as a competitive anima- already having been planned for Campus in Khayelitsha.
tion industry that is looking to stereoscopic (or 3D) theatrical
tackle big international projects. release. Officially launched in March 2010,
the Animation Academy grew out
The Western Cape has developed One of the biggest challenges of the Animation Industry Devel-
a world-class animation industry facing the industry, however, is opment Initiative (AIDI) which was
over the past decade and local capacity. Capacity to contend launched in 2009. The first phase
studios and animators are sought with the international projects of recruitment started with a
after across the world. The win- that employ anything from 100 number of workshops introducing
221 >
ON ACADEMY
NEW DOORS FOR
CREATIVES
potential candidates to career paths animation studios in the world, to young people wanting to work
in animation, as well as allowing receiving eight Oscar® nomina- in the animation industry. He says:
students to submit their personal tions and winning four. “When I was briefed about the Cape
work for assessment. The Acad- Film Commission’s plans for an Ani-
emy is the first institution of its For over 30 years, Sproxton has mation Academy in Khayelitsha,
kind specifically located to allow overseen the development of the it interested me enormously. I’m
access to previously disadvantaged company from a two-man part- very keen to see where we can
communities in South Africa. All nership to one of the pre-eminent help and hopefully this is the be-
course work and learning out- animation houses in the industry. ginning of a long term relationship
comes have been developed in Sproxton and fellow founder Peter with South Africa and the Cape
collaboration with leading edu- Lord were awarded CBE’s (Com- Film Commission.”
cation and animation experts in mander of the British Empire, a
accordance with world-class title ranking higher than knight- The Academy currently accepts
standards. hood!) in 2006 in the Queen Eliz- 80 learners per year. Anyone in-
abeth’s Birthday Honours. terested in enrolling can contact
The Academy has already caught the Animation Academy’s Head,
the attention of international As well as feature films and TV Gary Kaggelhoffer, at the False
players. David Sproxton, CEO of productions, Aardman produces Bay College’s Good Hope Campus
Aardman Animations in the UK, approximately 75 television directly, for enrollment criteria
officially opened the Academy in commercials each year, using a on 021 361 3430. <
Kayelitsha, being humbled by the wide variety of animation styles,
high standard of work already from stop frame, productions in
shown by some of the candidates CGI, Flash and mixed media.
and of the local industry in gen- Image from Wallace & Gromit
eral. Aardman Animations is rec- Aardman has always been keen Grand Adventures. © Aardman
ognised as one of the leading to provide support and training Animations Ltd.
EDUCATION
222 >
WANT TO STUDY
DESIGN?
If it’s medicine, it’s science. If it’s business, then it’s
accounting. And what if it’s design?
with people, not only verbally but visually as well, It is also advised that any student does their own
is a common expectation at tertiary level and there research into a possible career choices before mak-
is no high school subject that focuses predominantly ing any decisions. Not only is there is a variety of
on this skill alone. However, unbeknownst to the information available but students can also visit
student, he or she gains many varied skills from be- many of the open days at tertiary design institution
ing at high school even if, at the time, it feels like a
to find out more about the different design disci-
waste of time. plines. Open days are the best times to ask ques-
tions to the relevant lecturers as well as the stu-
Not only do the design curriculum and the expecta- dents, who will give you the best perspective on the
tions set at school need to be standardised across current course they are studying.
the country, but teaching basic design principles
also needs to be compulsory. A solid set of skills All the skills and practices you learn in high school
like technical and observational drawing skills, an will be refined and nurtured in your first year, where
understanding and ability to work comfortably with you will gain thinking and coping tools that will cer-
a variety of media in a 2D and 3D format, a solid tainly benefit you in the long run.
understanding of colour, texture, shape and line
and the ability to strategise, solve problems and Acceptance into most tertiary design institutions is
develop conceptual skills are just a few necessities based on a section of student’s portfolio admis-
that should automatically develop while taking de- sions and their ability to display creative problem
sign as a school subject. However, at the moment, solving skills, among others, that can be honed and
it all depends on the varying expertise that a teach- harnessed into strengths within a design career.
er provides and the resources available at schools. Some institutions will even require an entrance test
Tertiary institutions do not expect an advanced or and an interview to make sure a candidate is able
specialised design student to walk through their to meet certain skill levels.
doors but they do expect a student to have mas-
tered the basics, so that he or she may proceed to Good general knowledge is a quality that will stand
a higher level of education with confidence. in your favour, along with perseverance, dedication,
and of course the critical ‘P’ word – passion.
Design basics are a part of the foundation year in
any design course and the understanding and exe- If it’s medicine, it’s science. If it’s business, then it’s
cution thereof cannot be emphasised enough. Al- accounting. If it’s design, then it skills – and there’s
though tertiary still has the enormous task of lev- no limit to what can be learnt and what skills can be
eling the playing fields amongst first year students, gained. <
the basics of design education have not yet been
standardised at schools and the student’s level of
For more information on design careers and institu-
knowledge largely depends on the expertise,
tions that offer design courses visit:
knowledge and the teacher’s ability to interpret the
design curriculum. This reflects a great deal on how > www.designmagazine.co.za
a student approaches design skills. For that rea-
son, high schools and some tertiary institutions > SABS Design Institute
work very closely together to know what they ex-
pect from each other. >Making the Difference Through Design
EDUCATION