Issue 50 by Designtimes

DESIGNTIMES south africa’s creative resource

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/06 DESIGN

THOMAS INGENLATH Thomas Ingenlath, Senior Vice President Design at Volvo Car Group, has been one of the bestkept secrets in the automotive industry for over a year. Until now.

/08 DESIGN

2013 Issue No.50 ZAR 15 EUR €2, UK £2, US $3

APRIL MACIBORKA April Maciborka is a photographer who loves to travel and photograph people. Her travel photography is particularly inspiring.

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C O L L E C T I O N

season 2

ANNIVERSARY

ISSUE

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NEWS

Leica camera by Jony Ive Well done! Good job guys! We love you Designtimes! These are just some of the comments we thought we might receive as we publish our 50th issue. Well there’s still time so please Tweet, Facebook or just email us all your fan mail! For our part we would like to thank all of our readers, subscribers, supporters, staff and especially our advertisers. You may not realise it, but your continued support is what makes Designtimes South Africa’s creative resource of choice. But enough about us. To make our 50th issue special we’ve dubbed it the ‘Sexy’ issue. There is sexy cover art by Italian artist and designer Alberto Seveso. We take a look at the very sexy Volvo Concept Coupe designed by super-secret Senior VP of Design Thomas Ingenlath, we also talk to him about the new design direction for Volvo but more about that on page twelve. Self-proclaimed wanderlust, April Maciborka shares her passion for travel photography on page 14. Indonesian Chef turned designer, Bobby Haiqalsyah discusses his techniques and creative process for typographic illustration. And we round off the issue with our usual CS6 tutorials. Enjoy. Mark Rosenberg

miCoach Smart Run

After the recent launch of Nike’s Fitbit and Fuelband SE, Adidas has now released its own Android based activity monitoring smartwatch called the miCoach Smart Run. The miCoach Smart Run has a Mio optical heart rate sensor and a built in GPS to provide pin point activity monitoring and customized fitness coaching for users. miCoach determines your heart rate from your pulse measured at your wrist and uses the activity input to then provide personalized exercise and training programs so that you can meet your fitness goals. This fancy smartwatch also has a media player that can be used to play music. The media player can be coupled via Bluetooth to wireless headphones so that you can listen to your favourite music while exercising. miCoach Smart Run, with WiFi and accelerometer, is also capable of providing audio training to motivate you to exercise efficiently. The smartwatch is fairly water resistant, good enough to resist sweat or light showers, but don’t go swimming. It also has a ‘marathon mode’ to distribute the fitness tracking features over an entire marathon. With a battery life of 8 hours the watch is set to retail at around ZAR4000 which makes it nearly double the price of Nike’s Fuelband.

Leica’s Digital Rangefinder Camera which was designed by Jony Ive, Senior Vice President of Design at Apple and Marc Newson is set to join more than 40 Rare and Exceptional Objects in the RED Auction at Sotheby’s New York. Based on the Leica M, the Digital Rangefinder body and lens has been machined from a custom engineered alloy. The traditional leather waist, which some say is synonymous with Leica, has been replaced with a laser machined aluminium body. Delivering a supposedly ‘uncompromised photography experience’, the camera features a full-format CMOS sensor, high performance processor and new Leica APO-Summicron M 50mm f/2 ASPH lens. Jony Ive said, “Leica represents the confluence of precision engineering, worldclass lens technology and design principles which elevate both function and form. Designing this very special camera for the RED Auction has been a privilege for myself and Marc, and its sale on November 23rd, estimated to sell for $500000 to $750000, will generate funds to the fight the battle on AIDS. The winning bidder will own a piece of exquisite imaging history. The attention to each and every detail of this camera, from its outer shell to the magnificent optics, will delight a collector who appreciates the absolute pinnacle of craftsmanship”. Dr. Andreas Kaufman, Chairman of Leica, said “We loved the collaboration with Jony and Marc... as the only one ever to be produced, and boasting their unrivalled aesthetic, this Leica camera will create its own historic category when it goes under the hammer.” www.sothebys.com/red

Mac Pro

Apple has taken their next industry defining move by releasing the new Mac Pro. The weird looking desktop machine is designed around an innovative unified thermal core and features the latest Intel Xeon processors with up to 12 cores, dual workstation-class GPUs, PCIe-based flash storage and ultra-fast ECC memory. The new Mac Pro starts at $3000 and will be available in December. The Mac Pro is just 9.9-inches tall and running on Turbo Boost speeds up to 3.9 GHz with two workstation-class AMD FirePro GPUs providing up to 12GB of video memory (8 times the graphics performance of the previous generation GPUs) with 3GB of VRAM each, 16GB of memory, and 256GB of PCIe-based flash storage starting at $4000. This kind of performance is a digital artist’s dream,” said Bill Collis, CEO of The Foundry.

Editorial

Contributors

Eva Csernyanszky, Daine Mawer editors illustration by Run Rabbit Run

iPad Air

Cover

Alberto Sevesso burdu976.com Fotolia tenbyfotolia.com

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The Ostrich Pillow offers a micro environment in which to take a warm and comfortable power nap at ease. It is neither a pillow, nor cushion, bed or garment, but a bit of each all at the same time. It’s soothing cave-like interior is designed to shelter and isolate both your head and hands, making it great for a power nap. You can use the Ostrich Pillow at your desk, on a bench, on the train or were ever you are (not in the shower though). The Ostrich Pillow is designed by Kawamura-Ganjavian and brought to life by Studio Banana Things. Key Portilla-Kawamura and Ali Ganjavian met in London in the late 1990’s while they were both studying architecture. Their design studio, Studio KG, is currently based in Madrid and Lausanne with outposts in Brussels, London and Paris. So don’t stick your head in the sand on this one and please don’t panic when you begin to see these things all over as tired antisocial people take cat naps in public. Please report any kicking or stone swollowing to authorities.

Anti-dumping duty on paper

Mark Rosenberg mark@designtimes.co.za Roxy Rosenberg roxy@designtimes.co.za Ryan Ali ryan@designtimes.co.za Steven Rosenberg steve@designtimes.co.za Kerrythe Mahaffey kerrythe@designtimes.co.za Zachariah King zac@designtimes.co.za

Deidre Rosenberg, Ryan Coetzee

Ostrich pillow

Tokyo Olympic stadium

No it’s not a space ship which has landed in Tokyo. Rather it is the stadium designed by Zaha Hadid which is set to be the centrepiece of the 2020 Tokyo Olympics. However the stadium is now set to be downsized following criticism by a group of Japanese architects including Fumihiko Maki, Toyo Ito, Sou Fujimoto and Kengo Kuma because of its scale and cost. Zaha Hadid’s competition-winning design for the 80000 seat stadium was approved by the Japanese government just six months ago, but sports minister Hakubun Shimomura has since backtracked on the decision, telling parliament that that 300 billion yen (ZAR28 Billion) has been described as “too massive a budget” for the construction. The

stadium is set to host both the opening and closing ceremonies for the 2020 games, as well as athletics, football and rugby events throughout. Fujimoto had voiced his objections to the size, saying on Twitter “We are NOT against Zaha. We just think the basic requirement of the competition was too big for the surroundings”. Zaha Hadid won the design competition in November 2012 and beat 10 other finalists. The judging panel included Tadao Ando, who commented: “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world.”. It seems that they wish to tell the world that they could have built a space ship but rather spent their money on a stadium.

We have to take our hats off to Apple who are once again convincing consumers that their new iPad Air is anything other than a repackage of every other iPad out there. To be fair they have made a few almost unnoticable changes such as making it 20% thinner and 28% lighter than the last iPad which is as heavy as a baby squirrel. Apple have also somehow been able to harness the power of engineering and technology to wait for it... narrow bezel the borders of the iPad. “The new iPad Air is another big leap ahead. It is so thin, light and powerful, once you hold one in your hand you will understand what a tremendous advancement this is,” said Philip Schiller, Apple’s senior vice president of Worldwide Marketing. It is clear that Mr Schiller has very weak arms, as the previous iPad felt fine to us. A little exercise never hurt Philip. They are also proud that they have managed to drag the iPad out of the operation system gutter into the wonderful world of iOS 7 which if we are not mistaken runs on any previous iPad if you update the software.

On Friday 27th September 2013 it was announced by SARS in the Government Gazette that provisional payment in relation to anti-dumping duty is imposed on coated papers imported under the tariff heading of 48.10. from China and The Republic of Korea. Essentially what that has done is impose a duty of 14.14% on all coated paper imported from China, and 17.25% from Korea, excluding that manufactured by Hansol Paper and Artone Paper. The duties are implemented with immediate effect and will run for the provisional period to 14th March 2014, by which time a final determination on this issue going forward will be made by ITAC. “We are particularly pleased with this outcome which has vindicated Hansol’s reputation as a responsible, reliable and consistent supplier of a quality coated product to the South African market. Hi-Q Titan Plus is, and has been the leading coated paper product in this market for a number of years, the pricing for which, given the exceptional quality, has been at a fair value level, that this announcement has supported” commented David James, Marketing and Purchasing Director at Antalis. “We were steadfast in our belief that Hi-Q Titan Plus was not being sold in South Africa at a price level lower than the Hansol domestic price in Korea, and this confirms that.” Antalis South Africa is the sole stockist and distributor of the Hansol coated paper, Hi-Q Titan Plus in South Africa. www.antalis.co.za

22 AN 92 TO C N

Imagination running wild...

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PANTONE® and other Pantone trademarks are the property of Pantone LLC. PANTONE Colors may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. Pantone LLC is a wholly owned subsidiary of X-Rite, Incorporated. © Pantone LLC, 2013. All rights reserved.

DESIGN

ALBERTO SEVESO

he 2nd Season of the TEN Collection, which gathers a prestigious array of digital artists from around the word, is coming to an end in just a few months. For October, Fotolia presented its second last artist, Italian graphic designer Alberto Seveso and his special work, ‘Portrait of a perfect stranger’. Alberto Seveso is a self-taught artist. After having studied and experimented with the art of cooking in cooking school, he started to drift towards art, and started developing his art skills in the 90’s, by combining two of his passions : digital art and photography, uniting the real and the digital world, which owned him fame and acknowledgement from his peers. Since then, this complete artist has created himself a very personal graphic world revolving around the human body. He uses and suggests the sensuality of shapes, by cutting pictures of faces and bodies to mix them with vector patterns. This deconstructed rendering contributed to the emerging of a full graphic trend based on “dispersion”, a trend he can be considered the leader of. In working for the TEN Collection, Alberto Seveso remained true to his art and style. The Italian artist first chose a bust portrait of a beautiful woman from Fotolia’s collection, in order ‘to emphasize the depth’, and watercolor textures ‘to keep a natural tone’, mixed with vector shapes. He blends a variety of techniques, which give this work smoothness, sensuality and a certain melancholy. The watcher feels spellbound, unable to take his/her eyes away from this ‘perfect stranger’ and the mosaic of elements and colors composing her. To achieve this result, the Italian artist doesn’t leave anything to chance. “Technique isn’t the most important. The key is to place your elements right when you’re composing the image, and to focus particularly on the eyes and mouth areas, which are the cradles of feelings.” Texture, curves, shapes, light, etc. Everything is harmoniously thought through for a natural finish. “Once the different parts of my work are assembled, I focus on shadow and light. I don’t like colour saturation, so I try to preserve pure shades. For the hair, I use a personal technique: the Wireframe shapes and their distorted result, to convey a natural movement.” Alberto Seveso’s work is a fascinating and enchanting whole, which is open to the watcher’s interpretation. “Everyone should be free to see what they want to see in what I do, just like when they’re looking for shapes in the clouds,” concludes the artist. Two videos were also created about the artist. One, which presents his personal inspiration, influences and daily life. The second one, in which he shares his artistic techniques and step-bystep creation process are available online. www.tenbyfotolia.com

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DESIGN

CAROLINE GROHS

llustrator and designer Caroline Grohs was born in Düsseldorf, Germany. She grew up in a small town near Düsseldorf where her parents still live today. At the age of 19, she began her studies in Düsseldorf but a year later she moved out of her parents’ home and spent a year studying in Hamburg. “I love [Hamburg] and hope to get back to it one day” says Caroline. She currently lives and works back in Düsseldorf. Are you self-taught or did you receive training? If so where? My mother is a graphic designer, so I was introduced to graphic design, art and such things a long time ago. You could say I follow in her footsteps. After school I studied communication and graphic design for 3,5 years at the Institute of Design in Düsseldorf and then Hamburg. It was a great time and I learned a lot about this industry. How would you explain to a five year old what it is that you do? Oh, that’s an interesting question. Maybe something like, my design helps to simplify complicated things in a beautiful and understandable way. Do you work for yourself or others? Till now, I have worked as a freelancer for a few small companies. But I’ll hope to get a job at an agency next year to gain even more experience. Who are some of the clients you currently create work for? I create some work for my hometown city, Düsseldorf, a courier company in Cologne, a school of art and design also in Cologne, for a social welfare organisation in Duisburg and a few others as well. Tell us about how the Motion Theater project came about? Well, I had to choose a topic and to create a special design for my final exams in university. My favorite subjects and priorities were Corporate Design, Editorial and Illustration. After doing a lot of investigation, I decided to create a corporate design for a ballet/theater. I named it Motion Theater. I’ve chosen that topic because I’m fascinating by ballet dancers and their special way of movement

and expressing many different emotions in such a beautiful way. Tell us about your design process on the Motion Theater project? After defining the brief for myself, I searched for inspiring photos and was fascinated by a photos from John Davis and other similar photographers. Their photos of dancers were just focused on the dancer with a clear background. I loved them. They were perfect to show how my concept should work. Then I tried to create a logo for the Motion Theater. A symbol combining the features of this theater - especially the focus on the main dancer - and the movement of dance. I drew many sketches and finally created this kind of “screening”, which has been adapted in different ways to represent the different figures and moves. The logo resulted from these sketches. The posters intertwine the dancers movements and their connections to the theater, so that it appears to be “in motion” at all times. The “floating” typography also expresses dance as movement in space. I love this kind of typography because it is a strong and clear statement, especially for this modern part of my theater. You received a red dot award for this project, how did that happen? I had the chance to get a little financial support from my university. They decided to choose four students and their projects for participation. So I seized the chance and applied. I was very happy and proud when I found out that I was one of the winners. How do you stay inspired and creative? With books, films, magazines and all sorts of other things…I own a big box of beautiful and inspiring things I collect. Always keep your eyes open. What makes you a good designer? I think I am able to create design which can be understood by everyone – no matter if they are a designer or not. I attach a certain value to the concepts and quality of design and (unfortunately) maybe also because I am a perfectionist. I feel that it is a combination of these things which have made me successful. www.behance.net/carolinegrohs

TYPOGRAPHY

BOBBY HAIQALSYAH

obby Haiqalsyah is a freelance designer and illustrator based in Melbourne, Australia. Bobby was born in Jakarta, Indonesia but moved to Melbourne around the age of 15, he attended high school and then later went on to Swinburne University to study Communication Design. You were a chef before, why the change? I worked in a restaurant while I was studying, at first as a waiter. Then one of the cooks went on leave I stepped in and worked my way into the kitchen. I then worked as a chef in various places during my uni days. Before I knew it I had worked my way up the kitchen and I became head chef. Upon reaching the pinnacle of a career that I wasn’t formally educated in I began to wonder about the career that I was actually educated in. I gave in my resignation and started to look for work as a designer. What got you interested in illustration? I have always been inspired by the comic books from Japan and America. Through this love of comics I became interested in graphic design. I also came across Scott McCloud’s book ‘Understanding Comic Books’ which had a passage that left a mark on me. Scott was describing different ways of image making from realism, cartoon, and abstract; but there was another means of representation which was words. Where meaning is retained and visual likeness irrelevant, and thus words is the ultimate form of abstraction. That passage stuck with me and it wasn’t until I’ve left the kitchen and restarted my career as a designer that I began exploring illustration. To unwind I began to do illustrative explorations and created realistic vector illustration just to master the tools, but then I started to incorporate type as image. At first it was for friends and relatives, which eventually led to commissions. So with more attention and demand for my typographic work I shifted my focus to type and lettering. When you switched careers was it easy? Did you just walk into a job? Unfortunately it was the same time that the global financial crisis hit. So I decided to move to Indonesia because it seemed that there were more opportunities there. I got myself a position at the biggest media company there as their in-house designer. After two and a half years of working there and at another advertising agency I moved back to Australia where I have been working as a freelancer ever since. What was your first illustration project?

The first commission that I ever got was through friends and relatives when I was exploring typographic outcomes with names. It was something that really touched people’s sense of identity and vanity so there was always a demand. How would you describe your illustration style? Who or what inspires you? My style is rooted on the history of typography and calligraphy. Growing up in Indonesia I was surrounded by both the elaborate traditional art and also islamic art. I was also attracted to the work of Luca Ionescu of Like Minded Studio which was as elaborate. Later on I noticed that Luca’s work was influenced by the likes of Herb Lubalin, Tom Carnase, and Tony DiSpigna. So I kept digging into the history and found the Zaner School and Spencerian penmanship have a flair that I relate to. Talk us through the process of creating an illustration or typography piece? I have found that you can achieve more with a pencil and paper before getting anywhere near a computer. I go through a brief and rewrite it by hand in my own words, grabbing keywords or elements that serves as the cornerstone of the piece, and then I go into my visual research. After that I like to take a break or make a cup of coffee or take a walk, anything to let my brain relax as it regurgitates all the visual information. Then I start sketching things out in blue pencil, retrace it in black pencil. I use blue pencil lead because it allows me to explore as wild as I need to and knock it out later in photoshop. The resulting sketch is the foundation for the work on illustrator. I will sometimes print out the vector and sketch out the next stage of the design, this layering would go on until I am happy with the result. Would you say your work is equally divided into commissioned work by clients and personal works for selling? I have only recently started to sell my work, but in the past I would try to have a 3 to 1 ratio between client work and personal/ passion projects. What projects stand out for you and why? The Dead Words project with Karen To was probably the recent highlight for me. In particular the ‘Historiaster’ piece which was the first time I cracked the historical typography look, the amount of research that I got from developing that piece still provide me with inspiration to this day. It was a passion project that was grueling but I am very happy with the result. www.bobsta14.com

You can achieve more with a pencil and paper before getting anywhere near a computer.

Thomas Ingenlath

The Volvo Concept Coupé is the first expressive interpretation of a new brand direction where design plays an increasingly important part in Volvo Cars exciting future. The introduction of the Volvo V40 in 2012 was the first step in this direction. The upcoming introduction of the new scalable architecture enables the company to accelerate the transformation. The Volvo Concept Coupé is the first of a series of three concept cars that demonstrate the design possibilities created by the new Scalable Platform Architecture. They pave the way for the introduction of the all-new Volvo XC90 in 2014. Behind this new design direction and the Concept Coupé is the work of Thomas Ingenlath, Senior Vice President Design at Volvo Car Group, he has been one of the best-kept secrets in the automotive industry for over a year. Until now. “Volvo Cars was already transforming rapidly when I joined the company in 2012. My team and I have focused on creating a new interpretation of the design language. It will help take this great brand in the desired direction,”

says Thomas Ingenlath. This is how Thomas Ingenlath expresses the new design direction for Volvo Cars. Why Volvo Cars? Volvo is a perfect match for me. I have never been an instant crowd-pleaser who likes fast and loud designs. I am thoughtful. I like to explore the intellectual elements below the surface. If you do that right, the aesthetics will come. What’s your view of Scandinavian Design? Well since Volvo Cars is the only remaining automotive brand in Sweden, we are by definition the only carmaker that can create original Scandinavian Design. The challenge is to create a modern, desirable interpretation. To me, Scandinavian Design according to Volvo is firmly rooted in the values of the Swedish society and the way of life enabled by this unique environment. Our approach goes beyond just bringing Scandinavian design items and signatures into our cars. Our job is to understand the spirit and the confidence that make Scandinavian design so special. Then we must translate it into car design.” Explain the new design direction. In my opinion, Volvo design has always had a certain authority. We aim to extend

this calm, intelligent and strong side of our brand with a greater potency, modernity and expressiveness. The Volvo Concept Coupé clearly expresses this direction. Outdoor activities are an important part of the Swedish lifestyle. We will continue to refine Volvo’s strong connection to these activities with more emphasis on modernity. It’s about making functionality an emotional experience. Just like an exclusive goose down jacket, our cars will have a true feeling of sophistication with an underlying strength and capability. Creativity is thriving in the Swedish society. This includes design and technology as well as the fashion, music and art scene. We use this as an inspiration for creating a new kind of attainable luxury. What opportunities does the new Scalable Platform Architecture create for the designers? The new architecture enables us to create the great proportions that are important to achieve a premium look. The dash to axle ratio is more generous than any other architecture I have worked with before. This gives us the opportunity to be up there among the top premium

brands when it comes to proportions. The hip point is another example of the new opportunities. It is low enough to create a low profile on a sleek sedan without compromising headroom. Which are the most prominent new design signatures? Every strong brand needs a set of visual keys that makes it unique. Future Volvos will be characterised by the distinctive iron mark in the floating grille, flanked by the T-shaped DRL lights. The larger bonnet with its new topography, the beltline spanning an elegant bow along the whole car and the sharpened shoulder connecting with the new rear light are other important design signatures. They all contribute to the confident stance. How about the interiors? We will continue to build on the premium feel in the new Volvo V40. The new user interface with a large, portrait touchscreen in the centre console allows us to remove almost all buttons. This simplicity is perfectly in tune with our Scandinavian design heritage. It opens up clean surfaces that give us the opportunity to create a luxurious interior experience with new forms.

Thomas Ingenlath, Senior Vice President Design at Volvo Car Group, has been one of the best-kept secrets in the automotive industry for over a year. Until now.

AUTOMOTIVE DESIGN

Future Volvos will be characterised by the distinctive iron mark in the floating grille, flanked by the T-shaped DRL lights.

TRAVEL PHOTOGRAPHY

APRIL MACIBORKA

pril Maciborka is a woman whose photographic passions motivate her life choices. She adores photographing people, freezing their emotion into one beautiful memory. April was born in Toronto and raised in a neighboring suburb, Mississauga. She graduated from Sheridan College with a Photography Diploma. April has always had a desire to travel and had a unique opportunity to fly to anywhere in the world for free. She decided to apply for jobs in exotic countries and got one in Osaka, Japan. She taught English in Japan for a year while building up an impressive portfolio of photography. For the next four years she travelled through Asia and Africa using photography as a means of selfexpression. “It allowed me to work through my assumptions, to reveal truths, facts and secrets of the world. Whether I was simply documenting what I saw, or translating an idea, I used photography to bridge myself with the differences of the world.” How do you make money from your photography? My main bread and butter is shooting advertising, editorial, events and weddings. I have two businesses and two brands and keep them separate for the most part. I love shooting something different everyday. When I was a kid, my parents entertained me on a daily basis. They developed in me the inability to sit still or be complacent. The way I travel and run my business is the same. I hate monotony. I try to make everyday with my work different so that I do not fall into the conveyor belt theme in my work. After all, I am a photographer. What are your travel photography challenges? Are most of your shots candid or do you get an opportunity and time to plan or set the shot up? I get a chance to do both. For the most part my documentary work is candid and I choose the angle I shoot depending on the existing light. Sometimes my work is a series that I have studied or get more involved in such as the Masaai Series. I lived with a Masaai family for a week and I followed them around shooting documentary style. I set up portraits using natural light. It really depends how much time I have and how much of a relationship I have with the person. One of my most famous shots “Bundi Man” was a combination of both set-up and documentary. I saw this interesting man with a bright orange turban on. He had a long mustache and held a steaming cup of chai as the sun set upon him. I was finished shooting for the day and while walking past this scene stopped me in my tracks. He was so interesting, his demeanor, the light, the quietness I felt when I saw him. I ran over and asked him if I could take his photo. He didn’t speak English but understood what I was wanting. He handed his friend the chai and licked his fingers to quaff his moustache. He then gave me this distinctly solid gaze. I took 3 frames. The first shot is the one I used. His gaze is so alluring. He then laughed and continued drinking his chai. I wish I could return to him with his portrait. I wonder if he would remember that moment as fondly as I do. Do you have an Instagram account? I don’t use it like I do my camera. It’s more of my snaps in my personal life rather than awesome imagery. That is reserved for my camera! But you can follow me on aprildevan. Read the full interview online and get some more insight and travel photography tips at www.designtimes.co.za www.aprilmaciborka.com

DESIGN

BMW AND THE ART OF REGISTERED DESIGNS

I The creative use of paper award

Antalis South Africa were proud and official partners of The 35th Annual Loeries. In addition to supplying all the paper, Antalis also sponsored a Special Award ‘The Creative Use of Paper Award’. At the Loeries awards event, held on Saturday 21 September 2013 at the CTICC, Caroline Coughlan Marketing Manager announced and presented the winner of the gold Loerie which went to Young and Rubicam Cape Town! On Friday 27 September Antalis, visited Y&R in CT for a ‘congratulations’ function. The afternoon was a celebration

and printed with spot colour vinyl inks to give the foil effect. It has an overall UV varnish. The box is embossed over the full area before being creased and die cut. The Printers who crafted the piece were Printafoil and Trident Press. Y&R Cape Town took the organic and exotic qualities of a pineapple and distilled them down to a single geometric pattern. This captures the minimalist, pure and perfect nature of SKYY Vodka as well as the natural beauty and flavour of a pineapple. To achieve this, they used symmetrical embossing techniques and a colour palette consisting of SKYY’s brand blue infused with a pineappleinspired gold that creates a shimmering effect when light shines and reflects off its many jewel-like facets, accentuating the brand’s premium credentials. “I’d like to thank Antalis for sponsoring this award. Antalis has done a brilliant job of promoting themselves by choosing to sponsor this award. The Loeries is a high accolade for South African creativity and design. Sponsorship of the Loeries Creative Use of Paper is an excellent example of their on-going encouragement of our industry. The Munken Journal we received today is yet another outstanding example of Antalis commitment to excellence” commented Justin Joshua, Creative Group Head at Y&R. “We were thrilled to be part of this year’s Loeries again and bear witness to the creative excellence. Congratulations to everyone who participated and, of course, to Y&R as winners of the Antalis Creative Use of Paper Award,” concluded Caroline. www.antalis.co.za

Congrats to Y&R winners of the Antalis Creative Use of Paper Award of creativity and the role that paper plays! Caroline Coughlan and Mandi Monnery Paper Consultant were joined by a crowd of 20 creatives to celebrate with the team. The prize awarded by Antalis were two Apple iPads 32G-WIFI-4G handed to a very excited Art Director Rowan Foxcroft and copywriter Graham Krige of Y&R. Graham, (the 2D gentleman was unable to be with us as he was taking part in the Fish Marathon that weekend.) “The Antalis Creative Use of Paper Award is great because it highlights the fact that paper can be put to use in its own unique way. With all the different media available today it is important that we have a good understanding of how to make the best use of each medium” said Caroline Coughlan Marketing Manager Antalis when congratulating the team on the excellence of their design. Y&R prize winning design comprised of a packaging piece, printed on a 460 micron SBS board. It was silver laminated one side

n a recent matter heard before the Gauteng North High Court (Bayerische Motoren Werke AG v Grandmark International) BMW AG took on a spare parts manufacturer, Grandmark International, for alleged infringement of their registered designs. The registered designs related to various parts of a motor vehicle, for example a bonnet, which BMW AG alleged were being infringed by Grandmark. However, the court found, inter alia, that a part such as a bonnet is a purely functional article, and as such cannot be filed as an aesthetic design. This judgment sparked debate from various corners, as it has a profound impact on original motor manufactures and replacement part manufactures alike. A registered design is a form of intellectual property that is generally not well known, and even less clearly understood. Essentially, the registered design is the lesser known step-brother of its more prominent siblings - patents, trademarks and copyrights – and is the mechanism by which the outward appearance of an article of manufacture is protected. It may therefore be useful to sketch the backdrop against which the decision should be interpreted. Keeping with the general subject matter at hand, but steering well clear of the legal jargon, an interesting departure point is to consider the cult-novel written by Robert Pirsig, “Zen and the art of motorcycle maintenance”. In his book, Pirsig differentiates between two kinds of thinkers – classical thinkers and romantic thinkers. In essence he describes how differently programmed people would perceive the same object – in this case a motorcycle. First we have the classical thinkers. They see a motorcycle, and they see a system of concepts worked out in steel. To them it all boils down to a blueprint of systems, functions and processes, with the appearance of the motorcycle being but a necessary derivative of the collective functionality. This is then typically the domain of patents – the part of IP that focuses on protecting an underlying idea in its broadest form, irrespective of the specific appearance thereof. Next Pirsig proceeds to examine the romantic thinkers. A romantic thinker perceives the world in terms of its appearance - it is not bound by the laws of physics, but rather by aesthetic conscience. The romantic thinker is much more concerned about the emotive reaction triggered by the motorcycle. He would focus on the appearance, while the internal workings of the engine and the interaction of parts will remain of little concern. Enter the registered design, and more particularly the aesthetic design – the appearance of an article insofar as it appeals to the eye, and is judged solely by the eye.

One would be inclined to conclude that the difference between patents and designs can therefore crisply be formulated – patents protect underlying concepts whereas registered designs protect appearance. Although true, this is however an oversimplification, as with all things in life – nothing is absolute. Sometimes an article may indeed have a particular appearance, but the appearance is necessitated by the function that the article is to perform - those rare cases where form truly and absolutely follows function. This may, for example, be the case in the design of a gear having teeth that are designed to have a very particular profile in order to mesh with a mating gear, and to exert a force at an exact point of rotation. The shape, and hence the appearance, is still the predominant feature, but now the shape is necessitated by the function that the gear is to perform. This is then the territory of the functional design – a further type of registered design used to protect the design applied to an article

original vehicle may ask a very legitimate question - Why can a replacement part manufacturer not manufacture a bonnet that has an identical periphery to the original part, and which will therefore fit onto the vehicle, whilst having a different surface profile? Arguably there are many potential designs for various spare parts such as bumpers, grilles, and headlamp arrangements. The custom car market has shown that designs for these parts can all be modified without harming the function of the part or the function of the car as a whole – but only changing the appearance. Whether it improves the appearance of the vehicle is of course in the eye of the beholder. But be that as it may, practically speaking different designs can be used. Commercially speaking it may well be suicide. Why? Because the consumer wants a spare part that looks like the “real thing” - which is as aesthetically appealing as the original part. Many bonnets could conceivably be designed to fit the vehicle,

To complicate matters, a specific limitation in the South African Designs Act provides that spare parts are not protectable by way of functional designs. If an article is in the nature of a spare part, one would not be able to file a functional design to protect the appearance of the article. having features that are necessitated by the function which the article is to perform. However, this does not mean that any article that fulfills a certain function will be a functional design. Only if the article absolutely has to look a certain way in order to perform its function will it be in the form of a functional design. For example, every soft drink bottle has a function – to hold soft drink. However, a myriad designs exist for bottles that all essentially fulfill the same function. The aim of the different designs is therefore clearly to appeal to the eye, and as such the designs are protectable by way of aesthetic designs. To complicate matters further, a specific limitation in the South African Designs Act provides that spare parts are not protectable by way of functional designs. Therefore, if an article is in the nature of a spare part, one would not be able to file a functional design to protect the appearance of the article. In addition, if the article includes no other aesthetic features (i.e. the appearance is necessitated solely by the function that the article is to perform), one would also not be able to file an aesthetic design. In short – such an article will not be capable of being protected by way of a registered design. Returning to the case in point, BMW registered a number of aesthetic designs for replacement parts, such as bonnets, grilles and headlight assemblies based on the notion that these parts have both functional and aesthetic aspects. It was common cause that the functional features could not be protected, but the spare part battle essentially turned on the presence, or lack thereof, of aesthetic features in a replacement part when seen on its own, and not as part of the vehicle in its entirety. The finding of the court was that spare parts are by their nature functional, because they have only one purpose in life. In the words of the court “Put another way, a replacement part for an E46 BMW serves only one function and that is to replace a part on that E46 BMW. It has to look the same, it has to fit the same, and it cannot look any other way”. But does it? Obviously there are two schools of thought. The manufacturer of the

but only the particular appearance of the original part will ensure that the aesthetic harmony remains intact. It may therefore be suggested that through the eyes of the likely consumer, the bonnet will still have features that, in the words of the Design Act, “appeal to the eye and are judged solely by the eye”, and that the court erred in its interpretation and application of the principles of registered designs. Yes – this will result in more money in the pockets of the original vehicle manufacturers, but in an increasingly competitive environment will also play an important part to ensure that the cash flow remains intact for the research and development required to continuously improve the vehicles that many of us so desire. The spare parts manufacturers will not sing from the same hymn sheet. They may in turn argue that the original vehicle manufacturers should not design cars to sell car parts. They should design car parts in order to sell cars. They will concede that the appearance of the car is an important factor in the decision to buy the car and may even admit that it is also an important factor in the repair decision, but for a different reason. The may argue that the original manufacturer has already made its profit on the sale of the car, but the consumer is now locked in to buying spare parts from it as well because, even if possible, your average consumer would prefer a replacement part that fits in with the remainder of the vehicle design, and which does not stick out like a sore thumb. Understandably it may evoke negative reactions, but this is then a philosophical debate and not a question of law. This is clearly a discussion that can turn the automotive world into an emotive warzone where vision is often obscured by the dust in the arena. However, BMW AG has lodged an appeal to the decision, and in the end it will hopefully be up to the Appeal Court to give everybody a clear and final answer to this contentious question. Lodewyk Cilliers Partner Spoor & Fisher

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TUTORIAL

Create shadows in Adobe Illustrator CS6

Create a trendy long shadow effect with Adobe Illustrator’s Appearance panel. Producing professional assets for digital content has never been easier. Take a tour of Illustrator’s Shape Builder tool and Appearance panel, writes Eva Csernyanszky In this tutorial you will experience the simplicity of Adobe Illustrator’s Shape Builder tool. There is no need for the pathfinder tool to create complex shapes and it even works on text! In addition to learning how to create and manipulate a shadow effect, the use of the Appearance panel will also speed up your work flow.

DURATION 20 minutes

01 Firstly, we’ll need

to design an icon. You can use one of your existing designs but if you wish to follow these steps, you may want to create a similar one to this and begin by creating a simple icon on a rounded rectangle.

07 Let’s merge these shapes into one.

Select the shapes and choose Unite in the Pathfinder panel (Window > Pathfinder).

04 Next, add an effect to the Fill. Select 02 Once you’re happy with your design, copy and paste it in place (shift, cmd, V). Navigate to the Layers Panel and select the kiwi that lies behind the first kiwi.

the Fill and click “Add New Effect” from the bottom of the Appearance Panel. Then choose Distort & Transform >Transform. Enter the settings as above.

08 Now, to remove the shadow that

05 The result is a very long shadow 03 With this object still selected,

behind the object. In the following steps you will learn how to remove the excess shadow and change the colour.

navigate to the Appearance Panel (Window > Appearance) and choose Add New Fill from the pop-down menu. Be sure to click-drag the newly created fill below the “Contents” to move it behind the first object.

09 The extra shadow is now removed, and you can choose any colour or gradient you prefer to complete the effect. Enjoy!

LEVEL OF DIFFICULTY Easy

06 With the black object still selected, choose Object > Expand Appearance in order to release the blend into 150 individual shapes.

Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts. Eva has been in the design software training business for 19 years, with 5 of those years spent running one of South Africa’s leading digital design academies. www.friendsofdesign.net

shows over the icon background, use the Shape Builder tool to cut the extra shadow off. Select the shadow and Rounded Rectangle and choose the Shape Builder Tool from your Toolbox. Next, alt-click on the overlapping piece of the object and it will disappear.

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B e l lv i l l e B r a n c h • 0 21 949 415 9 / 14 6 8 • f a x : 0 21 949 16 8 7 • b e l l v i l l e @ d a n n e b e r g . c o . z a • 31 B l a n c ke n b e r g R o a d , B e l l v i l l e R o n d e b o s c h B r a n c h • 0 21 6 8 5 6 4 2 3 / 3 7 2 6 • f a x : 0 21 6 8 5 3 5 2 8 • r o n d e b o s c h @ d a n n e b e r g . c o . z a • R i v e r s i d e M a l l , S h o p 2 0 , R o n d e b o s c h

4 2

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Vector Icons using Adobe Illustrator Print Design Tutorial Use Adobe Print Design Illustrator Tutorial How to to take your design to create the next How to level

Concept Interactive (Cape) (Pty) Ltd reg. no. 2008/011552/07

interactive create We’ll learn forms inhow to make some interactive InDesign CS6 seriously simple forms in and minimal Now you canCS6 InDesign vector icons for create fully your next client interactive forms Now you can project.

TUTORIAL TUTORIAL [01] So you offer a Photoshop TUTORIAL [05] Do the same for the address course and would like to send out a 01

field and the email field.

[01]

[05] Do the same for the address

First off. Lets create a new document. questionaire to find out who will be keen to join in thewe future butuse how For examples sake will just the do youpreset do that? Start with creating “Web” and that will provide So you offer a Photoshopus with the design the form within Adobe a comfortable workspace tosend design course and of would like to outin.a InDesign CS6. questionaire to find out who will be keen to join in the future but how do you do that? Start with creating the design of the form within Adobe InDesign CS6.

field and the email field.

06 Within the Pathfinder palette click

on the very first icon which is known as “Unite” and make sure all your shapes are selected.You can also create check

[06]

boxes if you require multiple answers.

[02] Nowgoing create which 02 We’re to text start boxes by creating 3

will beusing usedthe as the placeholders for cirlces Ellipse Tool. the form information you require.

[02] Now create text boxes which

will be used as the placeholders for the form information you require.

Create a square and then convert it to a button fly-out icon, You or canfrom alsothe create check choose Sample Buttons and Forms and boxes if you require multiple answers. drag out one of the samples. Choose “001” resizeand to the size you want. Createand a square then convert it to a button or from the fly-out icon, choose Sample Buttons and Forms and drag out one of the samples. Choose “001” and resize to the size you want.

[06]

electronically fillable forms, Today, we will learnclients how to and/or create iOS 7 allowing users, inspired vector weather icons usingthe our Adobe InDesign CS6 allows potential clients to complete old friendto Adobe Illustrator. Dont worry, anyone design and create forms online. you dont need tofillable be a pro.forms, The great thing electronically about Illustrator is that you can build allowing users, clients and/or complicated shapes and and paths using potential clients to complete the basic shapes like circles and rectangles. forms online. I will take you through some tips and tricks as we work through this project DURATION: Minutes together and30also show you the power of Illustrators much loved “Pathfinder” LEVEL OF DIFFIcULTy: Beginner Pallette. DURATION: 30to Minutes If you’re ready learn a skill that will help set you apart in the design world, jump in LEVELofOF DIFFIcULTy: Beginner front your computer and lets get going!

DURATION 15 Minutes LEVEL OF DIFFIcULTy Beginner

Tertia van Rensburg has been training students at Concept Interactive in applications such as Photoshop, InDesign, Illustrator, Acrobat, Freehand, and Tertia van RensburgQuark has been photography for seven years. training students at Concept She is an ACE (Adobe Certified such Expert) Interactive in (@DaineMawer) applications Daine Mawer is a as and ACI (Adobe Certified Instructor) Photoshop, InDesign, Illustrator, with a designer, lecturer and entrepreneur in InDesign accredited assessor Acrobat, Freehand, Quark passion for alland things digital and and online. and moderator. When she is photography for seven years.not She sharing her photographic passion is an ACE (Adobe Certified Expert) He runs More Beyond Digital, a small web with her students, she hits the South ACI (Adobe Certified and graphic agency in CapeInstructor) Town, streets of Cape in pursuit of in InDesign andTown, accredited assessor Africa (www.morebeyonddigital.com) the perfect shot. and moderator. When she is not sharing her photographic passion with her students, she hits the streets of Cape Town, in pursuit of the perfect shot.

[10] 10

Create If a text box and convert to a it is required that theituser Next move your closer your Text Field, then givesun it ainformation, nameto and afor needs to give addition cloud near the top left hand corner. We’re description - hint tip. example, about themselves. going to use the Scissor Tool now, a very handy tool in Illustrator that cuts paths at Chose and Scrollable, Create Muliline a text box and convert itiftothe a specific points. user insertsthen more information Text Field, give it a name than and athe space provided. description - hint tip. Chose Muliline and Scrollable, if the user inserts more information than the space provided.

Voila! We now have a good looking cloud! Now to add some sun peaking out from behind it.

[03] Yousmall can access thisbig new feature [07] You can also customise the Create one circle, one circle and

in the Window menu > Interactive checkbox, for example changing the one medium sized circle. without using create fully > Buttons and Forms. With this colour of the tick and even adding a As the design industry changes, designers panel you will be able to create your drop shadow. Adobe are required to Acrobat, develop skills for more interactive forms interactive forms. [03] You can access this new feature [07] You can also customise the innovative platforms and media types. in the Window menu > Interactive checkbox, for example changing the writes withoutTertia usingvan > Buttons and Forms. With this colour of the tick and even adding a I’ve always found it very valuable as a panel you will be able to create your drop shadow. Rensburg. designer to have a good understanding Adobe Acrobat, interactive forms. of mobile trends and usability. The latest 07In the same document, use the Ellipse innovation Apples iOSvan 7 update writesbeing Tertia Tool to create a simple circle with the 03 Good work - make sure these circles same fill and stroke settings as your cloud. coming in October. have a clear fill and a thick black stroke. Rensburg.

Adobe InDesign CS6 allows Such a complete make-over is bound to cause ripple the design anyone to effects designinand createworld.

[10]

If it is required that the user needs to give addition information, for example, about themselves.

Now, lets align our baseline so they all sit on a level bottom-line then move them close together so have they overlap Once you selected the text box you will need to convert it into a button. You can do this by going to the Object menu > Interactive > Convert to Button oryou by clicking on the the Typetext Once have selected drop down list in the Buttons and box you will need to convert it into a Forms anddo choosing Button. button.panel You can this by going to the Object menu > Interactive > Convert You will now chose which to Button or by clicking ontype the Type of button you will be needing. drop down list in the Buttons and Choose fromand the choosing Type list, Test Field. Forms panel Button. Fortunately this is a flexible function which means it can be changed You will now chose which type if you decide to later. of button you will be needing. Choose from the Type list, Test Field. Now name the thenfunction provide Fortunately thisfield is a and flexible awhich description for the user so when the means it can be changed if you Next, draw out a rectangle and place scroll over the field they will get an decide to later. it at the cloud, Also so that help tipbottom of whatofisyour required. you it covers the gaps been created by the can make this a required field meaning Now name the field and then provide they will not be to submit thethe acircles. description for able the user so when form without filling it in. scroll over the field they will get an help tip of what is required. Also you can make this a required field meaning they will not be able to submit the form without filling it in.

[04]

Tip: Hold Shift to get a perfect circle.

[08]

You can change the appearance of the check box by deciding if you want it to have the the checkbox with the tick on or off. You can change the appearance of the check box by deciding if you want it to have the the checkbox with the tick on or off.

[08]

09 You may want to rotate your sun

a little to get it the nicely. [11] Now is rays timesitting to create the

Ungroupbutton. the sun rays if you had done Submit so before and delete whichever ones are with inthe thesample cloud itself. From buttons chose a

[11]

defaultNow button,isfor example “116”. time to create the Then take theitScissor Tool and click on Create abutton. text box above it and insert Submit the path of the sun about 2-4mm from the word, SUBMIT. Now name the the outline of the cloud. Do this on either button and then from the chose Actions icon, From the sample buttons side. Then delete the path that overa laps click on button, the “+” for andexample chose Submit default “116”. with the clouds outline edge. Form. Create a text box above it and insert the word, SUBMIT. Now name the button and then from the Actions icon, click on the “+” and chose Submit Form.

Thats it! You have a cool “Partly Provide the URL information, Cloudy” weather icon. I’ve added an app I for example, mailto: info@ mocked up to put it in context for you. conceptinteractive.co.za Provide the URL information, for example, mailto: info@ conceptinteractive.co.za

[09] 08

If you have a list you want Now to add some sun rays. Use the your user to chose from then create Line Tool to create a short line and withain Combo Box. This option allows for a is the Stroke Pallette, make sure that “Cap” drop down menu from where the users set to “Round Cap” can chose an have option from. If you a list you want your user to chose from then create a Once you have chose theallows Combo Combo Box. This option forBox a as your type, then name it, provide a drop down menu from where the users description for the list. can chose an option from.

[09]

In theyou list items option, insert theBox Once have chose the Combo name of the course you provide anda as your type, then name it, provide then click on the “+” button. description theline list.and then Create afor short duplicate it directly down - use shift In the items option, insert the and altlist to pull a copy out of the original name of the course you provide and and align it vertically. If you have “Smart then click on the Guides” turned on “+” this button. will also help.

[12]

Now it is time save the document. Go to File > Export > Adobe PDF (Interactive). Ensure Include All is chosen for Forms and Media. Acrobat will open theit file so the form Now is time save thecan be filled in andGo submitted. document. to File > Export > Adobe PDF (Interactive). Ensure Include All is chosen for Forms and Media. Acrobat will open the file so the form can be filled in and submitted.

[12]

05 Depending on how much of a

You can then select both lines, Group perfectionist you are - you can zoom them if you need, and rotate them by 90 in and make sure that there are no degrees to get the horizontal ones, then geometric edges sticking out due to the by 45 degrees each way to get the diagnol rectangle and the circles trying to merge ones. You should have something like this web design | print media | new media | programming for design their lines. at the end.

www.conceptinteractive.net

Now for the fun part! Go to Window > Pathfinder

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web design | print media | new media | programming for design

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