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Handmade
CAPE
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Cape Craft & Design Institute
APRIL
2012
Mike Richards on his sustainability concern
Residencies – Tips for overseas study
Join a Professional Group
Develop a BUSINESS PLAN
The debt of influence – to copy or not?
Cape Craft & Design Institute April 2012
Official newsletter of the
Western Cape Craft Sector
1
Cape Craft & Design Institute |
Iziko laseKapa lobuChule nobuGcisa |
Die Kaapse Instituut vir Handwerk &
Ontwerp
P O Box 3225, Cape Town, 8000
75 Harrington Street, The Fringe, Cape
Town
+27 (0)21 461 1488
info@ccdi.org.za
www.capecraftanddesign.org.za
contents
Editor: Marjorie Naidoo
Journalist: Judy Bryant
Graphic Design: Nobull Studio
Photography for CCDI: Anthea Davison
and Eric Miller
Lisa Firer Ceramics Fynbos Vessels
Photograph: Eric Miller
CCDI Activities
3
4
7
8
9
12
18
20
20
21
editorial
Imitation not always the most artful form of flattery
sector news
Craft in an age of change
Green craft project at Cavendish Square
Shop of the Month – The Curious Room
Product of the Month - Afrosol unbrellas
Liverpool residency for local jeweller
Textile artist to train in Australia
Pick and Mix of professional groups
around this city
Infecting the City
Sizzling summer tourist numbers
Getting connected
sustainability concerns
environmental, economic and social
Making memories from earth's treasures: Mike Richards
growing your business
Wake up and Smell the Coffee - Part 2 - Anton Ressel
Business Terminology
2012 Africa SMME Awards
Small Business Federation - "One voice for all SME's"
Funding growth
Overseas business mentoring services
Developing a business plan- Part 1- Russel Fuller
design matters
Colour connoisseurs at Decorex Durban
Creative collaboration at Decorex Cape Town
Enjoying the everyday - in a time of change
Harnessing design for landmine detonation
Salon Privé
The Power of Making – Part 3
Dept of influence - Part 1 - Lauren Shantall
history of craft throught 12 oblects
Shadow puppet of Bima - Part 8 - Gavin Chait
Design on the move - Part 8 - Judy Bryant
the fringe comes into focus
The Service Dining Room
Sultry salsa at Que Pasa
green issues
Traditional knowledge database
Think twice
training insert
Cape Craft & Design Institute April 2012
Plug into the Programme Group
2
Every Wednesday (except the first of each month) the Product,
Business and Market Support programme managers meet
with craft producers on an individual appointment basis for 45
minutes.
This is an opportunity for you to show your products, talk
about your business, have a discussion about your challenges
and opportunities and get some ideas about how you could
be addressing them. You will also find out more about our
programmes and activities and which of these might be suitable
for you.
You are free to make an appointment at any time that you
feel you would benefit from this type of discussion. It is also
important that you come prepared, with examples of your
product, any relevant business information and a good idea of
what you want to get out of the meeting.
Call 021 461-1488 and speak to Ashanti to make an
appointment with the Programme Group. As bookings can
be made only a month in advance you should call early in the
month to make a booking for the following month. Bookings are
made on a first-come-first-serve basis.
While you are at the CCDI office you can also arrange to have your products photographed for our website and to update your
database information. An appointment must be booked with Mandisi Kibito on 021 4611 488 or mandisi.kibito@ccdi.org.za
flattery
Imitation not always the
most artful form of
But it isn’t always so clear who is
copying whom because the environment
within which we function is very
complicated.
There have been some previous
instances where the CCDI has been
able to intervene in similar cases but
only on moral and ethical grounds
and because there was an undisputed
trail of evidence. We’re not really in a
position to be the arbiter of copyright
disputes – and just like most producers,
have no resources to turn to the law to
adjudicate. Besides which this route can
waste a lot of money, consume lots of
time and generate unproductive negative
energy.
Technology has made our world
smaller and increased the speed and
regularity with which ideas and images
are dispersed. We are continuously
bombarded with visual information that
quite often ‘lands’ in our brains without
us consciously acknowledging its
reception – and we all wander around
the shops, visit the markets, watch
television, go to the movies…. Couple
that with the rash of trend analysts
peddling their ‘predictions’ and global
magazine titles encouraging us to keep
up with the latest fashion, furniture
and fixtures; and the ‘consumption
imperialism’ as branded outlets take over
high streets.
The notion of Zeitgeist[1] takes on new
meaning in the 21st Century where
information is spread across the globe
at the speed of a very fast internet
connection … and the growth of air
travel can get us around the world way
faster than 80 days.
It’s no wonder that truly original ideas are
extremely rare.
We are light years ahead of where we
were 10 or so years ago, in South Africa,
in terms of our ‘sense of self’, our ability
(and right) to express our own identity
and respond to our own environment
through our creative products. But
I do think we are still probably too
derivative; we don’t think out of our own
box enough; and settle too quickly on
easy solutions. We also don’t have a
pervasive tradition of design innovation
in manufacturing and the creative
industries – for a whole host of complex
historical reasons – and so our historical
tendency has been to imitate and
replicate – and place disproportionate
value on ‘first world’ trends and designs
– at the expense of our own potential.
That’s why we struggle so to add value
or beneficiate from our own natural
resources.
It’s not that we are not capable and we
don’t have the ability to do so. I think its
rather a function of time, resources and
probably confidence and experience –
and the fact that we are in a hurry to get
to market because we need to sell!
In other creative forms – music, visual
art and the performing arts - there
is a long tradition of ‘quoting’ or
‘referencing’ other people’s work.
The difference is when it’s done selfconsciously and with an explicit ‘debt of
influence’. As opposed to when it’s done
unconsciously because someone knows
no better - and when it’s done with the
intention to pass it off as one’s own.
So in my book, copying is not always a
devious action. And if there is a loser it is
probably not the person who is copied –
but the person who is copying.
I think the best way to deal with the
problem is not by blaming and shaming
but helping people find the tools to
generate their own ideas; by helping
surface individuality and individual
responses; by pointing people to ways
in which they can access ideas, images,
alternatives, new materials – and how
they can legitimately ‘appropriate’ these
and make them their own.
Our creativity workshops were
established for just this purpose – so if
you feel like you are in this position – or
you know someone who is – that’s a
positive path to take.
Perhaps I’m naïve but I believe in the
basic goodness of peopleand think it is
much healther to create an ethical and
self-regulated approach where we each
became our own ‘policemen’. Where
the guiding principle would be ‘do unto
others what you would have done to
yourself’ (which should be how we
operate in all aspects of our businesses,
not just when it comes to other people’s
intellectual property).
ERICA ELK
EXECUTIVE DIRECTOR: CCDI
[1] Zeit = time + Geist = spirit. A word of
German origin which alludes to a general
cultural, intellectual, ethical, spiritual, or
political climate or ambiance that permeates a
community (or the world at large).
[2] See Lauren Shantall’s article on page 17.
Buy the CCDI book
The CCDI has commissioned a 128-page, full-colour book to commemorate its ten-year history. It
includes interviews with craft producers from throughout the Western Cape, as well as ten lessons
and two essays, all beautifully photographed. The cost is R300/book (excluding VAT, postage and
packaging). It can be ordered from the CCDI Order Facilitation Service, contact
priscilla.leo@ccdi.org.za | 021 461 1488.
International journalists visiting Cape Town for the Design Indaba, were delighted to receive copies of the ten-year book
after viewing the CCDI facilities.
NEXT CRAFT SECTOR MEETING 2 MAY 2012
Cape Craft & Design Institute April 2012
In the first few months of this year we’ve
been alerted to three instances where a
producer believes their product is being
copied.
3
News
sector
Craft in an age of change
The British Craft
Council has
published an
extensive study by
BOP Consulting,
which specialises
in understanding
the economic and
social impacts of
culture and the
creative industries.
One of their findings
is that many
established British
craft enterprises are
shifting to reflect the
new possibilities of
digital technology
and environmental
and ethical concerns.
The research
shows that the
contemporary
English craft sector
is relatively stable and dominated by small, well-established
businesses. Retail sales were fairly steady over the last three
years and both retailers and makers were cautiously optimistic
about the future.
Sales through most traditional selling channels have fallen,
however. While online sales have grown, they have done so
from a low base, and have only partially compensated for losses
elsewhere.
Although the large majority of makers have other craft-related
income sources apart from designing and making objects, these
are, with the exception of teaching, relatively small contributors
to gross income. Craft sales remain locally focused, with limited
exports.
Some 61% of UK makers have a degree in art, craft or design,
while 24% have other qualifications in these fields, such as
formal apprenticeships, or adult education. Only 15% have no
craft-related qualifications. For half of the makers, craft is a
second career. Some 88% are sole traders.
Contact: To download the report, log onto:
http://www.craftscouncil.org.uk/professional-development/
research-and-information/research-reports/.
Green craft project at
Cavendish Square
Busy Cavendish Square in Claremont, Cape Town is
upgrading its escalators over several months – and to keep
customers cheerful, management has given the go-ahead
for craft and art installations.
Cavendish partnered with green design and lifestyle product
company the Green Elephant Collective to curate the
Cavendish Square LIFTED project. The collective worked
with local craft talent to create an environment that brings
smiles to shoppers’ faces, while providing directions to the
alternative entrances to the centre.
Bird from recycled material.
Cape Craft & Design Institute April 2012
Said project curator Ute Faure: “The LIFTED theme is
enforced through the use of bird imagery and the colour
yellow in the designs. Yellow was chosen for its energy,
warmth and positive connotations, as well as hinting at
support for World Design Capital 2014.”
4
Installations by Heath Nash, Keri
Muller and Isabeau Joubert,
with the support of around 160
school pupils, can be viewed
until mid-May.
Contact: www.cavendish.
co.za | Cavendish Square,
Dreyer Street, Claremont |
Lauren Baronet (PR and
tenant liaison)
lauren@primelife.co.za.
Isabeau Joubert transforms a wooden bench.
Plastic waste turned into retail splendour .
Photographs: Hirt and Carter.
Shop
of the
month
The Curious Room
The Curious Room in Woodstock is a new
space curated by Margaret Woermann and Peta
Becker for their experimental work. Invited craft
producers, designer-makers and artisans are
collaborating in exploratory and flexible ways. It’s
also a great place for lovers of unique craft and
design to buy or order special, unusual items.
The lab was created as “an opportunity for
collaboration”, say Margaret Woermann of
Heartworks and Peta Becker of Projekt. “It’s
an antidote to virtual online shopping, part of
the slow movement. You can feast your eyes
and soul upon extreme, one-off decorative and
homeware objects.”
Set up in late 2011, the Curious Room was
a hit when officially launched at the recent
Design Indaba Expo. Since then, the studio
has welcomed many visitors, both foreigners and locals. They have either
bought items for their own enjoyment or placed orders for their shops.
Current stock includes Succulent Chairs decorated with tiny crocheted
cacti; sculptural soft vases created from waste T-shirt material, enclosing
a re-cycled two litre coke bottle; handbags; a range of black clay Branch
ceramic vases made by Margaret; cushions with ambiguous and political
messages, and other surprises.
Address: 501 Tollgate Industrial Centre, Ravenscraig Road, Woodstock.
Hours: Weekdays and Saturdays until early afternoon, by appointment.
Peta Becker 082 662 5391 | petabeckerprojekt@gmail.com
Margaret Woermann 082 414 7648 | woermann@iafrica.com.
Product
month
of the
Description: Afrosol funky sun umbrellas use bamboo, wire and fabric to provide shade from the sun in a range of textiles. There is potential for branding and specialist design to suit individual requirements. The makers plan to expand into three ranges: Creative, Eco-Aware and Community-based.
Price: R350 – R500 retail.
Production: 150/week.
Contact: Claire Homewood | 021 788 1491 | 074 348 5744 |
claire@afrosol.co.za | 16 Fraser Rd, Muizenberg 7945 |
www.afrosol.co.za.
Cape Craft & Design Institute April 2012
Afrosol umbrellas
5
Liverpool residency for local jeweller
The opportunity to immerse yourself
in a foreign culture, exploring new
techniques with access to wellequipped facilities and inspiring
colleagues, can be a life-changing
experience.
Experimenting with the fly press. Namibian-born jewellery designer
Frieda Lühl has returned, inspired,
from six weeks (17 October to end November) at the Hope
University of Liverpool in the UK.
“We, 12 goldsmiths/artists from Cape Town, were invited to the
‘Ekapa’ exhibition at The Bluecoat Display Centre in Liverpool’,”
explains Frieda. “At the same time, the Bluecoat, together with
Hope University in Liverpool, invited jewellery students and
goldsmiths to apply for a six week residency. I was lucky to win this
competition.”
Frieda could use all the university facilities, from the metal studios to
a print room. She also had access to a well-equipped library with a
design focus, and workshops allowing plenty of experimenting. She
also attended numerous exhibitions, arts and craft fairs and theatre.
As Frieda shared the studios with other students and artists in
residence, there was plenty of interaction and inspiration. “I was
stunned by the high standard of craft in Liverpool and also in the
UK as a whole,” said Frieda. “It was refreshing to see the readiness
to mix and match techniques and materials and take them out
of their traditional contexts. There is a very big market for and
consciousness of crafts/ arts and all things home- or handmade.
Frieda mainly experimented in the
printing room, made etchings and
numerous dry point drawings and
also experimented with printing laserengraved plates. In the metal studios
her favourite machine was the fly
press and she made numerous hollow
shapes with it.
During the final week she had to do
a presentation on her work before
the residency, the circumstances that
had influenced it, as well as the work
produced during her time in Liverpool,
and what had inspired it.
Frieda has rediscovered the technique
of riveting and has even ordered
herself a printing press. She is now
busy with her newest range, Collage.
“The change of scenery inspired many
different creative sides in me. The trick
at the moment is to create time for all
these interests.”
Contact: Frieda Lühl Jewellery |
021 448 1408 | 084 877 4414 |
info@frieda.co.za | www.frieda.
co.za | Frieda Lühl Jewellery on
Facebook | wwwfineouncegoldsmith
collective.blogspot.com.
The industrial city of Liverpool
Necklace from the new
Collage range.
Textile artist to train in Australia
An enthusiasm to learn and pass on new skills and
developments in the field of textile art is the driving
force behind Fai-qah Abrahams’s motivation to take up
an artist in residence opportunity in Australia.
Cape Craft & Design Institute April 2012
While many South Africans trace their heritage to
Malaysia, where batik art is highly advanced and
prized, there are few local educational institutions
passing on skills in textile art. Screen printing training
is available, and there are fabric painters producing fine
work, but we are far behind Indonesia, Malaysia, Japan
and Europe, and Egypt, Nigeria and Senegal on the
African continent, where dyeing technologies are highly
regarded and developed.
6
Fai-qah studied at the Ruth Prowse School of Art and her later
work was greatly enriched by overseas study. Time in Kelantan,
Malaysia, gave her insights about the culture and the secrets
of the bee and paraffin wax combinations that complement this
tropical part of the world. And in Yogyakarta, the capital of Java,
she studied advanced batik resist art and dye technology.
Fai-qah has long admired acclaimed textile practitioner Valerie
Kirk, a global judge who lectures at the Australian National
University in Canberra. Having obtained her contact details seven
years ago, Fai-qah decided that at 48 years old she was now at
a stage where she (and, indirectly, her many pupils) could benefit
hugely from an artist in residence opportunity. Her application
was successful, and with accommodation provided, she is now
hoping that the National Arts Council will provide further funding.
Fai-qah Abrahams combines various influences in her interpretation
of textile art.
She is hugely excited at the opportunity to learn new skills – such
as fusing sculpture and textiles – with new teachers, attending
courses at night and on weekends and being exposed to a
different culture. The trip will be for two months, from the end of
August.
In the long run, she hopes that passing on her knowledge will
help to raise the status of textile art in the Western Cape to that
of the more familiar ceramics, jewellery and wirework sectors.
She is also eager for fashion students and surface design
students to be exposed to this training.
Contact: Fai-qah Abrahams | 076 802 0554 | faiqahabrahams@
yahoo.com.
TIPS FOR OVERSEAS STUDY:
• Network as much as possible
• Check the notice boards and via teachers at educational institutions, training colleges and art/craft NGOs
• Search online: Trans Artists is a knowledge centre on cultural mobility opportunities. http://www.transartists.org/about
• Take the time to fill in lengthy application forms in full as required.
Pick and mix of professional groups
Professional Group meetings are an ideal way to meet
people, exchange ideas and to network. They are open to
all craft producers who are working in similar or related
mediums.
The meetings are held once a quarter and are set up by the
Creativity Workshop Facilitator, Karen Stewart. Craft producers
identify which group they would like to participate in, and
then sign up by filling in a registration form. They receive all
correspondence about the group and are reminded about the
meeting dates.
The Professional Group meetings were successfully piloted
last year and are being relaunched in April under a slightly new
guise. To enable more people across all disciplines to find their
places, the CCDI has widened the reach of all the groups. Professional Group 1:
Wood, stone and metal
• Furniture designer makers
• Carvers
• Turners
• Precious metal jewellery designer makers
• Wire artists
• Metal smiths
• Tin and scrap metal recycle artists
• Blacksmiths
• Framers
• Carpenters
• Boat builders
• Joiners
Professional Group 2:
Paper, Rubber, Plastic, Perspex
• Rubber and plastic recycling artists
• Resin casters
• Perspex designers
If you are currently part of a
Professional Group you must
register again by choosing a
new group listed below. The
Professional Groups will be
running from April 2012, so it’s
an ideal time to renew those
New Year resolutions of taking
your craft a step forward.
Please try to choose only ONE
to allow more people access to
the meetings (this is important
because the CCDI is trying to
give access to the most people
possible).
• Photomontage and collage artists
• Paper recycle artists & rolled paper crafts
• Card making, découpage & papier maché
• Scrapbooking
• Origami
• Papermakers
• Bookbinding and bookmaking
Professional Group 4:
Wax, glass and clay
• Candle makers
• Ceramicists
• Potters
• Jewellery-makers (non-precious materials)
• Glass blowers and glass moulders
• Glass artists
• Mosaic artists
• Glass recycling artists
• Stained glass makers
If you feel that your
discipline is not represented
please contact Karen on
karen.stewart@ccdi.org.
za, so that she can add it
to the lists. Contact: Eunice
Freeman | eunice.freeman@
ccdi.org.za | 021 461 4696
to register today.
Professional Group 3:
Fibre and natural raw materials
• Felters
• Knitters and crocheters
• Appliqué and embroiderers
• Macramé textile and lace making
• Batiq and dyeing
• Patchworking
• Spinners
• Quilters, needlepoint & tapestry makers
• Fibre artists
• Fabric designer makers
• Fabric, textile, grass, carpet weavers
& rush workers
• Fabric painters
• Leather workers
• Cobblers
• Egg and shell crafters
• Animal hair, bone, horn etc workers
City
around this
Infecting the City
Music, dance and performance came out of theatres and galleries
and into the streets of Cape Town for the Infecting the City public
arts festival in early March.
Some highlights this year included the Cape Town City Ballet at
the Golden Acre Atrium; Swedish artist Victorine Müller lit up the
balconies of the Taj Hotel and 15 On Orange; there was a dramatic
synchronised swimming piece at the Long Street Baths; the
Cape Philharmonic Orchestra
played at Church Square; and the
world premiere of Cape Tone by
celebrated local composer Hendrik
Hofmeyr.
Infecting the City is presented
annually by the Africa Centre |
info@infectingthecity.com.
Cape Town has enjoyed a bumper summer tourism season, with local
and international visitor numbers up, and tourists flocking to major
attractions such as Table Mountain and Cape Point.
Visitor numbers at Cape Town’s Big Six Attractions (V&A Waterfront,
Kirstenbosch Botanical Gardens, Table Mountain Aerial Cableway,
Constantia Vineyards, Robben Island and Cape Point) were also up.
International arrivals at CTIA grew from 66 834 (February 2011) to
75 043 (February 2012), a healthy 12.3% increase. Regional arrivals
for the same period went up by 22. 3%.
“We have had significant increases over several consecutive months
now, and are definitely looking at one of our best tourism summers
ever,” said Alan Winde, MEC for Finance, Economic Development and
Tourism.
Getting connected
The City of Cape
Town has prioritised
e-connectivity as an essential service and has started rolling out an
ambitious fibre-optics programme. Key research centres and business
nodes have been highlighted for broadband services and The Fringe
will be connected within the next year.
The potential for job creation in Information Communication and
Technology (ICT) is huge, and the City has launched an IT training and
internship initiative with Oracle, IBM and other partners. Find out more
on:
http://www.capetown.gov.za/en/mediareleases/pages/extractfromaspeechbythecitysmayoralcommitteememberforeconomicenvironmentalandspatialplanningaldbelindawalkeratthelaunch.aspx
Cape Craft & Design Institute April 2012
Sizzling summer tourism numbers
7
Concerns
sustainability
environmental, economic and social
Our new series of thought leadership articles on the subject of sustainability highlights how we will all be affected
by huge ecological changes in our lifetimes, and will face challenges both at home and in business.
MAKING MEMORIES
FROM EARTH’S
TREASURES
The third story in our series
focuses on Mike Richards, whose
craft is woodturning and the
creation of exquisite ballpoint
pens made from wood, metal and
acrylics.
‘Mike Richards has, during his long
career, notched up over 40 years’
experience in technical drawing
and furniture design for two high
end, mass production furniture
manufacturers. At one time, when
newly appointed as chief designer
of a R5million/month operation, the
livelihood of 400 employees was
linked to his design creativity.
Cape Craft & Design Institute April 2012
Since those early days, Mike has
seen huge changes – some for the
better, as people become more
aware of limited resources, but there
remains waste and greed in many
sectors. Often, Mike points out, the
individual can feel helpless in the
face of wasteful corporate and global
actions, when precious resources are
polluted or land that could be used for
agriculture is gobbled up for shopping
malls. He is also sceptical about
concepts such as carbon credits; a
way to reduce one’s carbon footprint
by funding projects aimed at reducing
greenhouse gases globally.
8
When Mike began his career, all
the wood for manufacturing (apart
from SA pine) was imported, mainly
imbuia and oak from South and North
America. Nowadays, the industry is
increasingly aware of diminishing
resources, says Mike, particularly as
the cost of top woods has soared.
For example, the highest quality
African blackwood, which would be
used to craft a beautiful clarinet for a
musician, works out at around
R440 000 /m³.
Mike himself will not cut down a tree,
whether it is an indigenous or alien
specimen. He believes that felling a
200-year-old, beautiful tree is akin to
killing off other South African treasures
such as rhinos, and believes there
should be a penalty for this. He notes
that in some clearing projects, alien
plants and trees are removed, but
there is not the correct follow-up with
replacement vegetation.
He points out that it is relatively easy
to obtain wood in Cape Town, for
example from municipal tree fellers
after they have cleared up after a
storm. Also, many woodturners have
contacts so that if a particularly good
piece of wood becomes available,
they are alerted and can collect
it. However, there could be better
coordination as fine old wood can be
mulched by the municipality instead
of being put to good use to make
something beautiful.
After bouts with several health issues,
Mike worked with clay and studied
pottery. He is now building up his
own niche business of exquisite
handcrafted wooden pens, for which
he requires good dry wood. He
sources his stock in small quantities
from a wood wholesaler who supplies
large manufacturers, and offers offcuts
at much reduced prices.
Mike is always on the lookout for
particularly good wood, and shows
me a piece of African wattle with
rosy, buttery tones that he has kept
for three years so far, waiting for that
special project. Other wood includes
cypress, aromatic cedar, red ivory,
wild olive and boekenhout, to mention
but a few. These materials, ranging
from pale to dark, mottled or plain, are
crafted into one-off pens that would
be enjoyed and admired for a lifetime.
Mike has coined the phrase that
he, and other woodturners are
making memories of what the earth’s
treasures once were. Pens, platters
and vessels are all reflections of the
planet’s beauty.
Contact: Michael Richards
021 552 5572 | 073 660 1282 |
leerichards@wam.co.za.
Business
growing your
What these examples
demonstrate is the
value of a strong brand
identity. A brand identity,
or brand image is all the
attributes one associates
with a brand, how the
brand owner wants the
consumer to perceive the
brand - and by extension
the branded company,
organization, product or
service.
Part 2
Part 2 in our series, straighttalking some topics of
concern to small craft
businesses.
Many people believe that the word
‘brand’ relates simply to the visual
identity of a particular company,
product or organisation – in other words the
organisation’s name, logo and general look and
feel.
In truth, a brand is all of these things and a whole
lot more. Essentially, your brand represents all
of the valuable and desirable qualities of your
product or service to the consumer, while the
term corporate identity relates to all the physical
elements of the brand – such as the logo,
signage, website look and feel, etc. The two are
very closely linked, and both need to be in place
and managed if you are to get the most out of
your marketing and brand development efforts.
Brand Identity?
Think of a famous brand like Red Bull. Sure, we
can all recognise the logo and visual aspects of
the brand, but more importantly Red Bull have
been very successful in creating an identity for
their brand that transcends the product and its
visual elements alone. By aligning themselves with
extreme sports such as cliff diving, motor racing,
base jumping and surfing, Red Bull have managed
to create a perception in the marketplace that
they are the energy drink of choice for extreme
athletes everywhere. Naturally this has filtered
down to their general target market, who may not
be extreme athletes themselves but either aspire
to be, or find this lifestyle appealing. The result
is more awareness, more customer loyalty and,
ultimately, more sales.
Another example of clever brand management
is Nando’s. They have used humour in their
advertising and brand positioning since Day
One, instead of focussing merely on their various
product offerings, which is what most of their
competitors do. The result has seen them
cemented as a household name, making them
one of the most visible food brands in SA and
now internationally as well.
A brand’s identity is
created by a combination
of clever management
of the brand name, the
logo, the corporate
ID and all supporting material and activities,
including website, public relations, press and
media, marketing materials, competitions and
sponsorships, staff, brand spokespeople and so
on. It does not happen overnight, and brands are
fragile - think of the millions that BP spent trying
to position themselves as the ‘green’ oil company,
and how that was wiped out by one highly
publicised oil spill in the Gulf of Mexico!
Business
terminology
What is…?
Demographic factors:
Socio-economic
characteristics of a
population expressed
statistically, such as age, sex,
education level, income level,
marital status, occupation.
Labour market: The nominal
market in which workers find
paying work, employers find
willing workers, and wage
rates are determined.
Unemployment rate:
Percentage of total workforce
which is unemployed and
looking for a paid job. The
unemployment rate is one
of the most closely watched
statistics because a rising
rate is seen as a sign of a
weakening economy.
Positioning the Brand
From my own perspective, brand identity has a
special significance. When my two partners and I
started Streetwires, we realised very early on that
careful positioning of the brand was absolutely
crucial to our success. We had hundreds of
competitors in the wire and bead game, most of
whom could offer similar products at a cheaper
price, so our strategy was to focus on what we
could offer customers that many of them could
not – such as capacity, reliability, in-house design
capabilities, association with a successful job
creation initiative. In other words, we had to create
an identity for our company that transcended the
products on their own, and highlighted all the
benefits of doing business with us. This we did
by careful management of our PR and media,
customer service, corporate identity and all other
elements associated with the brand.
So the question you need to ask yourself, is how
do people perceive your brand, and is it the way
you want them to perceive it, or do you need to
give more thought to your brand identity and how
it is managed? Of course, this statement makes
the assumption that you
actually have a brand and
corporate identity in place –
because in the absence of
this, yours is really a hobby
and not a business.!!
Associate consultant at Fetola Consulting, Anton Ressel. antonressel@gmail.com.
Leadership: The activity of
leading a group of people
or an organization, or the
ability to do this. Leadership
involves establishing a clear
vision, sharing that vision,
providing the information,
knowledge, and methods
to realize that vision, and
coordinating and balancing
conflicting interests.
Entrepreneurship: The
capacity and willingness
to undertake conception,
organisation, and
management of a productive
venture with all attendant
risks, while seeking profit as
a reward.
Ownership: The ultimate
and exclusive right conferred
by a lawful claim or title, and
subject to certain restrictions
to enjoy, occupy, possess,
rent, sell, use, give away,
or even destroy an item of
property.
Source: Business Dictionary
Term of the Day on
www.businessdictionary.com.
Cape Craft & Design Institute April 2012
IS YOUR BRAND
IN PLACE - AND
IS IT ADDING
VALUE TO YOUR
BUSINESS?
9
Small Business Federation"one voice for all SME's"
A group of small business executives and business people
have formed the South African Small and Medium Enterprises
Federation (SASMEF). It was initiated by former diplomat and
banker Carl J. Lotter as a page on Facebook and LinkedIn,
and received support from concerned small business
practitioners and stakeholders.
After meetings with government (the DTI), an interim board was
set up in November. A collaborative session took place in Cape
Town on 29 March. The federation will soon launch a campaign
called “One voice for all SME’s” soon and will be calling on the
country’s small businesses, government and big business for
support. Contact: cjohnlotter@mweb.co.za |
moses@ikapamedia.co.za | www.sabusinesshub.co.za.
2012 Africa SMME Awards
The Africagrowth Institute is calling for entries for the
prestigious Africa SMME Awards competition. Your business
must be registered, with an annual income below R10 million/
year, and have been operational for at least two years.
Entry is free and your company might be a category winner
and recognised as one of the best performing SMMEs in
Africa.
Contact: www.africagrowth.com | Dina Potgieter Executive
Manager dina@africagrowth.com | 021 914 6778 |
F: 021 914 4438 | Africagrowth Institute, Canal Edge 2, Tyger
Waterfront, Carl Cronje Drive, Bellville, 7530.
Deadlines: Submission of material: 30 June 2012 | Finalists
notified: 31 July 2012 | Awards banquet: 20 September 2012.
Overseas business mentoring services
Ex-change, a Belgian NGO, sources technical and business
experts for SMMEs with five or more employees. These advisors
have more than 15 years’ experience in their fields, which include
IT, film, hospitality, and more.
The local organisation generally carries the cost of the advisor’s
stay in South Africa (accommodation, food and transport to the
place of work). Ex-change covers the air fare, visa and medical
insurance.
The Number One Lettering Co-op, a young, energetic cooperative
from Khayelitsha, has already benefitted from the input of Belgian
business and craft expert Maud Bekaert. The five co-op members
initially worked from a studio in the Castle, and this year moved to
Montebello in Newlands. They hand-carve letters and drawings
in stone, custom-making house numbers, logos, gravestones,
nameplates and artwork.
Ex-change from Belgium has supported local entrepreneurs who carve letters
and drawings in stone.
Another organisation is Share People, connecting social
enterprises with international expertise for a period of two to six
weeks around a particular topic. Again, there are some costs
involved for the participating business, such as board and lodging
for the visiting expert.
Ex-change: http://www.ex-change.be/en/index.html |
Bev Gillespie | 082 290 9645 | bevcol@mweb.co.za.
The Number One Lettering Co-op: www.lettersinstone.org.za.
Share People: Anouk Verheijen | A.Verheijen@triodosfacet.nl |
021 783 0314 | 071 628 6656 | Skype address: anoukverheijen.
Funding for growth
Cape Craft & Design Institute April 2012
The Local Economic Development (LED) Growth Fund is an
initiative to help businesses realise their full potential in rural or less
developed areas.
Here’s how it works:
• Establish and leverage cooperation between other businesses in your area;
• Create business groups that can explore opportunities you might not have thought possible; and
• Increase the productivity and competitiveness of your business, which will promote growth and create more jobs.
10
Legal advice
Caveat Legal is a service that places legal advisors
(attorneys who choose contract-based work as consultants)
into businesses on a project basis. Their services could
be suitable if you need a contract drawn up, a partnership
agreement finalised, or advice on a labour dispute. Contact:
Yvonne Wakefield | yvonne@caveatlegal.com | www.
caveatlegal.com | 083 275 2971.
To apply, submit an application form. For more information contact
Anzél Venter | 021 483 9295 | anzel.venter@pgwc.gov.za |
www.capegateway.gov.za.
Business Tip
Back-up your data - it is a valuable asset in your business.
Yes, technology is amazing, but it's not always reliable or fool-proof. That's why you have to make sure your data is
backed up, perhaps onto CDs, an external hard-drive – which is relatively inexpensive – or a server kept in another
location. Storing your back-ups off-site also ensures that you don't lose information to the theft of your computers or
damage due to a fire or other natural disaster. If you haven't done this yet, put a back-up system in place today, and put
someone in charge of backing up files on a weekly or monthly basis.
R10000
In the next few articles business consultant Russel Fuller will unpack the concept
and nuts and bolts of writing a business plan. He is issuing an invitation to craft
producers to ask him for help, and can be contacted on assetmax@mweb.co.za.
Part 1
are usually three reasons why
What is it? There
people don’t start or complete their
What is it business plans:
for?
1.They don’t have the time.
The Business Plan is perhaps the most
important document an entrepreneur can
create. This is the document that will help
you apply for funding for your business. And
funding IS available, through Khula, which
is dedicated to improving access to finance
for small, medium and micro enterprises.
Many people think of business plans
as relevant to only start-up businesses,
when, in truth, a good and comprehensive
business plan is vital to obtain finances to
facilitate the expansion, diversification and
growth phases of existing businesses.
Three primary areas are covered in a
business plan:
• the business concept
• the marketplace section
• the financial section.
There is no precise right or wrong way to
do a business plan, but one must cover
every aspect. This detailed action plan
(roadmap) explains every aspect of the
proposed business venture:
• What one intends doing
• How one intends doing it
• With what one intends doing it
• When one intends doing it
• Why one believe your idea or concept is viable.
The Purposes of a Business Plan are:
• to help with the proper allocation of resources
• to address future challenges and opportunities
• to create the key component for raising funds
• to ensure alignment of thought and actions
• to identify opportunities
• to establish performance guidelines and promote efficiency.
THE FORMAT OF A BUSINESS PLAN
1. Executive Summary. The Executive
Summary is a ‘hard-hitting’ summary
of two or three pages, highlighting why
your company and concept has great
chances for success. Investors, lenders
or funders will often read no further if the
Executive Summary has not highlighted
these elements. A tip is to complete the
entire business plan first and then write the
Executive Summary - It is written last, but
read first!
2.They don’t know what to write
3.They don’t know how to do the financials.
Although no two business plans are the
same, the most common errors are:
• A poorly defined mission statement – lenders or investors can’t figure out what the company does!
• No or incorrect business philosophy
• Poor research leading to assumptions
• Trying to be “all things to all people”.
2.Company Analysis. A two-page
overview of the company and the business it
engages in.
In addressing these errors one must define
the term ‘market’. A market consists of
consumers who purchase products for
three reasons:
1.To satisfy basic needs
2.To solve problems
3.To make them feel good (satisfy wants).
3.Industry Analysis. Prove you know
industry trends and your market, define the
position of your company's products or
services in this market.
4.Customer Analysis. Identify your target
customers and explain how the features of
your product or service are going to meet
their needs.
Marketing versus Selling Philosophy
Marketing says, ‘find needs/wants and
satisfy them’, focussing on the needs of the
buyer. Selling says ‘create products and sell
them’, focusing on the needs of the seller.
5.Competitive Analysis. List and
describe your competitors and their
strengths, and detail your competitive
advantage.
Marketing’s greatest shortcoming is to make
assumptions, decide what the product
should be and offer it to consumers – rather
than researching what consumers really
need or want.
6.Marketing Plan. Your marketing strategy
and tools and how you will acquire potential
customers and retain existing ones.
7.Operations Plan. A clear outline of your
company's growth and development plan.
The quality and objectivity of a business plan
will depend on the research conducted and
it is, therefore, a fundamental requirement
that the business plan be preceded by indepth research of the industry and market,
regardless of whether you have previous
experience in that particular industry.
8.Management Team. Highlight the
knowledge and experience of your team and
yourself.
9.Financial Plan. Demonstrate how you
will reach cash-flow positive status, outline
your projected revenue growth and show
how you will manage and control your Key
Performance Indicators (KPIs).
Sources for research are the Internet,
market visits, industry experts, and
one’s own records. Research will reveal
consumer needs and wants, as well as an
understanding of the dynamics and forces
affecting the market or industry being
researched.
CRITERIA*
1
2
3
4
5
10. Appendix. Add any useful information
or charts that support the projections and
arguments of your business plan.
6
7
8
9
10
A clear, workable idea
Good profit potential
Clearly identified target market
Product shows unique benefits over competitors
Company can control product quality and delivery
Managerial team has the skills to make a success
Founder has made personal investment
Environmentally sound, good social responsibility
Long-term sustainability
Realistic financial projections
Legal Compliance
Written & oral presentations
*A 90% rating is considered good enough to attract high investment or funding.
Business consultant Russel Fuller. assetmax@mweb.co.za.
Russel
assetm Fuller
co.za ax@mweb.
Contact Russel Fuller
for assistance.
Cape Craft & Design Institute April 2012
DEVELOPING A
BUSINESS PLAN
11
Matters
design
Colour connoisseurs
at Decorex Durban
Four inspirational colour palettes from Plascon’s 2012 range were
interpreted in room settings by leading designers at this year’s
Decorex Durban from 21-25 March.
Memory consists mostly of soft pastels inspired by the past;
Expression's optimistic bright colours are linked to current
events; Mystery relies on rich deep hues and metallics to
represent the future; Origins uses modern neutral colours to
reconnect us to our roots.
Decorex Durban Michelle Throssel (Ballito)
The colour connoisseurs discussed their show displays:
Michelle Throssel (Ballito): "I interpreted the Memory colour
palette with a romantic bedroom scheme complemented by
an old French bed, and contrasted by ultra-modern designer
elements. The use of colour is coming back after a long neutral
phase, and this shows that people are generally becoming braver
to experiment and express themselves, rather than sticking to or
following what others are doing."
Richard Stretton of KOOP (Durban): "Inspired by earthy colours
of ‘Origins' we decided to create an outdoor room - a space
oozing simple luxury with a day bed and recliner for reading
and hanging out, and a space to pot and nurture plants. The
‘Origins' palette suggests a soulful and meditative space, creating
sanctuaries for interiors. This is carefully balanced by strong and
bold colours that add personality and opportunities for contrast
and personal expression".
Ruth Duke (Durban): "To invoke a sense of mystery I played with
the new fresh colour options that amplify and invigorate, with
new purple and violet hues and the revival of the old classic deep
cypress green. The ‘Mystery' palette is workable because it is
grounded by the classic neutrals of khaki/camel and soft grey."
Decorex Durban - Richard Stretton of KOOP (Durban)
Decorex Durban - Ruth Duke (Durban)
Laurence Brick (Cape Town): "We designed a modern, playful,
yet practical working station. The strong sense of energy and
celebration of this palette was interpreted through the use of bold
‘Oceanos blue' and ‘Evasive white' stripes on the walls, Union
Jack-covered ottomans in red and white and Scandinavian-style
plywood furniture from Raw Studios washed in ‘Baked Earth
orange'. Colour is a simple way to turn a blank canvas into a
sophisticated space."
Decorex Durban - Laurence Brick (Cape Town)
Cape Craft & Design Institute April 2012
Creative collaboration at Decorex Cape Town
12
Tangerine dreams, sci-fi inspired interiors, statement
beds and dining rooms popping up in unexpected
places… these are just some of the treats in store for
Decorex Cape Town. Expect energetic splashes of
tangerine, trends from across the globe and a new
wave of ‘hectic eclectic’ interiors, theatre workshops,
fabric and wallpaper installations, dream rooms and designer
kitchens.
Local design personalities will interpret the Plascon Colour
Forecast 2012 through highly individual room settings. Porky Hefer
will interpret the Memories colour palette on his concept stand
depicting a bird’s memory of his first bedroom/nest. Aidan Bennetts
will take his design cue from 1950s detective novels to portray
the darker, moody and mysterious colours in the modern palette.
Furniture designer James Mudge will portray the earthy colours
using his love of solid wood.
Laurence Brick, creative consultant to Decorex SA, says: “We
see the development of a global living style, blending cultures and
aesthetics from exotic destinations with our own way of life in a
modern, freely expressive way.”
Local celebrities representing charities of their choice will team
up with designers to build their ultimate ‘Man Cave', and you are
encouraged to bring old children’s books to the M-Net Cares Café
at the show. Decorex Cape Town: 26 – 29 April, CTICC | www.
decorex.co.za.
Enjoying the everyday - in a time of change
Waiting to hear a trend forecast from
Dutch-born, Paris-based Li Edelkoort,
one of the world’s top trend forecasters,
is rather a surreal experience. Fashionably
clad followers gather in excited droves, and
listen in rapt silence as the doyenne throws
her proverbial bones and predicts the future
of fashion, fabrics, food and more.
T-shirts to more shirts, women will
select shirt dresses and shirt coats.
As we plan for summer 2013, we are
facing a time in the world when most of
our systems are obsolete, says Li. We are
bridging an old system with a new one that
is not there yet; making bridges without
knowing where we are going.
“If you want to become global in your
profession, be local first and rooted in
that – it is a requirement,” advises Li.
It is the end of an individualistic period,
people will collaborate, work in teams.
Homeware will include some silver and
gold together with white linen, with
lots of embroidery. Authentic, stitched
garments finished off by hand will be
popular.
Japan will influence fashion, e.g.
kimono materials used in our own
ways. Africa too will be more and
more on our minds; the Herald Tribune
newspaper, for example, is planning
a conference on what luxury in Africa
means.
The answer, says Li, is enjoying ordinary
moments of spirituality that help us sustain
and help ourselves. We make the everyday
and ordinary into something special through
spiritual moments in everyday life.
The colour white will be big, reflected in
elements such as, airy, crisp linen, cotton,
simple forms. Shirts will come back into
fashion with tailoring, open work fabrics,
pin tucks, layers of lightness. There
will be fewer zips, instead ribbons and
drawstrings. Men will move from familiar
Roof gardening, knitting, break-making
and the mapping and archiving of
information will all be major trends. And
if you’re a red-head, this is your time to
flaunt those tresses!
Harnessing design for landmine detonation
A student at Design Academy Eindhoven, and now invited
speaker at the Design Indaba, Massoud has used bamboo and
biodegradable plastic to create wind-powered mine sweeper
prototypes. They roll along, until they hit and blow up one of
these lethal weapons. Equipped with a GPS chip, this incredible
interlocking ball design also maps out which land mines in the
country have been wiped out so that local Afghanis know which
areas are safe. A prototype is currently being tested by the British
Salon Privé
Finely detailed,
top-end
handmade products starred in the
selection of high quality South African
design shown at the Salon Privé of
Design Indaba Expo. This is a separate
Salon Prive
David Krynauw
exhibition that is independently curated
Bentwood
and which was shown for the second year
Lamp
at the Expo. Some of the stars from the craft
sector included:
Ronél Jordaan is well known for her large felt
rocks and pebble carpets, but she continually
explores the felting process to create new textures and shapes.
Her pieces at Salon Privé included the Ndebele chair made of
coiled felt, and a dip-dyed 3D screen.
Drift Furniture designed by architect Anthony Martin includes
lounge chairs, clocks, lamps and tables with built-in bio-ethanol
fire burners. Privé. All pieces are made from weathered, reclaimed
wood with the emphasis on old-school craftsmanship and quality.
military. This
could be of
huge assistance
to African
countries still
plagued by
landmines.
The interlocking
ball design that
blows up lethal
landmines.
Andrew Dominic learned the traditional hand skills of a master
craftsman and worked as a furniture designer/maker in his
native England. This year, he showcased his eight-seater walnut
Noah table with hand-shaped cabriole-style legs, as well as his
handsome Draper kitchen stools.
David Krynauw produces
contemporary, minimalist furniture out
of sustainably sourced wood from his
family farm in Mpumalanga or from
the surrounding areas. At Salon Privé,
he exhibited a new range of standing
lamps as well as his popular Littleman
lamp, now in different colours and
materials.
Zenzulu designer Marisa FickJordaan is renowned for original and
contemporary wire design and art
pieces. This year she introduced her
range of giant vessels.
Cape Craft & Design Institute April 2012
There are more land mines in Afghanistan than there are people.
Massoud Hassani, born there in 1983 moved to Holland in search
of a better life, has drawn on his memories of wind-blown toys to
address the problem.
Salon Prive felt Ronel Jordaan
13
The Power of Making is the second Victoria and Albert Museum and Crafts Council
triennial exhibition in the UK. This exhibition shows how craft is still important, relevant and
dynamic in the digital age.
'Alphabet' by Dalton Ghetti.
ACTIONS NOT
WORDS
This essay by Martina Margetts, explores the Power of
Making. (This article was shortened, and the images
were not part of the original article.)
Cape Craft & Design Institute April 2012
What is the role of making in the
creative process? This essay proposes
that making is a revelation of the human
impulse to explore and express forms
of knowledge and a range of emotions;
an impulse towards knowing and
feeling, which shapes human action
and hence the world we create. The
reward of making is the opportunity
to experience an individual sense
of freedom and control in the world.
Making is therefore not only a fulfillment
of needs, but of desires – a process
whereby mind, body and imagination
are integrated in the practice of thought
through action.
14
Already in Greek myth Paracelsus
believed that in order to produce
effects, ‘humans must bring their bodies
into the work’. This idea of ‘effects’
achieved by making, is central to the
impact of everyday things, as this
exhibition shows. Making is based
on a sequence of repetitious acts,
incrementally forming objects with
meaning – ‘imitation as a learned
bodily habit that became a cognitive
practice and finally led to knowledge and
the production of effects’. This is the
hidden embodied knowledge of making,
dangerously disregarded by government
policy-makers.
The sixteenth-century potter Bernard
Palissy writes a dialogue between Theory
and Practice on the production of glazed
ceramics, wherein [Practice] says: ‘Even
if I have a thousand reams of paper to
write down all the accidents that have
happened to me in learning this art, you
must be assured that, however good a
brain you may have, you will still make
a thousand mistakes, which cannot be
Part 3
learned from writings.’ Theory, though
regarded as superior, did not have the
powers of observation, the material
skills or the stamina to find the exact
doses of the enamel ingredients that
Palissy insisted on, through the voice of
Practice: ‘you should work to find that
dose, just as I have done; otherwise you
would esteem the knowledge too lightly’.
Palissy’s tale shows that excruciating
years of labour eventually produced
results and, with them, an autonomous,
emotional and economic control
over well-being. Tacit knowledge
is still ‘esteemed too lightly’ in the
contemporary world, though a recent
flurry of texts and exhibitions such as
this one are altering public perceptions;
and there is, too, the recognition
of making as in itself producing
happiness, ‘flow’ and pleasure,
experienced by the maker and
transmitted through the work to the
viewer. This is a crucial role of the
‘power of making’, offering an interaction
with the spectacle of everyday things,
which changes us and enhances life.
Everyday useful things play a major part
in this exhibition, which through their
virtuoso making produce extraordinary
effects – hair, clothes, bikes, weapons,
boats, food – evidence of the makers’
extreme engagement with almost
fetishized repetitive acts and spectacular
material manipulations. Embodied in
making is the operation of time and
memory, with which the mind’s eye,
hand and tool draw on a profound
well of tacit knowledge to originate
form, sometimes in slow and patient
incremental steps, sometimes in an
instant. A contemporary Japanese
swordsmith remarks, ‘It’s the splitsecond intuitive decision to remove the
iron from the fire, when and how to bring
up the flame, to immerse the blade in the
water now – it is these acts of intuition
that produce a sword.’
This is the ‘workmanship of risk’,
which David Pye, woodworker and
theorist, characterizes as the foundation
of individual craftsmanship, a crucial
realization and transmission of the
self within the object, a repeated
affirmation of the conscious cominginto-being of the person and the
thing.
Tools and equipment are prosthetic
extensions of the body that carry the
thought of the maker, wholly different
from the autonomous production
of machines. As Virginia Postrel
recounts in The Substance of Style,
‘Modernity itself is constructed not
by sight alone but by the processes
which the individual achieves through
action.’ The construction of cities,
colonization, domestic labour and
cultural excellence rely on the ability
to make things. ‘Design is everywhere
and everywhere is designed.’ The hand’s
sensitivity, developed over time, allows it
to take the mind beyond its plan.
The plan of a design alters in the doing
or, conversely, the beginning of making
with the hands enables a plan to evolve.
An unexpected deformation can appeal
as much as the perfect fetish finish
(compare, for example, the Lobb shoes
with those of Marloes ten Bhömer, or
recall the Spring/Summer 2010 shoes
by Alexander McQueen).
For the Ga tribe in coastal Ghana, funerals are
a time of mourning, but also of celebration.
The Ga people believe that when their loved
ones die, they move on into another life —
and the Ga make sure they do so in style.
They honor their dead with brightly colored
coffins that celebrate the way they lived. The
coffins are designed to represent an aspect of
the dead person's life — such as a car if they
were a driver, a fish if their livelihood was the
sea — or a sewing machine for a seamstress.
They might also symbolize a vice — such as
a bottle of beer or a cigarette.
John Lobb shoes - Oxford range –
Winchester Shoes
Well-transparent-chair – Ron Arad.
Marloes ten Bhömer - Beigefoldedshoe 2009
Materials: Vegetable tanned leather and
stainless steel heel. Beigefoldedshoe is made
from a single piece of folded leather and
stainless steel heel construction.
Spring/Summer 2010 shoes by Alexander
McQueen: Style.com editor described this
as "the armored heads of a fantastical breed
of antediluvian sea monster. "The shoes they
were wearing looked grotesque and were
very similar to scary armored heads of a sea
monster."
Pop art design chair CLOVER by Ron Arad.
Imagination is an ineffable part of
process, so that both a collectively
made Ghanaian coffin and chairs by
Ron Arad can transcend the utilitarian
requirements to embrace both
subjective and objective elements of
making. Each choice reflects human
identities and intentions. As Mark
Smith discusses in Sensory History,
the making process is enculturated:
‘Sensory perception is a cultural, as well
as a physical, act.’ There is no vacuum
in production: making is achieved by a
finely calibrated evolution of senses, in
relation to each other and to different
societies at different periods of history.
Bernard Leach’s contrasting words
about making by non-Western and
Western potters, as fundamental to
cultural formation, can equally apply to
the Ghanaian coffin and the Arad chairs:
in the former case his period and
culture and his national characteristics
will play a more important role than his
personality; in the latter the chances
The role of making is therefore to give
life to things, but also to show evidence
of life within us, perhaps also at a
spiritual level. The role of making is a
sequence of actions that set in motion
a curiosity to go beyond what is already
known, in a non-verbal language that
extends our abilities to communicate
with each other across cultures, time
and space. It has been fashionable to
indulge Roland Barthes’s assertion of
the ‘death of the author’ and Jacques
Derrida’s ‘disappearing of the human
being’ in order for the participant to
take control, but this exhibition shows a
reversion. The maker has the freedom
and control: the role of making is to
create new ways of thinking, through
engagement with the materials,
techniques and ideas.
Cape Craft & Design Institute April 2012
are that personality will predominate. In
either case sincerity is what matters,
and according to the degree in which
the vital force of the potter and that of
his culture behind him flow through the
processes of making, the resulting pot
will have life in it or not.
15
Hippo Roller stars at World Water Forum
South Africa’s own Hippo Water
Roller was one of 70 designs
(selected from more than 1200)
for showcasing at the Village of
Solutions at the sixth World Water
Forum in Marseilles, France, in
March 2012.
This design was exposed to a
wide audience that included
representatives of 173 countries,
3,500 NGOs and civil society
representatives and more than
2 600 children and youth.
Cape Craft & Design Institute April 2012
The Hippo Water Roller at the sixth World Water Forum in
Marseilles, France.
17 countries directly benefiting at least
250,000 people. Most were donated or
sponsored by corporates as part of their
social responsibility programmes.
By December 2011, approximately 38,000
Hippo rollers had been distributed in
Contact: www.hipporoller.org |
http://www.solutionsforwater.org.
Low-fire jamboree
A weekend (27-29 April)
celebrating low technology,
low temperature firing
and making techniques
for ceramists, potters and
other romantics. Workshops
cater for all skill levels and
beginners are welcome. The
cost is R2000, including food,
for the three days.
Contact: millstone@breede.
co.za | www.millstonepottery.
co.za | 023 625 1599.
Basket weaver wanted
Leading furniture designer
and entrepreneur Haldane
Martin is seeking a fulltime craft producer who
specialises in basket weaving.
This is an ideal opportunity
for a young man to learn
and help in the workshop.
Contact: Alison Thomson
alison@haldanemartin.co.za
| 021 461 1785 | www.
haldanemartin.co.za | 073
161 9161.
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enables you to get a free
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online, save on printing and
stationery, and distribute
incoming faxes to others
with a click. You can also
store your faxes for future
reference. Contact: http://
www.flexcomfax.co.za/
smartfax/.
Creative network sessions
- fledge
UCT architecture graduate
and creative entrepreneur
Ayesha Kamalie has
coordinated a new creative
network. Named fledge,
after the little baby birds or
ducklings which a parent
takes under its wing, the
network helps young
creatives to get a start in the
world of business. Whether
you’re a performer, illustrator,
sculptor or craft producer
who needs support, join up
or attend a Tuesday evening
session with an inspiring
speaker. Contact: fledges@
gmail.com.
Spectrum of skills available
Elaine Davie has a wide
variety of skills to offer an
organisation. She has 14
years’ experience heading up
NGOs, including fundraising
and financial control; project
16
The terms included in this
glossary have been selected
from the Power of Making
exhibition brochure, from the
UK Crafts Council. See www.
craftscouncil.org.uk.
The Hippo Roller was the brainchild
of two engineers, Pettie Petzer and Johan
Jonker. They received the 1997 Design for
Development from the South African Bureau
of Standards, among other awards.
Itz van Allez
This handy one stop shop
manufactures wooden blanks
made from supawood for
decoupage, mosaic, pewter
and more. Craft producers
receive a 20% discount on
all purchases. Contact: 34
Jones Street, Parow | www.
itzvanallez.co.za | 021 911
0962 | F: 0865172699 021
9110980 | Cell: 082 452
4524.
Glossary of
Techniques
and
Processes
management; empowerment
of rural development
initiatives; facilitation of
workshops, seminars and
development partnerships;
and writing annual reports,
newsletters, brochures, etc.
She is also a freelance writer
and editor of many years’
standing, across a crosssection of genres, including
theatre and TV. Contact
Elaine at
blue.ed@mweb.co.za |
084 343 7500 for contract or
full-time employment.
Photography services
For a photographer with an
original eye, Eddy Bakker
has started offering his
services in the Cape after
moving down from Gauteng.
Leading ceramicist David
Walters highly recommends
his work. Contact: www.
ImagesUnlimitedCreations.
co.za | Images@telkomsa.net.
D
Die-cutting: using a shaped
blade, punch or die to cut metal,
rubber, textiles or paper cleanly.
Known as clicking when applied
to metal or leather.
Digitizing: converting data into a
digital form, to be processed by
computer software.
Draughtsmanship: similar to
technical drawing. Technical
drawing involves detailed plans
and specifications.
Drawing: making marks
and lines on paper, usually
with a pen and pencil. Also,
lengthening a piece of soft
metal, usually by hammering.
Dressing out: smoothing the
inside wall of a barrel or cask.
Drilling: making a hole in or
through a material or object by
boring with a drill.
Dry-stone walling: selecting and
placing stones to build or repair
stone walls without
mortar or cement.
Dyeing: adding colour by
soaking material in a solution
containing dye.
E
Embroidering: sewing patterns
on to fabric with thread to create
a decorative pattern.
Etching: engraving (usually
metal, glass or stone) by
scratching through a protective
layer, before using acid to burn
away exposed sections.
THE DEBT OF
INFLUENCE Part 1
Le Demoiselles de Avignon - Pablo Picasso
When I explained to my husband
that I would be giving a presentation
on the topic of copying, we entered
into an interesting discussion about
waltzes. “Why is it,” I asked him,
“that different composers can all
score waltzes, there have been so
Stefano Giovannoni - Le Bombo bar stool.
many different variations over time,
and yet no-one ever accuses them
of musical plagiarism?” He looked at
me like I had asked a silly question
and said: “A waltz is a three-part
rhythm. No-one can own a rhythm.
A rhythm is like a blank page!”
Sadly, my musical knowledge is now
not much greater, but this analogous
reply did make some sort of sense
to me. And it’s also why I asked him
Eero Saarinen’s Tulip Chair.
if I could play the brand new and
all-original waltz he had just written
Georges Pompidou in Paris.” [source:
to an audience at the CCDI, as I thought it
www.gordoninternational.com].
would be a great way to introduce my talk
about “same but different”.
Le Bombo is so ubiquitous that people
recognize it immediately, even if they can’t
Please hold on to this idea of the waltz,
name its designer. The chair combined
as I’d like to return to it later, as it feeds
function and form successfully – it was
back into our discussion. Before I go any
height adjustable, it could swivel, it came
further, there is a dedication to be made
in fun colours, it
first: Stefano Giovannoni, this one’s for
looked lovely, it was
you! Does the name ring any bells? Fans
comfy, it had foot
of Alessi will be familiar with this Italian
support. It ticked all
designer’s work. Besides being a renowned
the boxes. No wonder
practitioner, Stefano Giovannoni also holds
it’s been so ripped off.
the dubious title of having created the
Originators Magis have
world’s most copied chair, the famous or
even stopped making
rather, infamous, Le Bombo barstool, which
it. Because everyone
he designed in 1996. “Since that time, no
else does.
other contemporary stool design has come
close to having the reverence and success
After Le Bombo, Giovannoni extended
of this group. It has altered the fundamental
the range to include a table and chairs,
concept of what a stool is, and has led to
but when you look closely at the chairs,
more 'Chinese Copies' than any other chair
you’ll see that Giovannoni reveals what I
on the market today. Now an icon, it is part
like to call a “debt of influence”. We are all
of the permanent collection of the Museum
undoubtedly and indelibly influenced by
of Modern Art in New York and the Centre
what has come before. The past is a rich
source of inspiration. My feeling is that the
form of Giovannoni’s seat was influenced,
not heavily, by Eero Saarinen’s Tulip Chair.
Designed in the late 1960s, it in turn owes
its own debt of influence to the voluptuous
bloom of that famous Dutch bulb.
Even the famed artist Pablo Picasso had
his sources – us! He drew inspiration from
African masks and carvings for his socalled African Period. You can observe this
clearly in paintings like “Le Demoiselles de
Avignon”. And it was wonderful to see this
all come full circle when local artist Andile
Dyalvane created ceramics inspired by
the Picasso exhibition at the South African
National Gallery.
We all carry a debt of influence. Our
influences enable us to generate fresh
work that sits at the cusp of the old and
the entirely new, and influence is distinct
from mimicry. We need to acknowledge
and expand on our influences and not
merely ape them if we are to call ourselves
designers, rather than just plain imitators.
The problem is, we are born copiers. From
the moment we emerge from the womb,
we survive and learn by copying others. In
this way, we people are a lot like sheep. We
do have a herd instinct (how else do you
explain 1980s fashion?)
In the next part of
this series, Lauren
will further explore
the Debt of Influence.
Plascon’s PR and social media manager, Lauren Shantall.
Cape Craft & Design Institute April 2012
At our March monthly
meeting, Plascon’s PR and
social media manager, Lauren
Shantall, spoke on “Copying:
from informed borrowing to
outright knock-off, and how
to manage the line between
influence and inspiration."
Her edited presentation will
run in the newsletter over two
issues. Before starting the
article, Lauren advises that
its musical accompaniment
should be Rainbow Waltzing,
composed by her husband,
Derek Eyden of Deep Fried
Music www.deepfriedmusic.
co.za
17
A History
of Craft through 12 Objects
Gavin Chait takes us through the history of
craft represented by 12 iconic subjects, while
our newsletter journalist, Judy Bryant, explores
complementary Western Cape handmade
pieces.
SHADOW PUPPET
OF BIMA
Part 8
The Mahabharata is one of the most
important works of philosophy and devotion
in the Hindu world, discussing – amongst
other things – the four goals of life: dharma,
the right action; artha, purpose; kama,
pleasure; and mosha, liberation.
“Puppets always have to try to be alive,”
says Adrian Kohler, one of the founders
and creative minds behind Cape Townbased Handspring Puppet Company.
“An actor struggles to die on stage, but
a puppet has to struggle to live,” says his
partner, Basil Jones.
They were speaking in March 2011 in
California at the TED Talks held in Long
Beach.
Cape Craft & Design Institute April 2012
Handspring’s “breakout” show was their
2006 collaboration with Yaya Boulibaly, a
Malian puppeteer and leading custodian
of the Bambara puppetry school, one of
Africa’s oldest puppetry traditions. “Tall
Horse” featured a full-size giraffe made out
of wicker and controlled by two actors.
18
There is a vast tradition of puppetry dating
back some 30,000 years and it is believed
to predate actors. The puppets themselves
have a wide range of styles, from masks,
to sticks, to shadow puppets, to lavishly
crafted mechanical and string items.
Similarly, there is no limit to the interaction
of puppets and players. Sometimes the
puppeteer is seen and interacts with them,
sometimes the puppets are alone and
great pains are taken to avoid mixing with
their handlers.
I once had the privilege of spending an
afternoon at London’s National Theatre at a
puppetry master-class where some of the
leading puppeteers in the UK presented
their approach. Avenue Q presented their
Muppets-style cloth puppets while one
troop improvised by turning an ordinary
piece of newspaper into a living creature.
1.2.3.4.5.6.7.8.9.10.11.12
The craft of shadowpuppetry has been practiced
across the Javanese
archipelago for hundreds of
years. As so often happens
when a new idea enters into
a strong culture (in this case
Islam arriving in the Hindu
islands) a form of synthesis
emerges. The blending of
the best of both cultures
preserves many cherished
traditions while creating new
approaches.
Our craft
for this
month
is a
200-year-old shadow puppet from
Indonesia. The puppet represents
Bima, the hero of the great Hindu epic,
the Mahabharata. The epic story tells
of the Kurukshetra War and the fates of
the Kouravas and the Panawas. Bima
is one of the five Panawa brothers who
war against their cousins, the Kouravas.
Bima is charismatic and good, but has
characteristics that can make him terrifying
and ambiguous.
The work of the puppetmaster is exacting. “You
need to control the puppets
themselves, sometimes 2,
3, 4, up to 6 puppets at one
time. The puppet master will
have to know when to give a
signal to the musicians when
to play. And of course the puppet master
also keep voices of puppets in dialogues
between 1, 2 or 3 puppets and sometimes
the puppet master also sings a mood song
to set up the atmosphere of a particular
scene. The puppet master will have to use
his arms and legs, all of this done while the
puppet master sitting down cross legged,”
says Sumarsam, an Indonesian puppet
master.
The Mahabharata is one of the most
important works of philosophy and
devotion in the Hindu world, discussing
– amongst other things – the four goals
of life: dharma, the right action; artha,
purpose; kama, pleasure; and mosha,
liberation.
The puppets themselves are subtle and
highly-complex craftworks. Every colour
and style has a meaning. Bima’s black
face represents inner calm and humility.
However, his shape is much stylised with
wide legs, elongated arms and facial
features.
So how is it that a seminal Hindu work
came to be celebrated in Indonesia, the
largest Muslim country in the world?
The reason for this is that Islamic art usually
prefers not to represent people. Elsewhere
in the region, shadow puppets continue to
look much more realistic. Historians believe
that puppet masters created these artificial
shapes in order to satisfy both Muslims
and traditional Hindus.
According to Neil MacGregor, Director of
the British Museum, “Making a puppet like
our Bima was, and still is, a highly skilled
job, requiring several different craftsmen.
Bima is made out of carefully -prepared
buffalo-hide, that has been scraped
and stretched until it becomes thin and
translucent, and it was this material that
gave the Javanese name for the theatre
itself, ‘wayang kulit’ - skin theatre. The
puppet was then gilded and painted,
moveable arms were added, and handles
were made from buffalo-horn fixed to the
body and arms to control its movement.”
Puppetry, then, is about more than just
stories. It is about the passion and skill put
into creating these delicate story-telling
vehicles by master craftsmen.
Gavin Chait is a risk analyst at Whythawk and can be reached on gchait@whythawk.com.
A History
of Craft through 12 Objects
1.2.3.4.5.6.7.8.9.10.11.12
DESIGN ON THE MOVE
Movement is compelling,” explains Etienne
de Kock, over a cup of tea in the kitchen
next to his jam-packed workshop in
Muizenberg village. “My sculptures move,
often manipulated by the viewer, and in this
way, both movement and random human
intervention are used as material in the
work.”
Etienne is a Renaissance man who studied
sculpture and graphics at the University
of Pretoria. He is an accomplished
sculptor, designer, foundryman, sailor
and boat builder. Any small piece of
material discarded in his studio – metal,
wood or stone – could be selected for its
robustness or aesthetic appeal to form a
vital cog in a large moving piece.
He points out that bypassers tend not
to notice a static sculpture after a few
months. On the other hand, a moving
sculpture attracts people, and confounds
and challenges those who want to control
or predict movement.
Such sculptures, involving non-sequential
movement and time, are technically
challenging to make. They are also subject
to wear and tear. A piece in a Basel
museum made by his hero, the Swiss-born
kinetic artist Jean Tinguely, is moved only
once a day to ensure that it lasts.
Etienne first heard of the CCDI when
he was asked to judge a wirework
exhibition. Since then he has given
technical support to craft producers,
and in 2010 was one of six designermakers selected to make largescale sculptures for the Prestwich
Memorial area. His ‘dancing in a
melting pot”, facilitated by the CCDI,
represented the vibrancy of Cape
Town through three dancing figures
framed in a structure suggesting a
three-legged, traditional cooking pot.
Set atop a tall pole, the dancers are
activated by a rope hanging down
from the striker.
His sense of humour and technical
ability have resulted in moving
sculptures aimed to provide “a funfilled spectacle which inner children
of all ages will enjoy.” He adds: “I
love it when kids have to be dragged
away, screaming, from one of my
sculptures.”
“Scapegoat”
His diverse works are in numerous
private and public collections, and
include the fountain sculpture at the
South African Breweries visitors’
centre in Newlands and Cosmologic’
at Canal Walk. He has built working
models of ancient Islamic water
lifting machines and astronomical
equipment which are in museums
at the Topkapi Palace and other
museums in Arabia and Indonesia.
At present he is building an
imaginative playground with a difference,
designed with the architect Keith Struthers.
These include pieces such as a
canted merry-go-round on a slope,
a very wide slide that can be used
by six children at a time, rolling logs,
tightropes. All of which aim to be
developmentally challenging on the
gross motor skills front, and just plain
fun.
Etienne
combines
wood, metal
and stone to
form his kinetic
works.
Contact: Etienne de Kock
www.sculpture.za.net | 083 789 2527 |
1 George Road Muizenberg |
sculptor@telkomsa.net.
“Design is about more than just
things,” says Etienne. “It is managing
and imagining the space between
people and the object. When
we create, everything we have
experienced so far comes into play.”
Etienne with a moving sculpture
Judy Bryant Communications is based in Cape Town and offers writing and media communications services,
specialising in the creative, environmental and heritage sectors. Contact judybryant@telkomsa.net or 083 2867168.
Cape Craft & Design Institute April 2012
In many cultures, shadow puppetry uses
the illusion of moving images to tell stories
and to entertain … and in our own mother
city, a master craftsman builds moving
sculptures to amuse, perplex, encourage
contemplation, and inspire people.
Part 8
19
Focus
the fringe comes into
The Fringe: Cape Town’s Innovation District covers Roeland and Darling Streets, Buitenkant and Canterbury Streets,
and a strip of land which connects it to CPUT from Longmarket through to Tennant Street. It borders the proposed
District Six development. The area’s oft-neglected periphery relationship with the Central City inspired its new,
offbeat name. We highlight some of the exciting places to explore in Cape Town’s design and innovation district.
The Service Dining Rooms
Cape Town food charity, The Service Dining Rooms, is celebrating
its 78th birthday in June this year. Though the need for meals at
the premises will grow to over 500 a day this winter, the charity still
charges only 5 cents per meal.
The Service Dining Rooms soup kitchen has been operating from
the old-fashioned facebrick building at 82 Canterbury Street,
near the CCDI, since its inception. It was founded by Dorothy
Syfrets, the daughter of one of Cape Town’s leading financiers,
after she was approached by a beggar in the street and asked for
a tickey (2 ½ cents) for a drink. Dorothy told the beggar that she
would rather give a tickey for a meal, and founded the feeding
organisation to provide a “substantial and nourishing (mid-day)
tickey meal for the poor.”
Customers range from impoverished refugees to local destitute
people. And apart from these visitors, about 400 to 500 additional
meals are collected from the premises every day for delivery to old
age homes, crèches, informal settlements and more.
Sultry salsa at Que Pasa
Need an after work break with a difference? Then why not drop
into the first and oldest Latin dance school and salsa club in South
Africa, and learn how to sizzle on the dance floor.
Que Pasa Latin Lounge in Caledon Street offers something for
everyone, from beginners to advanced dancers. Private classes
with a professional dance teacher can be booked every day by
appointment for a couple or a single person. Focus classes are
for two to six couples – ideal for a group of friends who know each
other and want more instructor attention.
Group classes are set for particular times each week, taught by
one teacher. Generally there is a warm-up routine, basics for at
least 15 minutes, then the salsa step dedicated to that week, and a
Meals include meat, fish or soya, rice or samp, fruit in season.
According to manager Des Billings, about 90% of the food is paid
for from donations and fund-raising. The remainder is donated,
for example by retailers with extra stock of products, restaurants
and food manufacturers whose products are nearing their ‘eat by’
dates. A staff of eight people prepares the meals, and from one to
five volunteers arrive at the premises daily to help.
Contact: Des Billings servicediningrooms@telkomsa.net |
021 465 2390 | 82 Canterbury Street Cape Town.
cool down routine. Private classes
are offered every day on the hour,
Tuesdays and Thursdays are for
advanced salsa classes, Saturday
evenings for sexy salsa parties.
You can even attend wedding
dance classes to ensure that your
first outing on the dance floor as
a couple wows your friends and
family.
Que Pasa is also a great venue for a corporate event, film shoot,
team building for companies or a private party.
Contact: www.quepasa.co.za |15 Caledon Street Cape Town |
info@quepasa.co.za | 021 465 0225 | 074 199 0918 |
PO Box 689 Cape Town 8000.
Cape Craft & Design Institute April 2012
green
20
Traditional knowledge database
Think twice
The freshly launched "International Traditional Knowledge
Institute" (ITKI) is an ambitious effort by Unesco to preserve,
restore and promote the re-use of traditional skills and
inventions from all over the world. It includes an online
encyclopaedia of low-tech know-how, though it will take
many years before it is completed.
The City of Cape Town’s Solid Waste Management
Department partnered with WastePlan and various
community organisations to host the ‘Think Twice’
Recycling-Green Expo on 13 March in Durbanville.
The exhibition raised awareness and educated residents about
recycling and waste minimisation. Zibi, the mascot of the Solid
Waste Management Department, entertained the audience.
There was also a fashion parade showcasing outfits made from
recycled materials.
Contact: http://www.lowtechmagazine.com/2010/07/unescosets-up-international-traditional-knowledge-database.html.
Insert
training
BUSINESS SUPPORT
WORKSHOPS
APRIL - JUNE 2012
REGISTER NOW
1. Fill in a registration form
2. Pay the workshop fee 2 days BEFORE a
workshop starts.
WORKSHOP FEES
R 30.00 per day for CCDI registered people.
R 550.00 per day for non CCDI registered people.
Call 021 461 4696, email workshops@ccdi.org.za or
visit Eunice at the Creative Enterprise Training Unit.
Profit Prophet - 6 day
workshop cluster
Export Awareness 1 day info session
17, 18, 24, 25 April
3,10 May
19 April
Description: Is your
business making a profit?
Learn how to keep basic
records, how to cost and
price your products and
develop pricelists to ensure
that you are making a
profit.
Description: Are you
thinking of getting into the
export market? Do you
know what is involved?
This one day session will
give you a good overview
of what it takes to enter the
export market place.
PERSONAL DEVELOPMENT PROGRAMME
26 April 9:00 – 4:00
Facilitator: Julia Kukard
• How to white knuckle a
cash flow crisis
• street fighting with your
business partner
• how to plan treats and
shopping
• on being alone
• on managing the
naysayers
• on dragging yourself up
from the bottom
• on being responsible and
other hideous
psychological pressures
resulting from
owning your own small
business
Visioning Your Business
8 and 9 May
Do you have a vision for your
business? Are you still on
track with the vision you had
for yourself when you started?
Have you got business
goals to work towards? This
workshop will help you to
clarify your vision and help
you to identify and set goals
to work towards in achieving
your vision.
Closing the Deal
17, 24, 31 May and 7 June
Are you new to selling your
products or do you need
to brush up on your sales
techniques? This is an
introduction to direct sales
techniques, interpersonal
communication and business
communication
Social Media
15, 16 May and 21 June
Everyone is on Facebook –
some small business owners
are successfully using social
media sites to market their
products – this workshop will
introduce you to how social
media sites work and what
you need to do to make them
work for you!
Personal Enrichment
25 May and 29 June
A series of personal
enrichment workshops,
covering stress management,
assertiveness training, time
management and more once a month throughout the
year.
Business Management
22, 23, 29, 30 May and 5 June
Whether you are dreaming
of exporting your product
all over the world or selling
it at local markets you will
need to identify the best
business structure for your
needs, create a business
plan, establish admin and
recordkeeping systems,
and understand ethical
business practices.
•
•
•
•
Business Structures
Business plan
Ethical Business
practices
Business Admin
Legal cluster
6, 12, 20 June
(half day sessions)
Do you employ staff?
Are you legally compliant?
Do you have sales
agreements? If these and
other legal issues concern
you the CCDI runs a focused
legal workshop once every
four months.
This month focuses on
Employment and People
Management:
•
best-practice
recruitment processes
•
employment contracts:
the essential terms
•
managing employee
performance.
Cape Craft & Design Institute April 2012
Psychological survival
skills for small business
owners
21
CREATIVITY
WORKSHOPS
APRIL – MAY 2012
REGISTER NOW
1. Fill in an application form
2. Proof of payment will secure your place – first come first
serve basis.
Workshop admin fees R 30 per day members. This includes
tuition, materials, lunch and refreshments. Workshops are
subject to participant numbers and CCDI reserves the right
to cancel or defer workshops.
Call 021 461 4696, email workshops@ccdi.org.za or visit
Eunice at the Creative Enterprise Training Unit.
Design Cluster 1
12 April: Colour
19 April: Texture
26 April: Line
3 May: Form
This workshop series is open to those that wish to
discover how these elements can be better utilized in your
work.
Design Cluster Advanced
19 June
Open to those that have completed the first 4 workshops.
To work on all the principals together.
Creative Problem Solving
20 April and 20 June
This introductory workshop is for those who are new to the
creativity programme. It looks at brainstorming techniques,
creative visioning and how to access right brain thinking to
stimulate creativity.
Drawing
Starts 4 May
Cape Craft & Design Institute April 2012
This series of 8 mornings will increase your ability to
observe accurately and translate this into pencil. The nuts
and bolts course focuses on attention to detail and the
technical aspects of drawing. Using a pencil to creatively
problem-solve is also explored and you will be
encouraged to incorporate drawing ideas into your craft
production.
22
Biz Buzz (Retail)
15-17 May
This workshop is for those who are ready to enter the
retail market. The workshop will help you to identify both a
business and creative perspective of what your business
needs to engage with the market more effectively. An initial
visit to some retail stores will be followed with a 2 day
creative/business skills combined workshop to discuss
and advise people on how to move forward.
Biz Logo + Brand
13 June
Learn how to create a corporate image and brief a
designer in this power packed workshop.
Creative Walk
30 May
This introductory workshop
is for those who are new
to the creativity programme.
It introduces the idea of
critical looking by visiting
various places in the area.
The workshop is peppered
with creative activities
to open people’s eyes,
stimulate creativity and
draw inspiration from the
immediate environment.
Open Creativity
Sessions
These one and two day
workshops allow you to
expand your creativity and
come up with new ideas.
1 Day
2 Day
1 Day
9 May
22-23 May
7 June
New Professional Group Meetings
The quarterly meetings are open to all craft producers
working in similar or related mediums. The facilitated
meetings provide a space for people to meet, exchange
ideas, problem-solve and network. You identify which
group you would like to participate in, and sign up. You
will receive all correspondence about the group and be
invited and reminded about the meeting dates.
Professional Group 1:
Date:
Wood, Stone + Metal
10 April 9:00 – 13:00
Professional Group 2:
Date:
Paper, Rubber + Plastic
17 April 9:00 – 13:00
Professional Group 3:
Date:
Fibre + Natural Raw Materials
24 April 9:00 – 13:00
Professional Group 4:
Date:
Wax, Clay + Glass
3 May
9:00 – 13:00
Creativity workshops are limited to 10 spaces only!
Bursaries are available for workshops.
KAROO
COLOURS
Cape Craft & Design Institute April 2012
T: 021 461 4696 (ext 301), E: workshops@ccdi.org.za |
Visit the Creative Enterprise Training Unit, 2nd Floor,
Harrington House, 37 Barrack Street. The Fringe, Cape
Town.
23
CCDI PRODUCT
SUPPORT
APRIL – JUNE 2012
ACTIVITIES PROGRAMME
Call 021 461 1488 ext 411
Email productsupport@ccdi.org.za or visit the
Product Support Space to register.
R 30.00 per day administration fee for CCDI registered
users.
R 550.00 per day fee for non-CCDI registered users.
Administration fees are non-transferable and nonrefundable.
1-Day Product Support Tools and Processes
orientation
Thursday 12 April | 09h00-16h00
Thursday 10 May | 09h00-16h00
DESCRIPTION
Aimed at craft producers who have never used the
Product Support Space before or who would like to gain
a better understanding of its use. Participants are taken
through a series of exercises in order to increase their
understanding of the tools and processes and to get an
idea of the possibilities.
The processes include computer design, laser cutting
and engraving, vinyl cutting, fabric transfers, plastic heat
bending as well as exposure to a wide range of tools,
machines and materials. The Sessions also include a
research element and assistance on using the internet for
product-related research.
An orientation session.
PRODUCT SUPPORT
SPACE
CONSULTATIONS
Do you have an idea for a product but you’re not sure
how to go about making it?
Do you want to refine your product?
Do you have a challenge with your product on a design
or technical level?
Then book a consultation with one of the Product Support
Space staff. Consultations take the form of one-on-one
discussions, and can include assisted use of the tools and
processes available in the facility. Some of these include:
Product-related research on the Internet
Design computers
Fabric transfer and sublimation printing
Vacuum forming
Vinyl cutting for decals, heat transfers etc.
Digital embroidery
Laser engraving and cutting
Hot-wire cutting
Acrylic line bending
Mould making
CNC milling and engraving
Electronics assembly
Jigsaw, scroll saw, band saw and handsaws
Cape Craft & Design Institute April 2012
Dremel rotary engraving, drilling and routing
24
Sanding and polishing
Heat cutting and marking
Wide range of hand tools
And more...
Retail Readiness sales techniques training - the role play was facilitated
by Leonard Shapiro.
To come for a consultation or to learn more about a
specific tool or process, please contact Ashanti Zwedala
to make a booking:
In person: 4th Floor, 75 Harrington St.
By phone: 021 461 1488 ext 411
By email: productsupport@ccdi.org.za