Between 10 and 5 The South African creative showcase Thu, 29 Jan 2015 14:12:46 +0000 en-US hourly 1 Fresh Meat: Carla Saunders Thu, 29 Jan 2015 12:59:54 +0000

Greenside Design Centre grad Carla Saunders is driven to challenge our perceptions and pre-conceived ideas with a conceptually rooted approach to design.

The post Fresh Meat: Carla Saunders appeared first on Between 10 and 5.


Carla Saunders - 'Nothing' 7


Carla Saunders is a Johannesburg-based graphic designer, graduated from the Greenside Design Center College of Design. Images are her language and through these, she is driven to challenge our perceptions and preconcieved ideas with a conceptually rooted approach. We caught up with her for our yearly grad series to learn more about her thoughts on design, the project she’s most proud of to date and what she’s got planned for the year (and years) ahead.


How and why did you become interested in graphic design?


The reason the design field appeals to me is predominantly because of the communication aspect. Imagery is a language on its own and it affects our perceptions and understanding of things. This is something I am quite happy to be involved in.


What do you enjoy, or alternatively dislike, about it?


A dislike about the industry is how it has lost a lot of its integrity. It has become commercial and people have abandoned their passion for great design and valuable communication. As the First Things First manifesto, which was a call to action for a different approach to design, stated about the issue:


“Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.”


How would you describe your style, and what influences it?


My designs are influenced by an idea or commentary that usually takes a socially critical approach, and that is followed by research coupled with a concept that will give the execution direction.


Carla Saunders - 'Nothing' 6

Carla Saunders - 'Nothing' 8


What is your design philosophy? Or, what principles do you always work according to when designing?


Design communicates, therefore it’s such a powerful medium in which to relay information or an idea. What I aim to do with design is to attack and deconstruct harmful and sinister ideologies such as poverty and class, and to help society see the reality behind mere construct from a heteronormative system.


Was studying at the Greenside Design Center what you expected it to be? Has your perception of the field changed since your first year? And if so, how?


I enjoyed my time at GDC immensely. I doubt I would have evolved into the type of designer I am in a different environment, my exposure to great designers and taking a responsible approach to design is something I’m lucky for. My perception definitely changed in my second year, the possibilities of what can be done by designers became expansive and awe-inspiring.


What’s the best piece of advice you received while studying?


The best piece of advice was from my honours lecturer Robin Turner. Because of the commercial nature of the industry it becomes a common thing for aspiring designers to lose the fire in their belly about ideals and practice for change. He encouraged that one should not kill the flame, to hold on to it, because one day you could be in the position of opposing the norm, within your own studio for example.


Your approach comes across as being conceptually driven. Are aesthetics ever a starting point for you, or would you say this is secondary?


I believe form follows function, I do designs that just look beautiful but that can be compared with someone drawing out a doodle whilst talking on the phone. I believe a whole design becomes superficial and flimsy if it lacks a good strong conceptual foundation.


Carla Saunders - 'Nothing' 5

Carla Saunders - 'Nothing' 9


What is it that attracts you to editorial design specifically?


I think it’s a personal talent that evolved into a loved interest. I place great value in a publication design that is copy heavy, yet the designer found a way to make it simple, easy, engaging and an interesting process for the reader.


Which of your creative projects are you most proud of?


That’s a hard one. The one I found quite challenging, satisfying and enjoyable is the ‘Everything About Nothing’ project. It was formed to answer a brief from the ISTD (International Society of Typography Designers) – they launch yearly briefs for students to respond to, which are then judged on their typographical excellence and awarded membership into the society. What my project aimed to counteract or comment on was the general apathy felt by society.


This made me write out a narrative that was like a person having a late night existential musing over what the term ‘nothing’ means. Spaces in which the term ‘nothing’ relates were explored: like the execution being digital as it will occur in an intangible virtual space. Also, because the end result of the narrative is that nothing never means nothing, it always means something – if not everything – this digital output, which ended up being a 13m long continuous landscape orientated jpeg, was faxed through an old fax machine on a roll of thermal paper, so it ended up being a 13 m long fax. I used a fax machine because it has become a redundant technology in the traditional sense in South Africa, and because it prints through heat activating chemicals that are coated over the paper and they turn black. The paper however continues to react to heat and things like UV light so the text will fade away and the paper will go blank over time.


Coming up with the typographical output and design was an interesting venture within itself. I played around with the idea that without light we can’t see anything like colour or without looking we can’t tell one surface from another with no perspective. Therefore I decided to use light projections of my typography designs and interfere the light with substrates to alter or distort the appearance, capturing a different truth, that which is usually unseen.


Carla Saunders - 'Nothing' 4

Carla Saunders - 'Nothing' 1


What are your plans for 2015 and beyond?


To gain experience within my industry, get to know the field and how it works. My long term goal is to eventually start a tertiary institution that focuses on implementing and teaching critical design that will better society instead of viewing it as a consumer or “ism” group, along with a studio that will hopefully grow into an organisation that will give substance, support, research and guidance on how to build a socially critical method of designing.


Where can we stay updated with your work?


On my Behance profile. Keep a lookout for a few secret projects which I’ll hopefully be launching this year.


Carla Saunders - 'Nothing' 10

Carla Saunders - 'Nothing' 12

Carla Saunders - 'Nothing' 11


Publication design, ‘We Are the Hollow Men':


Carla Saunders - 'We Are The Hollow Men' 1

Carla Saunders - 'We Are The Hollow Men' 2

Carla Saunders - 'We Are The Hollow Men' 3

Carla Saunders - 'We Are The Hollow Men' 4

Carla Saunders - 'We Are The Hollow Men' 5

Carla Saunders - 'We Are The Hollow Men' 6

Carla Saunders - 'We Are The Hollow Men' 7

Carla Saunders - 'We Are The Hollow Men' 8


‘What is this Place’, a series of design executions used to convey that an aesthetic pleasure can be found in that which is broken:


Carla Saunders - what is this place 1

Carla Saunders - what is this place 2

Carla Saunders - what is this place 3

Carla Saunders - what is this place 4

Carla Saunders - what is this place 5

Carla Saunders - what is this place 7


Publication design for an critical theory academic paper by Lindi Maritz:


Carla Saunders - publication design 1

Carla Saunders - publication design 2

Carla Saunders - publication design 3

Carla Saunders - publication design 4

Carla Saunders - publication design 5





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Magic Worlds for Every Mood by Diorama Artist Flagg Thu, 29 Jan 2015 11:00:29 +0000

Cape Town based artist Flagg gives new voice to found objects through her magical handmade dioramas.

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there’s nothing under the bed i checked… #2



A leaky-roofed garage in Cape Town, filled to the brim with old household electronics, broken childhood toys and flea-market oddities is where you’ll find artist Flagg at work. Here she gives new voice to found objects through her magical handmade dioramas. Flagg describes herself as always having had a “weakness for the humorous and macabre” and you’re sure to find both elements in her unconventional new worlds – have a look!


Flagg encountered her first diorama at the age of four. The small white poodle in a glass house was a relic from her mother’s childhood. About her fascination with dioramas she says,


 I fell in love with the concept of “looking in”.  In retrospect my interest in the diorama could have been fueled by pure frustration of not being able to actually get to the poodle, though as I got older I started to realise that even though the scene behind the glass never changed, my feeling towards the object often did.  That’s what I love about dioramas. They are timeless, static scenes that change with our moods and that are brought to life by the power of our imaginations.


Flagg created her first (quite rustic) diorama on the morning of her very first exhibition. Although the exhibition was of her illustrations and prints, it was the new diorama that excited her most and she’s been addicted to making them ever since.


“There’s something liberating about taking an object that you would usually just vacuum up off the living-room floor and making it the centre of attention,” says Flagg who builds her dioramas by repurposing whatever she can find lying around in her studio or the bottom of her drawers. The new worlds take form inside old discarded objects and, more recently, hand made boxes. Flagg gives herself creative freedom. Her final works depend on her mood and whatever objects are in the vicinity. This makes for excitement, surprise and less inhibiting expectations when it comes to the final product.


About what inspires her, Flagg says, “My initial inspiration for a diorama often comes from something that someone has said to me in casual conversation. I find that people are a great, untapped well of ridiculous one-liners.”  The angles, colours and clumsiness of 70s and 80s design, as well as her considerable plastic figurine collection, are also sources of constant inspiration.


The dioramas became functional pieces when Flagg started to add wiring and lights. The new shadows and highlights created by the light strips lend three dimensionality to the scenes. “Since I felt so ‘locked out’ of that first diorama that my mom had given me, I have created a way for the viewer to assert their presence by turning my dioramas into functional art pieces,” says Flagg.


If you are as charmed as we are by Flagg’s miniature worlds, be sure to look out for her upcoming projects: she is working on large sculptures for an experimental dance project that will debut at Infecting The City in Cape Town in March. The sculptures are a development of the work she did for The Line & Light Dance Collective in 2014 when she was commissioned to create objects that will challenge the movement of both the dancers and their audience. More large dioramas are also in the works and will be displayed at a KIN launch in April.


Visit and like her Facebook page to view more work and read the weird and wonderful stories behind the diorama characters.



there’s nothing under the bed…


the weight of love…


the weight of love…


dear susan, i’m sorry…


that patch on your jeans, well it irritates me…


that niggly feeling…


that niggly feeling…


we are siamese…


the best in his field…


summertime puts you back on my mind…


summertime puts you back on my mind…


the saddest drinks ever…


red leather jacket weather…


sometimes i like to spend time on my own…


so i spilled…


so i spilled…


hugh, the manatee…


hugh, the manatee…


i hate the beach…


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#NowPlaying: ‘Teen Magazine’ by Katja Marr Thu, 29 Jan 2015 10:30:59 +0000

Teen Magazine is the title of this #NowPlaying made by photographer Katja Marr, and you'd be right to assume that it's fantastically nostalgic.

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‘Teen Magazine’ is the title of today’s #NowPlaying made by Cape Town based photographer Katja Marr, and you’d be right to assume that it’s fantastically nostalgic. Filled with the swoon-worthy-ness of Gwen Stefani, Destiny’s Child and Kylie Minogue, Katja’s playlist is the stuff of teenage dreams. It’s even got the Macarena! Needless to say, the whole thing is pretty impossible not to sing along to.


See Katja’s work at and follow her on Twitter, tumblr and Instagram for more.





  1. Cool by Gwen Stefani from ‘Love. Angel. Music. Baby.’
  2. Me & U by Cassie from ‘Cassie’
  3. Stuck by Stacie Orrico from ‘Stacie Orrico’
  4. Stop by Spice Girls from ‘Spiceworld’
  5. Independent Woman (Part 1) by Destiny’s Child from ‘Survivor’
  6. Who Let the Dogs Out by Baha Men from ‘Who Let the Dogs Out’
  7. Get the Party Started by P!NK from ‘M!ssundaztood’
  8. Spinning Around by Kylie Minogue from ‘Light Years’
  9. Butterfly by Crazy Town from ‘The Gift of Game’
  10. Macarena by Los Del Rio (Bayside Boys Mix) from ‘A mí me gusta’
  11. 1,2 Step by Ciara from ‘Goodies’
  12. AM to PM by Christina Milian from ‘Christina Milian’
  13. Can’t Hold Us Down by Christina Aguilera from ‘Stripped’
  14. Let Me Blow Ya Mind by Eve (ft. Gwen Stefani) from ‘Scorpion’


Browse our archives for previous versions of #NowPlaying, or find the playlists directly on 8tracks.


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“Unwrap The (Very Sweet) Story” of the new Cadbury P.S. Commercial Thu, 29 Jan 2015 09:40:07 +0000

In the latest TVC for Cadbury P.S. by Ogilvy & Mather Johannesburg, director Keith Rose sensitively illustrates the story of friends Lindi and Khanyi. Viewers are urged to further “Unwrap The Story".

The post “Unwrap The (Very Sweet) Story” of the new Cadbury P.S. Commercial appeared first on Between 10 and 5.



Friendships aren’t always smooth sailing, but there’s no doubt that the stories behind these ups and downs make them worthwhile. In the latest TVC for Cadbury P.S. by Ogilvy & Mather Johannesburg, director Keith Rose sensitively illustrates the story of friends Lindi and Khanyi. Viewers are urged to further “Unwrap The Story” that lies behind Lindi and Khanyi’s friendship through an extension of the campaign on Facebook.


The commercial opens with an emotional blow up between the two friends, portrayed by the talented young actresses Nonku Lukoma and Vanessa Gagu. We go on to follow the young women who, after Khanyi storms off during the fight, reminisce about their years of friendship in a series of vibrant flashbacks. The final scene shows Khanyi returning to her friend revealing a P.S bar with the message “I’m sorry” on it – a resolution provided by Cadbury P.S.


According to Tracy-Lynn King, Creative Group Head at Ogilvy (Copywriter), “This commercial follows on from the previous, successful ad in the ‘There’s a story behind every P.S.’ series.” Georja Bunger, Creative Group Head (Art Director) at Ogilvy, further explains, “While the previous ad was a love story, this commercial focuses on two best friends who have a fall-out. We wanted to do something that was brave for a chocolate brand, but also felt very sincere and captured what Cadbury P.S. is all about; which is real, human connections,”


Velocity Films’ Keith Rose directed the commercial. Keith is the Loerie Hall of Fame’s most recent inductee and has produced globally acclaimed films that are rumoured to emanate from his obsession with his craft. He says, “The soft music in the commercial projects the feeling of tranquility and it is a great counterpoint to the aggressive performances that followed.” The actresses received acting lessons, but were also allowed the freedom to personalize their characters as best suited them during the shoot.


Viewers left intrigued by the story behind Lindi and Khanyi’s friendship can find out more on Cadbury P.S.’s Facebook page where they’re invited to “Unwrap The Story” as part of an integrated online campaign. By unravelling daily clues on the girls’ identities, the reason for their fight and their final reconciliation, participants stand the chance to win a shopping experience for themselves and 3 best friends. The competition kicks off immediately, so have a look here.




Executive Creative Director – Mariana O’Kelly
Creative Director – Peter Little
Creative Group Head (Copywriter) – Tracey-Lynn King
Creative Group Head (Art Director) – Georja Bunger
Business Director – Bridget Christensen
Account Director – Greg Pfuhl
Head TV Production – Debbie Dannheisser
Production company – Velocity
Director – Keith Rose
Executive Producer – Peter Carr
Director of Photography – Eugenio Galli
Production Art Director – Elmi Badenhorst
Editor and Company – Saki at Left Post Production
Visual Effects Company – Searle Street Post / Udesh Chetty and Graeme Armstrong
Music Company/Composer/Sound –  Hatt & Mosley / Music Production / String & Tins / Frequency
Post Production Online – Searle Street Post Production
Post Production Offline – Left Post Production


Cadbury PS

Cadbury PS

Cadbury PS

Cadbury PS

Cadbury PS

Cadbury PS

Cadbury PS

Cadbury PS


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A Conversation on SA Street Wear Now | Part 3 | The Store Owners Thu, 29 Jan 2015 09:02:05 +0000

For our third and final instalment we're catching up with the founders of local street wear stores Boaston Society, Thesis Lifestyle and astore.

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adidas Superstar


adidas Originals has relaunched the classic Superstar with a global campaign that will challenge the definition of ‘superstardom’ throughout 2015. Alongside the campaign we’re having a conversation with South Africans who know the street wear scene inside out and sharing their insights and comments on the scene that the iconic sneaker is returning to.


In Part 1 we spoke with street style photographer Trevor Stuurman, youth engagement strategist Andile Mbete and stylist Boogy Maboi. In Part 2 we spoke with South African street wear designers Mathew Kieser of SOL-SOL menswear, Cherize Ross of K-WORD, and Daniel Sher of


For our third and final instalment we’re catching up with the founders of local street wear stores Boaston Society, Thesis Lifestyle and astoreisgood.


Elisha Mpofu is the owner and Creative Director of Boaston Society, a youth lifestyle boutique based on Long Street in Cape Town. The clothing store stocks numerous local brands alongside international favourites.


Wandile Zondo co-founded the Thesis Lifestyle Store on Youth Day in 2007 to mark a new revolution for the youth of Soweto. The majority of the store’s merchandise is locally designed, including their own Thesis label. Look out for the second Thesis Lifestyle Store set to launch in March.


Dario Leite is the co-founder and owner of astoreisgood, a contemporary lifestyle and culture store stocking the latest apparel, footwear, accessories and books on Kloof Street in Cape Town.


What excites you about street wear?


Elisha: Street wear is always changing, not boxed by some strict industry guidelines, fashion shows and all that other stuff that limits creativity and self expression. Street wear is that art that you and your friends engage with on the street corners, at school, skating in the streets or engaging in cyphers with other hip hop heads. So what excites me about being in this industry is knowing that people can make a living doing what they do every day – living their life. Talking about street wear from an economic context, it has allowed youth to create an industry and jobs for themselves, something which is currently lacking in the country right now.


Wandile: The fact that it’s still new in SA and there is a lot of room for local brands to grow.


Dario: I’m really looking forward to seeing more street wear from our local designers and particularly young designers. I think the diversity of our nation and particularly the youth, who disregard previous boundaries, is something to look forward to. I can see South Africa becoming a great spot for street wear inspiration, if it isn’t already!






Why did you decide to open a street wear store in South Africa? And how did you go about doing so?



Elisha: I started in 2012 and the idea was to create an online platform for local and international street wear brands. One year into my research and trying to implement the idea I decided to go ahead and open a brick and mortar space because e-commerce was not yet ready for street fashion. The idea just grew from then and I’ve not looked back ever since.


Wandile: South Africa has a few street wear stores and we saw an opportunity to start and grow our brand, as way of expressing ourselves. It started as hobby by buying second hand clothes. From that we evolved to start our brand. From the brand we decided to create a space where the brand could interact with the consumer and Thesis Lifestyle was born.


Dario: We opened our store because we felt that street wear was not being accurately represented in the country. We got together with some friends who all shared a love for fashion, design, art and music and opened the store together.


Boaston Society

Boaston Society


What do you look for when deciding to stock a new brand?


Elisha: We look for excitement and commitment of the founders or owners. If it doesn’t excite us then there is no point in trying to pretend. However we also factor in things like the brand’s points of difference, their positioning, history and all that because all brands come with a story and we always want to tell good, original stories.


Wandile: We look for what the brand stands for and we only stock brands that we would wear as well.


Dario: Can I see myself wearing this? If I’m comfortable wearing it then it will feel more genuine and this rubs off on our customers.


Thesis store

Thesis Lifestyle


The adidas street style staple, the Superstar, is back in a big way in 2015. What else will we be seeing on the streets this year?


Elisha: The Superstar is back in a big way which is exciting. I have always been a fan of the silhouette together with the Stan Smith. From last year’s nice line up of Stan Smiths into this year’s Superstar line up things are getting exciting. I think the Tubular is going to have a big year too. Many people were excited about it from day one and I am sure adidas has great plans for it. Retro kicks are still dominating the scene so I would still like a couple more retros.


Wandile: I see commuter cycling growing and that will have an impact on commuter gear.


Dario: adidas have some exciting product in this year’s collection. Really looking forward to what Kanye West has in mind for his new partnership with adidas and Pharrell has already showed his hand with his take on the Stan Smith.


What trends in art and design (or vice versa) have you noticed being translated into street fashion?


Elisha: Architecture has played a major part in shaping street fashion. Clean minimal designs, high fashion meets street style. Art will still play a big part so I expect to see more fashion designers collaborating with mainstream artists.


Wandile: I never follow trends but I am always inspired by different artists; Atang Tshikare is a good example with that, and Lazi Mathebula.


Dario: Street wear is a co-optive phenomena and certainly art and design are seasonal victims of how street wear borrows and morphs from other creative movements. Whether it’s an appropriation of 80s skate board graphics, Disney characters or classic paintings, street wear takes it all and produces its own versions.




The 2015 adidas Originals Superstar campaign aims to redefine ‘superstardom’ as creative courage in a move away from celebrity worship and external validation. What young South African creatives epitomise this definition for you?


Elisha: The whole Boaston Society team epitomises this definition by just sticking to what we do without necessarily seeking co-signs or Instagram influence. We promote street wear, brands, artists and designers in our store and do so with total belief in all the people we work with. There are also other people doing amazing work, just from the top of my head:


Dillion Phiri from Creativity Nestlings. He is pushing creativity in Cape Town and South Africa with no specific aim of being famous. His work with young people all over the country speaks for itself because he has connected a lot of creatives.


Petite Noir is one of the best artists to come out of the country. He is not trying to fit into the entertainment industry but is making good music, achieving way more than a lot of artists celebrated today.


Mpumelelo Frypan Mfula – check him out on RHTC Online – is a young ambitious dude with a passion for street culture. A student of the streets, he is now becoming a teacher in the streets.


More people check to out are Vincent Manzini, Jermaine Charles, Mpho Makua and the Stylagang Crew.


Wandile: Wanda Lephoto, Kabelo Kungwane, Lazi Mathebula and Computa (he always does the store interior at Thesis).


Dario: I’m really fortunate to know of a few! Ben Johnson (Designer), Kope Figgins (photographers), Anees Petersen (Young&Lazy), Matt Keiser (Sol-Sol), Smiso Zwane (Okmalumkoolkat) are all doing wonderful things.



Read Part 1 and Part 2Find out about the making of the campaign.


adidas Superstar


adidas Originals Superstar Vintage Deluxe available at adidas Originals stores.



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Don’t Miss GUILD Design Fair 2015 Wed, 28 Jan 2015 09:52:38 +0000

Exceptional design will be showcased at the second annual GUILD Design Fair this February in Cape Town.

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Artisan by Watershed Photo by Greg Cox 1

Artisan by Watershed ( photo by Greg Cox)



GUILD Design Fair, presented by Southern Guild, will be showing in Cape Town for the second time from 25 February to 1 March 2015.


This year the fair focuses on the bringing together of dedicated, focused curators, designers and institutions who are striving to preserve and provoke ground-breaking design. GUILD Design Fair will showcase the work of highly respected design authorities from Africa, USA, the Middle East, Britain and Europe – presenting distinctive viewpoints to a fresh audience.


At the fair, visitors will have the opportunity to meet with designers as they discuss their work on display. In collaboration with the V&A Museum and British Council, GUILD will present a combined library, gallery and workspace for designers. Here, fair-goers will be able to observe artists at work as they bring their designs to life.


The featured exhibitors this year are entrepreneur and designer Peter Mabeo who will be collaborating with South African designer Porky Hefer for the fair. Thought-provoking satire mainly directed at South African society can be seen in painter and print maker Conrad Botes‘ work. Sipho Mabona will showcase his latest work titled ‘In Search of’ which transforms traditional paper crease patterns into transient, sacral glass planes freely floating in a white cube.


Galleries showing at the fair will be R& Company with The Haas Brothers who have collaborated with South Africa’s Monkeybiz beading for their work titled ‘Afreaks’, Artisan by Watershed present a unique range of handmade pieces that can be purchased and taken home immediately. Carwan Gallery the first contemporary design gallery in the Middle East will be working in collaboration for the first time with Cape Town based ceramist Andile Dyalvane of Imiso Ceramics and Bronze Age foundry. The Parisian Carpenters Workshop Gallery will be bringing South African born Kendell Geers to Cape Town for his first exhibition of his designs in his homeland. Other galleries at the fair include Design Network Africa, London Connoisseur and Southern GUILD.


The GUILD Design Fair is being held at The Lookout at the V&A Waterfront.


Opening times:
Wednesday 25 February 10am – 4pm
Thursday 26 February – Saturday 28 February 10am-8pm
Sunday 1 March 10am – 6pm


Ticket booking email:


Here’s some of what to expect:



Southern Guild  Beth Diane Armstrong_Reach_8

Southern Guild – Beth Diane Armstrong

London Connoisseur Thomas Heatherwick_bench

London Connoisseur – Thomas Heatherwick

R & Company David Wiseman_Diamond vase_5

R & Company – David Wiseman

London Connoisseur Metallic Geology 2

London Connoisseur- Metallic Geology

Kendell Geers Leviathan Stool Image Courtesy Carpenters Workshop Gallery

Carpenters Workshop Gallery-Kendell Geers

London Connoisseur Studio Swine Can City_Stool_6

London Connoisseur- Studio Swine ‘Can City’

R & Company David Wiseman_Tufted vase_3

R & Company- David Wiseman

Kendell Geers_Stool_2

Carpenters workshop gallery-Kendell Geers

Design Netwrok Africa Babacar Niang3

Design Netwrok Africa- Babacar Niang

Design Network Africa Boubacar Doumbia

Design Network Africa – Boubacar Doumbia

Design Netwrok Africa Hamed Ouattara1

Design Netwrok Africa- Hamed Ouattara

Conrad Botes_1

Conrad Botes

Artisan by Watershed Photo by Greg Cox 2

Artisan by Watershed- (Photo by Greg Cox)


See what we spotted at GUILD Design Fair 2014.


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Featured: Architecturally Inspired Products by Douglas & Company Wed, 28 Jan 2015 08:34:00 +0000

Douglas & Company is a local design collective whose minimalistic approach and architectural aesthetic caught our attention.

The post Featured: Architecturally Inspired Products by Douglas & Company appeared first on Between 10 and 5.




Douglas & Company is a local design collective owned and run by husband and wife duo Jan and Liani Douglas. With backgrounds in architecture, Douglas & Company was established as a side project which allowed them to design small scale interior items too. Now, 3 years later, Douglas & Company has an extensive portfolio, ranging from residential projects to interior products and jewellery pieces. We caught up with them to find out more about their minimalistic approach and architectural aesthetic.


Tell us about your backgrounds?


We see ourselves as makers of things, and specialise in the design and production of contemporary spaces, furniture, lighting and objects.


We both studied architecture, and have been fortunate to hone our skills and gain experience in the design world both locally (Cape Town) and abroad (London). We’ve always been interested and involved in the broader creative industry. Jan interned and did illustrative commissions for Wallpaper* magazine shortly after graduating, and Liani submerged herself as a curator in the contemporary art world for the last couple of years.


Until recently, Douglas & Company was a sideline to our ‘real’ day jobs and directed as and when opportunities arose. Jan’s first furniture range titled Africana Familia made its debut at the Design Indaba Expo in 2012 as part of the Emerging Creatives Programme, and a collaboration with Mr Price for a locally designed homeware range as part of their CoLab collection followed soon after.


The end of 2014 marked the beginning of a bigger commitment to our joined creative endeavours, so we’re looking forward to a productive 2015.


Mr Price CoLab

Mr Price CoLab


Did the transition from working as architects to designing interior items and products come naturally? 


In the very first book entirely devoted to architecture, the Roman architect and writer Vitruvius said that Roman architects practised a wide variety of disciplines, and called for architects to be “skilful in many arts, equipped with knowledge of many branches of study and varied kinds of learning”.


We’re interested in designing ‘complete’ environments, so it feels like a natural extension to be concerned with the smaller scale items that we interact with on a daily basis. We believe that good design requires the ability to work in multiple scales, and the transition between proportions is complimentary to the process and refinement of items. Many of the nowadays sought after modern classic furniture, were conceived by architects – think about the Wassily Chair by Marcel Breuer, Chaise Longue by Le Corbusier and the well known Eames chairs by Charles and Ray Eames.


Working at a smaller scale also gives us the chance to experiment with a wider materials palette. One rarely gets the opportunity to ‘prototype’ large structures, so it’s an added benefit to test ideas in smaller pieces, and then be able to incorporate these tailor-made products as part of architectural projects.


How does your experience in architecture influence your approach and aesthetic when designing furniture or products?


Our approach to creating places and spaces is based on a contextual response. South Africa has a rich heritage to explore: in terms of how we use spaces, materials and climate, and how we address these factors to make work that are responsive and useful within a very specific context.


We’re in favour of simplicity in architecture and design, and try to abide by Dieter Rams’s 10 Principles of Good Design, in particular ‘good design is as little design as possible’. A fitting example is Die Steunpilaar, the newest addition to our family of furniture. The design of this leaning lamp reduces all the traditional components of a floor lamp to a minimum and eliminates the idea of a self supporting structure in favour of using its context as a structural mechanism. The lamp leans against walls or a vertical surface and the shade is adjustable.


We’re interested in architecture and design being the backdrop to the everyday, so we’re always trying to use design to find a place located half-way between idealism and pragmatism. Buildings and products are used daily, so their aesthetic quality and ‘image’ is integral to its usefulness and memory.


Die Steunpilaar

Die Steunpilaar


Are there any other influences on your designs? 


We have a lot of fun in naming our products and like the idea that the pieces might all be characters in some strange narrative, with authentic South African names based on our heritage.


Jan’s interest in pulp and photo stories inspired naming the recent Die Swart Hings. This standing lamp is a direct descendant of Die Kantelmeester, but has more attitude. A bit like Die Swart Luiperd, a series of local pulp novels from the 1950s.


Many of our products look like strange creatures or characters with adjustable ‘heads’ and ‘legs’ that add to their anthropomorphic qualities. Pieces in the first collection referenced various archetypal forms of addressing Afrikaans boy or men, like Kantelknaap, Kantelmeester, Die Oom and Boetman. The next collection could have been a family saga in the grand South African tradition featuring Ðie Dienskneg (side table), Opsitkers (table lamp), Stiefma (bench) Swartskaap (floor lamp) and Versamelaar (bookshelf).


Tell us about your creative process. How do you go about turning an idea into a physical object? 


We both enjoy the creative and design process, and conceive of the majority of products and projects together; but with Jan working full-time, Liani looks after the administration and production. Our creative process is definitely not a linear one. Ideas get reworked and refined through every stage of the process to get the best results. The starting point will either be a request for a bespoke item or space from a client or self initiated, generally through a need to have a functional item in our home. Sketch designs are materialised in prototypes, where after it is sent for production once we’re happy with the final dimensions, materials and finish. All items are produced on South African soil in support of local craftsmanship.


What inspired your latest project, FORM MATTERS


FORM MATTERS is a self initiated project that explores how concrete, the same material that is used to create large architectural structures around the world, can also be used to create smaller wearable pieces. We’re interested in how jewellery items double up as wearable pieces of architecture or even maquettes for a larger installation, so Liani designed this once-off collection as an experiment.


The simple geometric forms remind of pre-cast concrete components used in infrastructure construction (concrete pipes and culverts), but this reference is challenged by the elements downscaled to a human proportion. A mix of Portland cement, sand and water was used to shape the bracelets, with the section thickness reduced to the structural minimum. Hand cut brushed brass plates complete the geometric forms with a single black diamond set in one of the bracelets to add extra sparkle and delight, similar to a hidden gem. Future plans include variations in different materials – keeping with a material palette used in the construction industry like marble and wood. The concrete is gorgeous, but brittle, so a more durable version would be first prize.







With a full-time job as an architect, teaching architecture and running Douglas & Co, how do you stay inspired and motivated?


We enjoy walking, cycling and getting lost in foreign (and local) cities whenever we can, and then sitting down and sampling the local brew. Liani enjoys to document a city’s moments rather than its’ monuments on Instagram. Her quest to find delight in the ordinary started as a personal project, Calendar of the Everyday, where she captured everyday experiences of city life in Cape Town, day by day, during the city’s reign as World Design Capital in 2014.


We stay curious to stay inspired, and try to look at our surroundings with awe. We both read novels (JM Coetzee, Paul Auster, Eben Venter, Etienne le Roux and Don de Lillo are some favourites), and believe that these narratives provide a useful insight into contemporary life. And to keep our feet tapping, we listen to BBC 6 Music. We also enjoy doing nothing, and celebrate it with a good bottle of wine.


What are you working on at the moment?


There’s a new residential and interior project currently on the drawing board, and we’re planning to launch a new collection of products and exhibit at a design trade show towards the end of 2015.


What’s next? 


(In no particular order)

Visit Hong Kong, Istanbul, Tokyo and Lisbon

A Calendar of the Everyday exhibition

Renovate our own home

Build a custom bike

Launch a wearable architecture jewellery range


See more of Douglas & Company’s work on their website and Facebook page.


Click here to view the embedded video.

Mr Price CoLab

Mr Price CoLab

The Cow Africa Offices

The Cow Africa OfficesThe Cow Africa OfficesThe Cow Africa Offices

The Creative Block Gallery

The Creative Block GalleryThe Creative Block GalleryThe Creative Block Gallery

The Devils Peak Brewing Company Pop-up Bar

The Devils Peak Brewing Company Pop-up BarThe Devils Peak Brewing Company Pop-up Bar


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Fresh Meat: Catherine Holtzhausen Tue, 27 Jan 2015 13:18:21 +0000

Catherine Holtzhausen’s expressive collage illustrations are sweet, cheerful and mischievous with a sardonic undertone.

The post Fresh Meat: Catherine Holtzhausen appeared first on Between 10 and 5.


Catherine Holtzhausen


Catherine Holtzhausen is an illustrator, but not in the typical sense of the word. Her mixed media artworks or collage illustrations are brought to life through various processes and built out of many layers – both physical, and digital. Just graduated from the Stellenbosch Academy of Design and Photography, Catherine’s expressive style appears sweet, cheerful and mischievous on the surface while often containing a sardonic undertone. We spoke to her as part of our annual Fresh Meat series to find out how she arrived at her unconventional approach and what it entails.


How and why did you become interested in design and illustration?


As far as I can remember, I always wanted to go into the arts, I spent a lot of time growing up scribbling, painting and making. I discovered graphic design thanks to a sudden syllabus change in high school, and that sparked the fascination and love for the field. I went on to pursue graphic design at the Stellenbosch Academy of Design and Photography where I fell in love with design and particularly illustration even more.


What do you enjoy, or alternatively dislike, about it?


Well to be frank, I absolutely hated illustration in my first year at the Academy. I couldn’t stand my own drawings and everything I produced was pretty rubbish. I envied my classmates who had the ability to create fantastic illustrations with so much character and depth. My lecturer; Rosalind Stockhall, works in mixed-media collage and always encouraged us to try it. It wasn’t until my second year when I finally listened and then all of a sudden it was like a gear had just shifted into place. After a lot of illustration workshops and an abundant amount of chair drawing, We did an exercise where we made our own papers, photocopied them and then chopped them up to make a few characters. I really enjoyed the freedom of this way of working and ended up making tons of long legged scrap men. Since then I’ve been experimenting with making my own papers on the press, making use of mono-prints, collagraphs, etchings etc.


How would you describe your style, and what influences it?


I often hear that my work is kind of a blend of cute and humorous with a sardonic undertone.


How has your work changed or developed during the last year? Have you discovered any new processes that have played a role in this?


I’ve been experimenting with how to add more detail into my work without it becoming too noisy, which led to me experimenting with digital montage and then incorporating that with my existing collage style and I’m really excited to see how that grows. I experimented with some vector and gouache, but I still favour collage the most.


Was studying at Stellenbosch Academy what you expected it to be? Has your perception of the field changed since your first year? And if so, how?


In hindsight I couldn’t have been more closed-minded about the industry. The Academy really exposed me to just how broad, exciting and ever evolving the creative industry is. I was not anticipating the amount of sleepless nights and tear filled deadline days, but looking back it was never really “work”, always an abundant amount of play and fun. Sleepless fun.


What’s the best piece of advice you received while studying?


Process. Experiment and embrace process work, it’s not always about the final product, but what you learn while making mess.



What could creating one of your collage illustrations entail, from start to finish?


I usually begin with a little research and move on to the play-phase, where I experiment with different printmaking processing (mostly using the press) and sourcing other materials like old paper, lace or rusty things from the pavement. I generally photocopy all the papers and new found oddities and from there cut out strange shapes, sometimes with intention and sometimes while I look away from the paper even, and then I start putting together the pieces. Most of the time I enjoy going into the illustration with very little form in mind, so that I can just let the random scraps of paper fall into the place of a strange figure. Then I either draw or paint/scan in the character and add details with a digital montage of sorts.


Which of your creative projects are you most proud of?


I would say I’m probably most proud of the last book I made, ‘The Day the Saucers Came’. This is pretty much where I got to take all my experimentation of my first and second year, and blend them together to create the book.


I fell in love with Neil Gaiman’s short story, ‘The Day the Saucers Came’, and was drawn to it’s sardonic tone and commentary of a rather self-involved society. Yet the apocalyptic story is written in a way that remains somewhat light and humorous. My struggle throughout the book was how to make the illustrations read in the same tone as Gaiman wrote it and finding that balance between humour and melancholy. My process was a bit more involved this time, focusing on including more detail through blending photo montage with my existing collage style. Finding that balance between added detail yet comfortable breathing space was initially pretty tricky.


Catherine Holtzhausen→The Day The Saucers Came

Catherine Holtzhausen→The Day The Saucers Came 2


You’ve got a particular love for picture books. What makes these an ideal outlet for you?


I love how one image leads into the other and that anticipation of seeing how the story will unfold. I like my work to be pretty open to interpretation yet throwing in a curve ball here and there to surprise the reader. I find that picture books are just the best medium for that kind of story telling.


To some, the freedom mixed media allows could seem quite daunting. What do you enjoy about working in a medium that can take so many different directions?


You know how you never like your own handwriting or a recording of your voice, that’s how I feel about pretty much everything I create except collage. I never liked my own drawings or paintings, It always felt forced or like a replication of something I’d seen somewhere before. The mixed media doesn’t allow for much control, and you’re always experimenting, playing and messing up. It’s usually the flaws in the process that I end up favouring the most, and I thrive with that freedom/lack of control. I guess the most daunting thing for me now is how to evolve my style further or experimenting with other styles and not hating it.


What are your plans for 2015 and beyond?


I’m just focusing on getting plenty of experience and experimenting and pushing my style a lot further and learning. The end goal is writing and illustrating my own books and getting them published. But like every other recent graduate out there, I don’t really know what the hell I’m doing, but I’m okay with that.


Where can we stay updated with your work?


Behance, Facebook and Inspiration.


The Day the Saucers Came:


Catherine Holtzhausen→The Day The Saucers Came (3)

Catherine Holtzhausen→The Day The Saucers Came 4

Catherine Holtzhausen→The Day The Saucers Came (5)


The Revolution:


Catherine Holtzhausen→The Revolution 1

Catherine Holtzhausen→The Revolution 2

Catherine Holtzhausen→The Revolution 3

Catherine Holtzhausen→The Revolution 4


Love Is:


Catherine Holtzhausen→Love Is 1

Catherine Holtzhausen→Love Is 2

Catherine Holtzhausen→Love Is 3

Catherine Holtzhausen→Love Is 4

Catherine Holtzhausen→Love Is 5

Catherine Holtzhausen→Love Is 6

Catherine Holtzhausen→Love Is 9

Catherine Holtzhausen→Love Is 10






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A Guide to South African Art and Design Fairs in 2015 Tue, 27 Jan 2015 12:11:05 +0000

As a few of South Africa's prominent creative festivals are just around the corner, we thought it would be a good time to roundup the local art and design fairs you have to look forward to in 2015.

The post A Guide to South African Art and Design Fairs in 2015 appeared first on Between 10 and 5.


Turbine Art Fair 2014


As a few of South Africa’s prominent creative festivals are just around the corner, we thought it would be a good time to roundup the local art and design fairs you have to look forward to in 2015. Each year more festivals arrive on the scene and other annual expos become more established, which leaves us with a wealth of opportunity to support and appreciate South African creative initiatives and local talent.


GRID Cape Town Biennial: 14th February – 15th March | Cape Town


GRID Cape Town Biennial


GRID is a biennial photography festival which originated in the Netherlands and takes place internationally in several different creative cities. GRID Cape Town’s main exhibition is set to take place at the Castle of Good Hope with the theme being, Constructions: South Africa. The festival aims to incite a worldwide exchange of contemporary image culture. It looks to provide a platform for photographers to stimulate dialogue through visual communication both locally and globally. Visit their website to see the line-up of events and find them on Facebook to stay updated.


Why go: For an international look at the medium of photography.



Guild Design Fair: 25th February – 1st March | Cape Town


Beth Diane Armstrong

Beth Diane Armstrong


Guild Design Fair is an international design expo which is returning to Cape Town for its second addition at the V&A Waterfront (The Lookout). The designer line-up includes creatives from 17 different countries. The fair includes guided tours, talks by top designers and evening events with optional dinner and drinks before viewing the work. The Guild incites the coming together of curators, designers and institutions with the common goal of celebrating exceptional design. Visit their website for updates on the design talent you can look forward to.


Opening Times:

Wednesday from 10am – 4pm
Thursday to Saturday from 10am – 8pm
Sunday from 10am – 6pm



Adults: R80

Pensioners, students, children between 12 and 18: R50

Children under 12: Free


See our highlights from Guild Design Fair 2014.


Kendell Geers

Kendell Geers

Artisan by Watershed

Artisan by Watershed


Why go:  For premier local and international collectable design pieces and once-off collaborations.



Design Indaba: 25th February – 1st March | Cape Town


Design Indaba 2014


Design Indaba takes place annually at the Cape Town International Convention Centre and comprises two parts: the conference from the 25th – 27th February and the expo from the 28th February – 1st of March. The conference always features an exciting lineup of international and local creatives, industry leaders and innovative designers and thinkers. The expo is made up of the best South Africa’s creative sector has to offer, with an interesting mix of cleverly designed products and creative technology. A highlight at the Design Indaba expo is the Emerging Creatives programme, a showcase of forty up and coming South African designers and makers. Find more info and conference prices on their website.


Expo Opening Times:

Friday from 10am – 8pm

Saturday from 10am – 8pm

Sunday from 10am – 6pm



Online or at the door: R80

Pensioners and Students: R60

Children (10 to 18 years old): R50

Children under 10: Free


See our highlights from the Design Indaba Expo 2014.


Design Indaba 2014

Design Indaba 2014

Design Indaba 2014


Why Go: Attend the Design Indaba conference or simulcast to hear from global leaders in innovative creativity and design thinking. Visit the expo to shop!



 Cape Town Art Fair: 26th February – 1st March | Cape Town


Cape Town Art Fair 2013


Through a diverse offering of local art, Cape Town Art Fair aims to be representative of the richness, promise and investment of art from Africa. The 2015 fair will take place predominantly in two main venues: The Avenue and a marquee on the North Wharf next to Zeitz MOCAA (Zeitz Museum of Contemporary Art Africa). The public programme will include visits to multiple different creative sites around the city to promote public involvement in Cape Town’s broader artistic ecosystem. The CTAF will also include a festival of ‘moving image in art’ at three Nu-Metro cinemas. For more information, find the daily opening hours and gallery map on the CTAF website.


Cape Town Art Fair 2013

Cape Town Art Fair 2013

Cape Town Art Fair 2013


Why go: Cape Town’s snap-shot of the contemporary art market.



Dance Umbrella: 26th February – 15th March | Johannesburg 


Screen shot 2015-01-26 at 4.40.48 PM


Dance Umbrella has a 27 year history of presenting new contemporary choreography and dance in Johannesburg. This multi-disciplinary festival features choreographers and companies from all over South Africa and presents work ranging from community-based/Youth groups, young up-and-coming choreographers, new commissioned work from South African artists to international companies. The 2015 festival programme will see a special focus on female choreographers, who have become an increasing presence in the previously male-dominated dance scene. Take a look at the festival website for more info and the full programme.


Dance Umbrella Screen shot 2015-01-26 at 4.37.07 PM


Why go: The contemporary dance platform that has launched several local choreographers’ careers onto the international stage.



THAT ART FAIR: 27th February – 1st March | Cape Town




THAT ART FAIR is a new ARTsouthAFRICA initiative, focussing on providing a platform for young, emerging African artists who work under the radar of the traditional art establishment and who do things a little differently. Hosted in Salt River in Cape Town, this affordable art fair hopes to transform the contemporary African art world, focussing on nurturing and investing in emerging talent. Keep an eye on their website as they reveal more info and the full programme.



1 Day Pass (Online purchases only): R50
1 Day Pass (At the door): R70
1 Day Student Pass (At the door only – student card required): R30
Full Weekend Pass (Online purchases only): R100
Full Weekend Pass (At the door): R120
Bulk ticket purchases, 14 x 1 day passes (online only): R500




Why go: See and buy artworks by the new wave of contemporary African artists.



Infecting the City: 9th March – 14th March | Cape Town


Infecting the City


Infecting The City is an annual public arts festival that strives to bring exceptional, socially-engaged performance and visual art out of theatres and galleries and into the communal spaces of Cape Town’s Central Business District – transforming the city centre into an outdoor venue, where art is free and accessible to everyone. Keep an eye on their website as they reveal this year’s programme.


Infecting the City


Why go: Art for all!



ABSA KKNK Fees: 3rd April – 11th April | Oudtshoorn 




The Absa KKNK takes place annually in Oudshoorn. Over the past 20 years this festival has distinguished itself as an art festival that showcases the most exciting new work across the disciplines of theatre, music, visual art, street art and dance, encouraging local artist to create new work and providing a platform where they can showcase it. The best work is rewarded with the annual Kanna-awards, after which it travels to other festivals locally and internationally. Take a look at the festival website for programme details.
Why go: See the best new Afrikaans work first.



The Winter Sculpture Fair: 9th May – 10th May | Nirox Sculpture Park, Cradle of Humankind


The Winter Sculpture Fair 2014


The weekend of May 9th and 10th will once again see the Nirox Sculpture Park become the picturesque setting for the annual Winter Sculpture Fair. For two days the lush park, which was once a commercial trout farm, is transformed into an outdoor contemporary art haven with elaborate sculptures exhibited in both indoor and outdoor settings. The Winter Sculpture Fair, which is spearheaded by Artlogic, provides an alternative experience for Joburg art enthusiasts in arguably one of Gauteng’s most beautiful spaces. For more info on the artists and culinary collaborators visit their website.


Opening Times:

Saturday 9 May from 10am – 5pm
Sunday 10 May from 10am – 5pm



For sale online and at the door, children under 12 enter for free.


See some of the sculpture from last year’s fair.


The Winter Sculpture Fair 2014

The Winter Sculpture Fair 2014

The Winter Sculpture Fair 2014


Why go: South Africa’s first sculpture fair, set in a gorgeous outdoor setting.



National Arts Festival: 2nd July – 12th July | Grahamstown


National Arts Festival


The National Arts Festival celebrated its 40th birthday last year and  occupies a prominent slot in the annual arts calendar as a vibrant celebration of South African art and creativity. It is a multi-sited, multidisciplinary showcase of creative talent that livens up the small university town of Grahamstown in the Eastern Cape for two weeks every June/ July. The programme includes drama, dance, physical theatre, comedy, a rich musical line-up which includes a range of genres, visual art exhibitions, film, student theatre, street theatre, lectures, a craft fair, workshops, tours (of the city and surrounding historic places) and a children’s arts festival. The performances and exhibitions take place throughout Grahamstown in an assortment of different, interesting venues. The schedule is usually up well in advance; visit the comprehensive website for more info on where to stay, what to expect and what not to miss.


See our highlights from last year’s festival.


National Arts Festival

National Arts Festival

National Arts Festival


Why go: South Africa’s largest and oldest arts festival, as well as the annual premier of the Standard Bank Young Artists’ work.


Cape Town Fringe: 24th September – 4th October | Cape Town 


The Cape Town Fringe festival is an off-shoot of the National Arts Festivals and brings a portion of Amazing theatre and performance to various sites across the city. The festival is based on the international Fringe concept, and focuses on small, mostly independent productions and performances that take place in (often) unusual venues. The Cape Town Fringe includes performances by both emerging and established artists in a wide range of genres. Check the festival website closer to the dates for more info.


Why go: Fresh, independent performances all over the city.



Turbine Art Fair: 16th of July – 19th of July | Johannesburg


Turbine Art Fair 2014


The 3rd Turbine Art Fair will once again takes place in the Turbine Hall in Newtown, Johannesburg. The fair promotes both emerging and established artists in an accessible environment that aims to foster a new art audience and collector base. The fair will be open to the public from Friday 17th – Sunday 19th with a free daily talks programme where industry experts and professionals share insights on art and the art of buying art. There is also a preview cocktail event on the evening of the 16th for a limited number of guests, tickets will be made available closer to the time. Visit their webite for more info.


See The Turbine Art Fair 2014 in pictures.


Turbine Art Fair 2014

Turbine Art Fair 2014

Turbine Art Fair 2014


Why go: To buy affordable art by emerging and established artists. All artworks priced below R30 000.



FNB Joburg Art Fair: 11th September – 13th September | Johannesburg


FNB Joburg Art Fair


The FNB Joburg Art Fair is the premier international art fair on the continent with a focus on contemporary African art. Now in its 8th year, the fair will once again take place at the Sandton Convention Centre and continue its aim of establishing and supporting a thriving contemporary arts landscape in Africa. The FNB Joburg Art Fair is the annual convergence of leading artists, gallerists, collectors, writers, thinkers and art lovers. For more information and news on featured artists visit their website.


Opening Times:

Friday from 11am – 8pm

Saturday from 10am – 7pm

Sunday from 10am – 5pm



Friday: R50

Saturday and/or Sunday: R100

Three Day Pass: R200


See our highlights from last year’s FNB Joburg Art Fair and watch our 60 Artworks in 60 Seconds video.


FNB Joburg Art Fair

FNB Joburg Art Fair

FNB Joburg Art Fair


Why go: To see a snap-shot of the (mainly) South African contemporary art market.



Arts Alive International Festival: August/ September | Johannesburg


Arts Alive International Festival


Arts Alive is a multidisciplinary festival that is based in Johannesburg and takes place at various different locations around the city. The festival encompasses a multitude of different creative art forms; music, theatre, dance, visual arts and poetry. The festival aims to foster social cohesion by integrating all seven regions of Johannesburg and encouraging citizens from different areas around the city to appreciate local art together. Arts Alive attracts audiences with well known performers and artists while simultaneously exposing emerging creatives and new talent. This festival provides something for everyone and challenges the public to engage in art forms that they are not ordinarily familiar with. Find out more closer to the the festival’s 2015 instalment on their website.



Arts Alive International Festival


Why go: Experience different art forms and cultures.



Clover Aardklop Nasionale Kunstefees: 6th October – 10th October | Potchefstroom




Held annually in the North-West town of Potchefstroom, the Aardklop national arts festival exhibits South African culture through theatre, dance and music performances as well as visual arts and local craft exhibitions and sales. Taking over various indoor and outdoor venues around the town, this four day festival is as much a celebration as it is a showcase. Check the festival website for more details.


Why go: For a mix of daring new shows and classic dramatic productions.



More South African Art.


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BTW Type | A South African Type Foundry Tue, 27 Jan 2015 10:30:47 +0000

BTW Type is the newly launched type foundry of Jaco Burger, whose aim is to design typefaces that are graphically rich, characterful and versatile.

The post BTW Type | A South African Type Foundry appeared first on Between 10 and 5.




BTW Type (Burger Tipografie Werke) is a type foundry founded by Ateljee‘s Jaco Burger in mid-December last year, born out of requests to license the fonts he has designed for projects over the years. The focus of the foundry is to design typefaces that are graphically rich, characterful and versatile enough to work well in identity, branding and publishing environments.


Jaco launched BTW Type with two typefaces. The first, BTW Appen, is a neo-grotesk typeface with higher-than-normal contrast. “I wanted to launch with a multi-purpose type family, where the different weights have different characteristics,” Jaco says. He did some research in old type specimen books and looked at some of the found type he’d been collecting, and one of the designs that caught his eye was an old Sparletta logo that had particularly high contrast for the time it came out. “I started drawing the regular with a grid as backbone, and increased the contrast on the light and decreased the contrast on the medium and bold weights. Within the weights, there are also different cuts on the left stems of characters and the “y” is a bit different from your standard typefaces, to keep the contrast consistent.”






The second typeface, BTW Nuller, is a playful display typeface that was made through subtraction. “So instead of drawing or building the letters,” Jaco explains, “I took a block of circles and took away the negative space around and inside the block to form letters. The design was also used to inform the creation of illustrations. The thick letters also works well as a canvas to add patterns and colour to. BTW Nuller comes in two flavours; One is square and Two is round with each also incorporating an outline style.”






It took Jaco roughly 600 hours spread over 7 months to develop BTW Appen, and he worked on BTW Nuller for about two months. Explaining the various steps the process could entail, Jaco says: “Process-wise, it all begins with a concept and research, which leads to drawing. Depending on the amount of languages and OpenType features you want to support, it can range from drawing 260 to well over 1000 glyphs for a single weight, like regular. During and after the drawing stage, metrics and kerning are set up, which in some instances can take as long as the drawing process. After the kerning is finished, OpenType features are written, desktop font files are generated and then testing begins. This involves testing the font files on various operating systems and applications. After testing and fine tuning the desktop font files, web fonts are generated and they are tested on various browsers.” It’s only after all of this that the font files are complete, and ready to be packaged with a technical pdf.


At the moment Jaco is working on developing three new typefaces to be released throughout the course of the year. BTW-Ateljee is a versatile geometric monospaced font family, inspired by the elementary letters drawn when first learning to write. As with typewriters, it gives the feeling that a document is “written” and not “designed.” BTW-Dismo is the proportionately spaced geometric half-brother of BTW-Ateljee. The typeface was designed for the exhibition, Dismotief, during the 2012 Aardklop Arts Festival. “I decided to use the era of the building where the exhibition took place as a starting point for the design, which was built in 1909, so it was right at the end of the Edwardian era,” he says. “Traces of this can be found in the high crossbars, exaggerated spurs and diagonally cut tails and terminals.” And lastly BTW-Opeca, a geometric sans serif design, is a modern take on Futura and Vogue and is inspired by a certain oil company’s corporate typeface from the early 60s.




All BTW Type fonts are available for download as a free trial (with a limited character set) to test out on designs. Once purchased, the license is an inclusive one, which grants a desktop, website and mobile app lisence all in one. To find out more visit


Find BTW Type on Facebook and Twitter for more.


Title image credits:

Photographer: Herman Jordaan

Model: Mari from Ice Model Management

Production: Lee Hagen

Hair and make-up: Dominique de Lange


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