SURFACE DESIGN | Black Coffee A/W 2015

SURFACE DESIGN | Black Coffee A/W 2015

“Inspired by the works of surrealist René Magritte and the master of impossible reality M.C. Escher, FIGMENT challenges perceptions of the familiar.”

The development of the Eye print for Black Coffee’s A/W winter collection stems from exploring what it means to perceive.

The primary means humans have for perceiving is visual. The eye also features prominently within the surrealist movement as representative of perception and the gaze and there subversion thereof. It thus a natural motif to explore questions of the gaze and what it is we perceive within art, and fashion, and in the context of a runway show fashion as art.

As we gaze upon the works so too do they gaze back upon us.

 The reference material given to me by Designer Jacques van der Watt was rife with eye imagery that sparked the exploration of it as a central theme to the visual language of the collection.  The entire process sparked a questioning of what is reality?  Thus the spindly-legged elephants brought to life by Surrealist Master Salvador Dali were transmogrified into eyelashes wandering the dunes of our lids.

The reference material given to me by Designer Jacques van der Watt was rife with eye imagery that sparked the exploration of it as a central theme to the visual language of the collection.

The entire process sparked a questioning of what is reality?

Thus the spindly-legged elephants brought to life by Surrealist Master Salvador Dali were transmogrified into eyelashes wandering the dunes of our lids.

 An idea never springs forth fully realised and as shown here goes through a process of growth, iteration, and refinement.

An idea never springs forth fully realised and as shown here goes through a process of growth, iteration, and refinement.

UX & UI | Bon Apetit app

UX & UI | Bon Apetit app

I was contracted to develop a menu and ordering app for start-up Bon Apetit.

After conducting extensive UX research and case studies of other apps targetting a similar market, I developed a UX/UI concept that provides an easy to use interface that is both elegant and scalable.

 This is the main menu implementation. This example takes cues from the traditional printed menu used by the Seiss Restaurant.  On the top left is the menu button to access the main menu where one can customise settings etc.  The Place order button is placed at the bottom of the screen always for easy comfortable access.  Another key feature is the implementation of the slide-out order review overlay feature. Using this simple and intuitive bar, the user can easily check their current selection using a left to right swiping motion that is second nature on touchscreen devices.

This is the main menu implementation. This example takes cues from the traditional printed menu used by the Seiss Restaurant.

On the top left is the menu button to access the main menu where one can customise settings etc.

The Place order button is placed at the bottom of the screen always for easy comfortable access.

Another key feature is the implementation of the slide-out order review overlay feature. Using this simple and intuitive bar, the user can easily check their current selection using a left to right swiping motion that is second nature on touchscreen devices.

 Placement of the key elements came from analysis of comfort zones on the iPhone 6S as it’s dimensions are similar enough to the majority of mid-range smart devices that the target market is likely to own.  As one can see the key functions of place order and the slide-out menu review system fall firmly in the green comfort zone. As does the main meal option it is the most commonly ordered course.  The rest of the courses can be reached with only a slight stretch of the thumb. This makes it entirely possible to navigate the majority of the menu with just one hand.  Only the settings drop down is placed in the discomfort zone as it will not be accessed that often once initial set-up is complete.

Placement of the key elements came from analysis of comfort zones on the iPhone 6S as it’s dimensions are similar enough to the majority of mid-range smart devices that the target market is likely to own.

As one can see the key functions of place order and the slide-out menu review system fall firmly in the green comfort zone. As does the main meal option it is the most commonly ordered course.

The rest of the courses can be reached with only a slight stretch of the thumb. This makes it entirely possible to navigate the majority of the menu with just one hand.

Only the settings drop down is placed in the discomfort zone as it will not be accessed that often once initial set-up is complete.

 Each restaurant listed in the app will have some degree of customisability. This will ensure that Brand identity of all participants is maintained.  However, not all elements will be completely customisable. This is to ensure that the Bon Appetit App identity is maintained and always recognisable as the architecture behind each digital menu

Each restaurant listed in the app will have some degree of customisability. This will ensure that Brand identity of all participants is maintained.

However, not all elements will be completely customisable. This is to ensure that the Bon Appetit App identity is maintained and always recognisable as the architecture behind each digital menu

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COMMUNICATION DESIGN | Unplugged

COMMUNICATION DESIGN | Unplugged

Working under Unplugged Creative Director, Rick Melville I worked on the record sleeve and inserts for on-boarding media for the CEOs of some of South Africa’s top companies.

The product is a program through which a CEO can connect with their workforce.

The concept behind it borrows from the MTV Live Unplugged sessions in which big-name musicians play smaller more intimate shows through which they can connect more deeply with their audiences. This concept was transposed to the workplace by putting the CEOs in the position of the musicians.

 For the pitch to each CEO, Unplugged researched which musician the CEO most enjoyed. In the case of Carlo Gonzaga of Starbucks, it was Carlos Santana.  I then did a head swap placing the CEO’s face on the body of the musician.  The back sleeve explained the entire staff onboarding process in the form of a tracklist

For the pitch to each CEO, Unplugged researched which musician the CEO most enjoyed. In the case of Carlo Gonzaga of Starbucks, it was Carlos Santana.

I then did a head swap placing the CEO’s face on the body of the musician.

The back sleeve explained the entire staff onboarding process in the form of a tracklist

 The inner sleeves further the comparison between CEOs and Rock Stars, and go into detail regarding the need to connect on a more intimate level with staff members that they can feel truly part of the company as a team and not just a cog in the corporate system.  The entire concept of the pitch seeks to evoke a sense of nostalgia for the wonder of feeling close to a musician through an intimate performance as well as stroking the ego of CEO’s likening them to their heroes. It also seeks to leave a lasting impression with a physical artefact that is highly relatable to the Unplugged’s targeted demographic.

The inner sleeves further the comparison between CEOs and Rock Stars, and go into detail regarding the need to connect on a more intimate level with staff members that they can feel truly part of the company as a team and not just a cog in the corporate system.

The entire concept of the pitch seeks to evoke a sense of nostalgia for the wonder of feeling close to a musician through an intimate performance as well as stroking the ego of CEO’s likening them to their heroes. It also seeks to leave a lasting impression with a physical artefact that is highly relatable to the Unplugged’s targeted demographic.

COMMUNICATION DESIGN | Technoserve

COMMUNICATION DESIGN | Technoserve

This was a series of information booklets I designed for the NGO Technoserve. They have already established a visual language incorporating a specific illustration style. I maintained that language throughout to ensure brand cohesion. The visual design concept is to allocate each leaflet with its own primary colour to make for easy recognition.

 The colours are used as a visual tool throughout the booklets. The graphs and diagrams are drawn in the style shown in the following pages and keeping in line with the already existing brand material.

The colours are used as a visual tool throughout the booklets. The graphs and diagrams are drawn in the style shown in the following pages and keeping in line with the already existing brand material.

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EXPERIMENTAL DESIGN | Anachronism

EXPERIMENTAL DESIGN | Anachronism

Nothing can be ever to be truly original. Everything is influenced by actions, ideas or needs that have preceded it. Even the first sentient thought by ancient humankind can be said to be nothing more than an expansion on the basic instinct to survive that is shared by all living beings on this planet.

However, while nothing can be said to be truly original, everything can be said to be unique. Even processed that are scaled up to mass production levels and repeated endlessly will have some variations between iterations.

Anachronism is an exploration of the idea of iterative progress and seeking a voice in an age of mass production. A look into how every idea is just an expansion of every other idea that came before it. An endless process of self-similar recursion. A fractal process.

 The automated press can be said to be one of the inventions that brought about modernity.  This unique moment in history was the ideal vehicle for my project for two main reasons. The ripples of the mass production of media are still felt today and growing ever larger as news is disseminated at an ever more rapid rate; secondly, no process shows variation between repeated iteration quite like letterpress does.  As such, I resurrected Eastern Star's Wharfdale industrial letterpress. This was the first commercial press in the country. Sadly it now stands unused.

The automated press can be said to be one of the inventions that brought about modernity.

This unique moment in history was the ideal vehicle for my project for two main reasons. The ripples of the mass production of media are still felt today and growing ever larger as news is disseminated at an ever more rapid rate; secondly, no process shows variation between repeated iteration quite like letterpress does.

As such, I resurrected Eastern Star's Wharfdale industrial letterpress. This was the first commercial press in the country. Sadly it now stands unused.

 The project consisted of a series of prints that resulted from repeating the letterpress process until the ink on the letterforms ran out. The prints were designed with the metal and wood type available to me in the museum as well as a few custom made wooden type lino-cuts I made for the project.  Full documentation of the project can be found at: https://issuu.com/abernatzky/docs/ananchronism

The project consisted of a series of prints that resulted from repeating the letterpress process until the ink on the letterforms ran out. The prints were designed with the metal and wood type available to me in the museum as well as a few custom made wooden type lino-cuts I made for the project.

Full documentation of the project can be found at: https://issuu.com/abernatzky/docs/ananchronism

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BRANDING | Main Street Cycles

BRANDING | Main Street Cycles

Main Street Walks added a cycling tour to part of their offering and wanted it to have its own visual identity.

I set about creating a logo that was immediately recognisable as being part of the Main Street Walks brand, while still being distinct in it’s own right.

 The visual design concept plays strongly on the steampunk aesthetic of the original logo with a reference to the penny farthing bicycle. It also retains the original logo's upright orientation and positioning of the signposts making the link to its sister brand immediately apparent.

The visual design concept plays strongly on the steampunk aesthetic of the original logo with a reference to the penny farthing bicycle. It also retains the original logo's upright orientation and positioning of the signposts making the link to its sister brand immediately apparent.

 The logo integrates seemlessly into the existing visual language of Main Steet Walks and now Main Street Cycles

The logo integrates seemlessly into the existing visual language of Main Steet Walks and now Main Street Cycles

SOCIAL MEDIA | Secret Eats

SOCIAL MEDIA | Secret Eats

I was tasked with creating all the imagery for the Secret Eats Masquerade in aid of the Hoedspruit Endangered Species Centre.

This campaign was required media produced for Facebook, Twitter, and Instagram and spanned static imagery and motion graphics.

 The concept was that one’s true self can only be revealed through anonymity.

The concept was that one’s true self can only be revealed through anonymity.

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 At the time of development, Twitter was the only platform with true GIF support. This GIF was the primary media that ran on that channel. A similar square format video was also developed for Instagram.

At the time of development, Twitter was the only platform with true GIF support. This GIF was the primary media that ran on that channel. A similar square format video was also developed for Instagram.

 The primary points of reference were Cirque du Soleil and Venetian masques and masqued balls. On the right, you can see the initial design iterations that I experimented with before settling on the final visual treatment.

The primary points of reference were Cirque du Soleil and Venetian masques and masqued balls. On the right, you can see the initial design iterations that I experimented with before settling on the final visual treatment.

SURFACE DESIGN | IWF Tote

SURFACE DESIGN | IWF Tote

During my time at Love Jozi, we were commissioned by the City of Johannesburg to design the tote that would be given to all attendees at an International Women’s Forum conference in Soweto.

Love Jozi does not stem from “I love Lozi”, but rather Love from Jozi.

It was only natural to include a section of the City for attendees to take away with them.

Taking inspiration from previous Love Jozi projects and creative direction from owner and creative mastermind Bradley Kirshenbaum, I created this graphic map of Soweto — where the conference was being held — on one side. It highlights the railway-line and Vilikazi Street that was once home to both Nelson Mandela and Archbishop Desmond Tutu

 And one of the Jozi braamfontein district on the other.  On this side you can also see a portion of the ubiquitous highway system that serves as the main linkage between different parts of a city.

And one of the Jozi braamfontein district on the other.

On this side you can also see a portion of the ubiquitous highway system that serves as the main linkage between different parts of a city.