Thursday 10 October 2013

South African flag, coat of arms and currency


South African flag



The South African national flag first flew on 10 May 1994 the day Nelson Mandela became president and two weeks after the country's first democratic elections of 27 April 1994 not as a symbol of a political party, nor of a government, but as a possession of the people.

The quote comes from the introduction to Flying with Pride: The Story of the South African Flag, a coffee table book derived from the incredible variety of ways in which this unique cloth has become woven into the fabric of South African society.

The flag was originally commissioned as a temporary flag only and was a last minute job, barely making it onto the country's flagpoles in time to herald the new South Africa.

How the flag came to be

Choosing a new flag was part of the negotiation process set in motion when Nelson Mandela was released from prison in 1990. When a nationwide public competition was held in 1993, the National Symbols Commission received more than 7 000 designs. Six designs were drawn up and presented to the public and the Negotiating Council but none were chosen with much support.

A number of design studios were contracted to submit further suggestions and again there was no success and Parliament went into a break at the end of 1993 without a suitable candidate for the new national flag.

In February 1994, Cyril Ramaphosa and Roelf Meyer, chief negotiators of the African National Congress and the National Party government, were given a task with resolving the flag issue. A final design was adopted on 15 March 1994 made from a design developed by SA's former State Herald Fred Brownell.

The announcement of the new national flag was only published on 20 April 1994 which was seven days before the flag was to be launched on the 27th, creating a wild last minute burst for flag manufacturers.

Writing in the foreword to Flying with Pride, Ramaphosa comments: "It was difficult to imagine, back then in the days of negotiations, that this assortment of shapes and colours we had before us would become such a central part of defining and identifying a new nation.”

"As South Africans daily work to build a better society, they are surrounded in many forms and countless manifestations by a flag which recognises and celebrates the unity and diversity of the country's people.”

"Few would have imagined, almost a decade ago, that this collection of colourful shapes could become such a potent symbol of unity and progress. But then fewer still would have thought that a country torn apart by decades of racial oppression could transform itself into a beacon of democracy and hope."

National coat of arms


South Africa's coat of arms, or state emblem, is the highest visual symbol of the state. Its central image is a secretary bird with uplifted wings, a sun rising above it. Below the bird is the protea, an indigenous South African flower, representing the harmony of all cultures and the country flowering as a nation.

The ears of wheat are emblems of the fertility of the land, while the tusks of the African elephant symbolise wisdom, steadfastness and strength.

At the centre stands a shield signifying the protection of South Africans, above which is a spear and knobkierie. These show the defence of peace rather than a posture of war.

Within the shield are images of the Khoisan people, the first inhabitants of the land. The figures are derived from images on the Linton Stone, a world-famous example of South African rock art. The motto of the coat of arms - !ke e:/xarra//ke - is in the Khoisan language of the /Xam people, and means "diverse people unite", or "people who are different joining together".

South African currency

The rand was introduced on 14 February 1961. A Decimal Coinage Commission had been set up in 1956 to consider a move away from the values of pounds, shillings and pence, giving its recommendation on 8 August 1958. It replaced the South African pound as legal tender, at the rate of 2 rand = 1 pound or 10 shillings to the rand. The government introduced a mascot, Decimal Dan, "the rand-cent man" to familiarize the people with the new currency. This took place in the same year that the Republic of South Africa was established.

Coins



 

Coins were introduced in 1961 in values of ½, 1, 2½, 5, 10, 20, 50 cents. In 1965, 2 cent coins replaced the 2½ cent coins. The ½ cent coin was last put into flow in 1973. The 2 rand was introduced in 1989, followed by 5 rand coins in 1994. Production of the 1 and 2 cent coins was discontinued in 2002, primarily due to inflation having devalued them, but they remain legal tender. Shops normally round the total purchase price of goods to the nearest 5 cents.

Banknotes


The first series of rand banknotes was introduced in 1961 in values of 1, 2, 10 and 20 rand, with similar designs and colors to the preceding pound notes to ease the transition. They bore the image of Jan van Riebeeck, the first V.O.C. administrator of Cape Town. Like the last pound notes, they came in two variants, one with English written first and the other with Afrikaans written first. This practice was continued in the 1966 series which included the first 5 rand notes but did not include the 20 rand denomination.

The 1978 series began with values of 2, 5 and 10 rand, with 20 and 50 rand introduced in 1984. This series saw a major design change. In addition, the series has only one variant for each value of note. Afrikaans was the first language on the 2, 10 and 50 rand, while English was the first language on 5 and 20 rand. The notes had the image of Jan van Riebeeck. The 1 rand note was replaced by a coin.


In the 1990s, the notes were redesigned with images of the Big Five wildlife species. 10, 20 and 50 rand notes were introduced in 1992, retaining the color scheme of the previous issue. Coins were introduced for 2 rand and 5 rand, keeping the notes of the previous series, mainly because of the severe wear and tear experienced with low value notes in the flow. In 1994 notes were introduced for 100 and 200 rand.

The 2005 series has the same design, but with additional security features such as color shifting ink on the 50 rand and higher. The front of all values are printed in English, while two other languages are printed on the reverses, making use of all eleven official languages of South Africa.

In 2010, the South African Reserve Bank and commercial banks withdrew all 1990 series R 200 banknotes due to relatively high quality counterfeit notes in circulation.

In 2011, the South African Reserve Bank issued 100 rand banknotes which were defective because they didn’t have fluorescent printing visible under UV light. In June, printing of this value was moved from the South African Bank Note Company to Crane Currency’s Swedish division, which produced 80 million 100 rand notes. The South African Reserve Bank shredded 3.6 million 100 rand banknotes printed by Crane Currency because they had the same serial numbers as a batch printed by the South African Bank Note Company. The notes printed in Sweden were not the correct color, and they were one millimetre short.

On 11 February 2012, President Jacob Zuma announced that the country would be issuing a complete set of banknotes bearing Nelson Mandela's image. They were entered into circulation on 6 November 2012.

The Ndebele Culture


The Ndebele Culture



The Ndebele culture is known  for its distinct beadwork and colourful, geometric mural art.

No one is completely sure of the origins of the South African Ndebele tribe, but it is generally accepted that about 400 years ago they migrated under Chief Muzi from present day KwaZulu-Natal. There are two groups: one found north-east of Johannesburg in the Bronkhorstspruit region and the other in the Limpopo province.

The Ndebele cultural village, made up of residential units, is quite often defined by its striking artwork, which is done by the women which it shows her territory while using art as a form of inspiration for everyday life. The family head  oversees the entire family and, in some cases, his married children and his brothers are permitted to settle in his community which will expand  the residence into a village.

Women also express their status in in a way of ornamenting themselves with beadwork, blankets and other trinkets, becoming more decorative after marriage, showing her faithful devotion to her husband. Distinct jewels are the brass rings that are placed on her neck, arms and legs, which can often weigh up to 20 kilograms.

In the Ndebele tradition the authority over a group is vested in the tribal chief, assisted by an inner or family council and next in this hierarchy are ward heads, followed by the head of the family.

As in many African tribal communities, the Ndebele people strongly believe in ancestral spirits. The worship of those who have died is an intricate ritual, with the living and dead sharing a bond through which the ancestors provide valuable services to those who are alive.

It was in the late 19th century that Ndebele women began to incorporate the distinctive beadwork style in their dress culture.

The beautiful dress and accessories of the Ndebele women reflect their age, social status and love of color. It is an aesthetic cultural declaration that is in everything from the aprons of little girls to the colorful gala blankets and great costumes of married women.

Two things in particular catch the eye. These are the stacked rings worn round the neck, arms and legs - and, most striking of all, the lavish beadwork featuring geometric patterns decorating skirts, tiaras and the long strips that trail behind.

These serve as the inspiration for the mural art of the Ndebele people of South Africa. This vibrant art brightens the eastern Highveld is a talent passed from mother to daughter.

Based on abstract triangular and rectangular shapes, the mural art includes contemporary motifs such as airplanes, car number plates and television aerials. What is remarkable is that all this is achieved freehand without coseptual sketches, rulers or geometric instruments.

The most celebrated of these artists is Esther Mahlangu, who has received international praise. She was commissioned by BMW to paint one of their cars and her most public works are the murals of the Ndebele Open Air Museum at the Botshabelo Historical Village.

Wednesday 9 October 2013

Definitions and Understanding


Today I will be explaining:

·         Visual Culture and life style in the digital age

·         Global village

·         Postmodernism

·         Culture industry

·         Virtual reality-Interactive media

Visual Culture

“Visual culture does not depend on pictures but on the modern tendency to picture or visualize existence” Nicholas Mirzoeoff

Visual culture is often seen as confusing because not many people really understand what it actually is and I am here to explain that.

Visual culture has got to do with visual effects where we can find information by using visual technology, this is anything that can be seen and viewed that improves our vision. The internet, oil paintings and television is considered as visual culture.

Nicholas Mirzoeff statement best describes visual culture as he means that visual culture does not depend on pictures that you can physically see but to actually reach into your mind and visualize, being creative in your own mind.

Global Village

Global village is also considered as globalization. Where some say that it is seen through pop culture, it is showing a cultural genocide on the world. The largest most dominant cultures are becoming more dominant and larger at the expense of others which in fact some could say that it is another word for Americanization.

While others argue that globalization can enrich the world culturally and gives the notion that there will be more opportunities for cultural exchange which can help promote tolerance and diversity. They want to create a global village where ideas and attributes can be exchanged and appreciated.

Postmodernism

Firstly, postmodernism was a movement in architecture that rejected the modernist, avant garde, passion for the new.

This has to do more with art, architecture and literature where by people react against earlier modernist principles by reintroducing traditional or classical elements.

Culture Industry

Culture Industry focuses on the media and marketing but due to a lot of publicity and advertising all cultural products including people have become things that share little or no meaning. A problem comes about in a sense of speech is lost. This industry gives a reason to believe that the individual is not there but an illusion that is manipulated by authority by those who are from the dominant side.

Virtual reality

Multimedia is emerging as a very important tool in the 21st century. The world-wide web, CD-ROMs, Virtual reality games ect.

But to explain in better words it is not just multimedia it is a state of mind where you can escape and become something you are not in your life. Playing video games is a form of escaping and going into a virtual reality state.

Sunday 12 May 2013

Konik, I. 2007.

Today i have read Konik, I. 2007. and have stated it in my own words so i can understand it a bit more.
 
Konik, I. 2007. “Thematising the ugly side of sublime technological development in Sonzero’s Pulse (2006) as an inadvertent critique of the ‘technocentricism’ of postmodernity”. South African Journal of Art History 22 (3).
Now I will explain the statement in my own words and state it in my own words. Konik is giving a description as to what Sanzero’s Pulse (2006) was saying. He say that he is checking the ugly side of beautiful technological development as an unplanned evaluation of the technological out burst of postmodernity.

Comparison of the Key elements of Modernism and Postmodernism

Today i will compare the key elements of Modernism and Postmodernism in a table format.
 
 
Postmodernism
  Modernism
Challenge the normal way of operating.
Breakdown of social norms and cultural sureties.
Authority figures are not to be trusted because of their loyalty to the establishment and different beliefs in moral truths.
Disorder of meaning and sense from its normal context.
Change comes with believing that truth is subjective and that it’s something that shouldn’t be generally acknowledged.
Valorisation of the hopeless person in the face of an unmanageable future.
Opinions are what matter. Provided that the opinion is backed up, it can be accepted as the best explanation.
Rejection of history and the replacement of a mythical past.
Rejects the idea of nationalism, it drives nations into conflict with each other. Internationalism makes sure that we’re looking out for the greater good.
   
 Product of the metropolis, of cities and urban scopes.
Believe in equality for all, regardless of race, sexual orientation, class or religion.
Sense of consciousness
 
Disapprove of the idea of individual ownership. It would be most fair if we divided and distributed goods as a group.
http://www.allvoices.com/contributed-news/8892593-10-key-characteristics-of-postmodernism
 
Overwhelming technological changes.
 
 
http://characteristicsofmodernism.com/
 
 
 
 
 
 
 
 
 
 
 
 
 


Monday 15 April 2013

Group Discussion

In Graphic design history III we were required to get into groups and discuss questions about Apple Mac an then choose one and validate why you chose it, this is what we came up with:
 
1.       Why do you think Apple Mac has been said to be the best resource for graphic designers?
2.       Do you believe consumers should pay the expensive rates to obtain Apple Mac technology? Explain.
3.       How did design associate with Apple Mac?
4.       What type of new design did Apple Mac make available to its consumers?
5.       Given your understanding of Apple Mac, do you think it is a viable option to you as a design? Explain.
6.       How did Apple change the life of designers?
7.       What are your opinions on Apples design tradition and the development of its brand?
8.       Why do people want to purchase such products or brands?
9.       Have your design views changed in light of new technologies and trends from Apple?
10.   What differentiates Apple Mac from other brands?
I have chosen number 3 as it is an interesting topic to discuss and it would be quite interesting to find out exactly how design associated with Apple Mac and which were the earliest works done on their computers.

Sunday 7 April 2013

Visual documentation of the United Colors of Benetton campaigns from the 1980s to 2000s

Today i will be using visual reference to the design processes of the United Colors of Benetton campaigns from the 1980s to the 2000s.
 

1984 
 
 
1985
 
 
1986
 
 
1988
 
 
1989

 
1990
 
 
1991
 
 
 1992
 
 
1993
 
 
1994
 
 
1995
 
 
1996
 
 
1998
 
 
 
1999
 
 
2001
 
 
2003
 
 
2004
 
 
http://www.benettongroup.com/40years-press/img_our_campaigns.html