Date post: | 03-Feb-2016 |
Category: |
Documents |
Upload: | andrew-rae |
View: | 225 times |
Download: | 0 times |
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
/ / M Y N A M E I S A N D R E W T H O M A S R A E[ t h i s i s m y p o r t f o l i o ]
HOW DO YOU DO?HOW DO YOU DO?HOW DO YOU DO?
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
HOW DO YOU DO?HOW DO YOU DO?Hi! How are ya?
My name is Andrew Rae and I am a graphic designer based in Auckland, New Zealand. As a designer, I have
had fun dabbling in different outputs of graphic design. As I have progressed through my years as a design
student I have found a passion for print-based material as a platform for my work. I use food to inspire my
practice—if I’m not designing something related to food, it has somehow aided my process.
Being one who has been brought up in a small beach side town in New Zealand, I have taken my own experiences
in life and expressed them through my work. My final year at Unitec has helped me uncover key aspects of my
design practice. These include my love for cliché Kiwiana iconography and evoking happy childhood memories
through design, clearly shown through my work that I have created this year.
Please, check out my portfolio—and I hope you have a choice day!
Take it easy.
Andrew Thomas Rae.
HOW DO YOU DO?
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
020202/ / F o o d & F O N D M E M O R i E S
[ s p e c i f i c a t i o n s ]
My final bespoke wallpaper has the standard
wallpaper dimensions (600 x 5000 mm).
As fish and chips are a messy type of meal, the
pattern is printed on 160gsm matt paper. Matt
paper was implemented due to having a grain
—something that finishes the wallpaper off
nicely and relates it to the theme.
The wallpaper design holds imagery of happy
days at the beach and recipes which has been
placed in order to attract the viewers attention
from a distance and pull them in to look at the
design more closely.
Tags for the wallpaper rolls have been added in
order to make the product feel like one of a kind.
Quotes that relate to New Zealand summers have
been added to evoke memories of the reader/s,
even before the wallpaper has been unrolled..
// type // height
F i S H A N D C H i P S
/ / F i S H A N D C H i P S
6 0 0 x 5 0 0 0 m m
“ a d o l l a r s w o r t h o f c h i p s f r o m a
t a k e a w a y s t o r e f e d t w o p e o p l e , a n d t h e
s a u c e w a s f r e e ”
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
030303/ / F o o d & F O N D M E M O R i E S
[ o u t c o m e s ]
Due to the style of the pattern it is not suitable
for domestic situations. The wallpaper design is
to be shown in exhibitions such as PaperPixel,
as well as being hung in fish and chip shops as
feature walls.
Wallpaper is a great way to showcase New
Zealand’s lifestyle and food. It gives an
overview of the good old days of the 70’s
summers and can create conversation between
peers about memories of their summertimes.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
040404/ / T h E I N g r E d I E N T S o F S u M M E R
[ p h o t o g r a p h y ]
Being one who has been brought up in a small
beach side town in New Zealand, I have taken
my own experiences in life and expressed them
through my work.
I have used photography to express my love
for cliché Kiwiana iconography and evoking
happy childhood memories. My photographs
have captured moments that celebrate the Kiwi
lifestyle and express them in a way that all
could relate to.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
050505/ / G O O D N E S S M E , I T S 2 0 1 1 !
[ p h o t o s h o p c a l e n d a r ]
A bespoke calendar for the year of 2011. This
calendar was heavily influenced by eduardo
Recife’s misprinted type. The use of photoshop
to create the 6 collages was a great opportunity
to explore and learn the fundamentals of
collage.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
060606
OSCAR WISHED HE COULD FLY ALL OVER THE WORLD.
...HE JUST COULDN’T.
NO MATTER HOW HARD OSCAR TRIED TO FLY...
/ / O S C A R L E A r N S T o F LY
[ i l l u s t r a t e d c h i l d r e n ’s p u b l i c a t i o n ]
Oscar learns to fly is a self written and
illustrated book targeted at children aged
3-7. Oscar learns to fly is created in a simple
manner with basic shapes in order to create
vector characters. The story follows oscar,
a bird with small wings on his quest to learn
how to fly.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
070707/ / Y O O B E E d E S I g N S C h o o L
[ 2 0 1 2 p r o s p e c t u s ]
A collaborative project created with students of
YooBee Design School (Now YooBee School
of design). The publication showcases what the
design school has to offer while holding the
strict branding guides that were implemented by
the school.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
080808
/ / L O S T C L O S E T
[ f a s h i o n p u b l i c a t i o n & b r a n d i n g ]
The purpose of creating this catalogue for,
Lost Closet, was to learn the fundamentals
of photoshop paths. At the time heavily
influenced by Huffer & Federation I wanted to
create something that was eye popping while
showcasing the garments in a creative way.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
090909/ / 4 S Q u A R E o r g A N I C S
[ i n v i t a t i o n m a i l e r ]
A collaboration brief with Joy Zhao and
Tracy Liu. This brief required us to create a
promotional mailer invite for the opening of
“4 Square Organic’s” new Concept Store.
With use of photoshop and illustrated we created
a series of fours to represent the nature of
organic material and how no four is
ever the same.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
101010
WWW.DRMARTENS.COM
STEP OUTSIDE THE SQUARE.
/ / D R . M A R T E N S A i R WA i R
[ m a g a z i n e a d v e r t ]
one colour magazine advert showcasing how
unique Dr. Martens Airwair shoes are.
The purpose of this brief was to create
something that was only one colour in order to
push my creative thinking.
“Step Outside The Square” with Dr. Martens.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
111111
Upper Case Font�is is a typeface based on Karangahape Road.
I was inspired by the random cutlery and how the light re�ects o� the metal.
/ / S P O R F
[ i l l u s t r a t e d t y p e f a c e ]
SPORF is a illustrated typeface inspired by
domestic cutlery. Inspired by
K Road’s eateries I used cutlery as a way to
express how I relate K Road to dining out.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
121212
WHITE CHOCOLATE
BRANDY SNAP
MOUSSE
• SERVES 6–8 •
• MAKES 12 •
1010
• MAKES 750ML •
250g PEACHES, DICED
180g CASTER SUGAR
200ml WATER
100ml CREAM
100ml MASCARPONE
1 VANILLA POD
In a food processor, blend together peaches and caster sugar.
Add water and continue to process until smooth.
In a separate bowl, whip cream, mascarpone and scrapings from vanilla bean until thick but not overly aerated. Add peach puree and mix thoroughly.
If you have an ice cream maker follow manufacturers instructions. If not, pour the mixture into a stainless steel bowl or container with a lid that seals well. Freeze until set—roughly 3 or 4 hours.
Remove frozen gelato from container, chop roughly into the bowl of food processor and process until smooth. Return to stainless steel container and freeze again. Repeat the chopping/re-freezing process once more, and then serve!
1616
• MAKES 12 •
CUPCAKES
Preheat oven to 180ºc
Cream butter, sugar and vanilla.
Add eggs one at a time, beating after each one.
Sift in fl our, add milk and mix until combined.
Divide the batter evenly across 30 small or 12 large patty cases.
Bake for around 10—15 minutes until light golden. Be careful not to overcook or they will dry out.
Cool on wire rack, then pipe with butter cream icing.
BUTTERCREAM ICING
Beat butter and icing sugar until light and fl uff y.
Add vanilla and cream to achieve light and fl uff y consistency.
Once made, divide the butter-cream icing in half. Add a few drops of desired food colouring into mixture.
Ice and decorate cupcakes.
CUPCAKES
125g BUTTER
¾ CUP CASTER SUGAR
1 tsp VANILLA ESSENCE
3 EGGS
1½ CUPS SELF RAISING FLOUR
¼ CUP MILK
BUTTERCREAM ICING
150g BUTTER
3 ½ CUPS ICING SUGAR
1 tsp VANILLA ESSENCE
2 tbsp CREAM
FOOD COLOURING
66
WHITE CHOCOLATE
BRANDY SNAP
MOUSSE
• SERVES 6–8 •
MOUSSE
320g WHITE CHOCOLATE
4 EGGS (SEPARATED)
1 ½ CUPS CREAM
1 tsp GELATINE
CYLINDERS
50g BUTTER
50g CASTER SUGAR
2 tbsp GOLDEN SYRUP
½ tsp GROUND GINGER
50g PLAIN FLOUR
MOUSSE
Melt chocolate on a double boiler until smooth.
Once chocolate has cooled mix in egg yolks. Mix gelatine with 2 tsp hot water, mix until the gelatine is completely dissolved and add to chocolate mixture.
Whisk egg whites until stiff peaks form, fold into white chocolate mixture.
Whip cream until soft peaks form fold into chocolate mixture, refrigerate for at least 4 hours (overnight is best) until set and ready to serve.
CYLINDERS
Melt the butter, sugar and golden syrup on the stove, in a small saucepan.
Remove from heat and add in the fl our and ginger mixing thoroughly.
Allow dough to cool, roll into a ball, gladwrap and refrigerate for an hour.
Pre-heat oven to 180°c.
Remove dough from fridge and roll out between two sheets of parchment until 1–2mm thick. Cut into rectangles the size of which depends on how big you want your cylinders, bearing in mind they will spread and grow when being baked.
Bake on baking paper for 10—15 minutes or until golden and fully ‘bubbled’.
Remove from oven and shape to desired diameter.
/ / O u R K i T C H E N D E S S E R T ’ S
[ r e c i p e p u b l i c a t i o n m a i l e r ]
our Kitchen Dessert’s is a mock cookbook
created to showcase how fantastic the blog
OUR KITCHEN is. The use of Illustration was
implemented in this publication in order to
capture how playful these recipes are and to
make them stand out from a ordinary cookbook.
This publication was staple bound and packaged
in a similar styled envelop which was posted to
followers of the blog.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
131313/ / W h AT T i M E I S I T
[ t r e l i s e c o o p e r k i d s b a t h r a n g e ]
A collaboration project with evy Mallett
required us to mock brand and sell a product in
under 48 hours. We used Trelise Cooper as our
brand due to the type clientele that is associated
with it as well as the wide range different stores
that are under the Trelise umbrella. evy and
myself chose to brand and package a new line of
bath products targeted for girls aged 4-11.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
141414
Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to Most people with a fear of meat manage to have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places have normal lives by learning to avoid places
where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a where unplanned encounters can occur. When a fear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact onfear of meat is having a major impact on
a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the a persons life, our team at the PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.PHOBIC TRUST OF NZ are here to help.
please love me!
/ / L O V E / h AT E
[ n e w z e a l a n d p h o b i c t r u s t ]
Love/Hate is a series of postcards which have
been created to de-stigmatise phobias for the
New Zealand Phobic Trust.
The use of ambigram and illustrations was
designed to entice the reader from afar and
get them to come up close and interact with the
postcards.
“Don’t hate your phobia, love it.”
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
151515/ / Y u M M Y A S
[ k v a d r a t a n n u a l g e n e r a l r e p o r t ]
Yummy As is an Annual General Report textile
designs. The brief asked to create a General
report for a company of our choice—I chose
Kvadrat as I was mesmerized by their slick
advertising in *Wallpaper magazine.
The information that I was provided with
contained incorrect data and text that needed to
be corrected and placed into appropriate tables,
charts and graphs in the style of the chosen
company. My end result was a 20 page, gate
folded, perfect bind booklet topped off with a
gate fold near the end.
yummy asOn paper you might think we look like other
professional businesses; with advance
facilities, technical resources and skilled
and experienced people. Think again...When
you work with us, you’ll see the difference.
We have a commitment to teamwork, to
completing a job absolutely right and also
making sure we are delivering more than
others think is possible.
We take pride in the way we conduct
business for our clients and customers.
You can’t run a successful operation with
our great people and excellent relationships
based on honesty and commitment. We are
proud of our ethical standards. We see every
project as an opportunity to further long term
relationships with clients.
We have invested wisely in equipment that
delivers substantial benefits to our customers
creating a clear competitive advantage for
our company. All our business units use
innovative technology to offer improved
service and reliability, a higher quality output
and speed at competitive rates. However,
innovation isn’t just about technology.
It also means embracing new ways of doing
business, finding more value for our clients,
searching for potential investors and offering
unique solutions.
Anyone can talk about service. It’s entirely
different to experience an unparalleled level of
it. To us service isn’t a marketing notion.
It’s demonstrating to clients how much we
value them and their business.
From concept to action. Countless, unseen
details are often the only difference between
mediocre and magnificent. Our customers
know that whatever the size or complexity
of their project, it will be completed to the
highest standards which we provide. It is this
approach to work that ensures professional
customer service and a striving for excellence
in everything we do.
Teamwork is the ability to work together
toward a common vision. It’s the ability
of individuals to work towards big picture
organisational objectives. It’s also the fuel that
allows our staff to attain exceptional results.
Our commitment to teamwork is entrenched in
our business culture.
We employ the best in the industry and we
expect the best from them. With the best
individuals working together, goals are
reached easily and often surpassed.
Finally, following a year of progress and
achievement I would like to thank my fellow
board members for their energetic support,
and the staff of industrial research for
continuing to build the enviable reputation this
organisation now enjoys.
letter from the board
George Pirintz
Jamaine Hawsberry
04 05
Kvadrat still enjoys its position as market
leader within their industry and segment.
Some years ago, a vision statement projected
the future of the company as the market leader
within Europe. This became true just one year
later, so the vision was redefined.
Today the vision forecasts the company’s
position as leading the market within its
segments in all European regions and taking
its first steps towards becoming a global
market leader.
Kvadrat has four main competitors in
Europe, but these are mostly oriented towards
the low and mid-end market segments,
whereas Kvadrat focuses on mid and high-end
markets—thus competition is mostly in the
mid-end market. The company believes that
its European competitors have a ‘follower’
strategy and are largely inspired by the
Kvadrat designs and concepts.
The textiles produced by Kvadrat
are highly sophisticated and based on a
production process driven by technology
and competencies.
It is thought that Asian competitors will have
difficulties using this approach. However, a
more important consideration is the fact
that Kvadrat operates with a very strong
service concept.
They operate a ‘just-in-time’ delivery process
with their customers, meaning that if an order
is placed before 2.00 p.m. it will be shipped the
same day. Furthermore, 98% of all orders are
delivered within three days. As transportation
times are crucial in this industry, it would
be difficult to maintain these high service
standards if the textiles were produced in the
Far East. Thus, the lack of Far East competitors
can be explained by production technology
and process, high quality standards and
transport times.
Kvadrat has seen a major concentration
tendency among the European textile
producers and it is estimated that this will
continue in the future. There is only room for
very big companies who have the strength
to improve economies of scale and invest in
technology and research and development.
market dynamicsyummy as
08 09
In order to keep in touch with the market
—customers and broad developments within
the industry concerning design trends, etc.
Kvadrat maintains a number of showrooms.
It also has national sales agencies in most
Western European countries to keep
contacts with customers (architects,
designers, large enterprises and end-users).
Agencies have recently been set up in
Australia and Japan in co-operation with a
large American company. Currently Kvadrat
operates mainly in Western Europe, but could
target Eastern Europe in the future.
However, this is not likely to happen in the
immediate future as Kvadrat’s high-end
products would be considered too expensive in
these locations.
For its production, Kvadrat uses 25
independent sub-suppliers mostly located
in Europe. Eight of these are considered main
suppliers, producing roughly 70% of the textile
flow. Typically, Kvadrat purchases between
20% to 90% of sub-supplier production.
Besides this, Kvadrat is a very good customer
as it is a ‘season buffer’/’equaliser’, not heavily
dependent on seasonally fluctuations as is the
case for clothing producers. As the suppliers
often produce clothing also, they can use their
affiliation with Kvadrat to maintain stability
and secure a more effective use of production
technology and resources.
In terms of suppliers, Kvadrat only uses
the absolute best in terms of quality
and technology. These companies are often
also suppliers for highly branded fashion
companies such as Hugo Boss and Lacoste.
Before any production takes place,
the concept and design are first identified.
For this purpose, Kvadrat has two chief
designers employed in Ebeltoft. These chief
designers co-ordinate the work of 15 to 20
affiliated designers. These affiliated designers
are freelancers, but have exclusive contracts
meaning that they are only allowed to work
for other companies (or as self-employed)
as long as they are not working with directly
competitive products. Once a concept has been
identified, a concept team is set up together
with procurement, which identifies the right
supplier and then markets the goods. The
supplier produces a given quantity which is
then transported to the central warehouse from
where it is distributed to customers.
Kvadrat integrates information and
communication technologies (ICT) in a way that
allows the eight main suppliers to monitor sales
and the status of goods they are producing.
The aim of this is two-fold: Kvadrat can reduce
stock-keeping activities since this is done by
the suppliers themselves, and the suppliers
get better opportunities for production
planning. This is seen as a very promising way
of improving efficiency and profitability, but
suppliers must be ready to invest in, and open
to implementing, new technology.
market organisationsyummy as
10 11
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
161616
Sweet Times at Kapiti Candies
Good Magazine 1 17/06/11 12:25 PM
hat do you do to keep everyone
happy when you are starting out
on a new life, mixed families
and everything that encompasses? Buying
a candy factory sounds like a pretty good
place to start.
That’s that Bruce and Helen Mackenzie
did a couple of years ago. Bruce had given
away his job of 29 years in the finance area
of NZ Post and was looking for a change
of scene; Helen had been working four part
time jobs around her responsibilities as a
solo mum and had been keeping her eye out
for a business to buy for some time.
A long time resident of the Kapiti Coast,
Helen was aware of Kapiti Candies, which
was one of the foundation tenants of the
Lindale Centre just north of Raumati. When
she read the description of the unnamed
business for sale she thought she recognized
it. She approached the factories owner,
Bill Anderson, and asked whether he was
selling. He was, and the rest is history. If it
was a change of scene Bruce was seeking,
that’s precisely what he got.
“Its hands on. When your pulling rock
(stretching rock candy), or lifting the
kettle…you don’t need a gym membership.”
From where we are sitting in the little
office, we can see through a window into
the shop with its shelves and jars and
counter displays a riot of fantasy land
colour. And then there’s the aroma—rich,
unmistakable and alluring—of candy of all
descriptions. Last year, it drew my three
year old son to the shop from 100 paces, as
unearring as a blood hound to a scent of a
nervous man. And from here, you can see
the reaction of customers as they enter. The
expressions of youth and old smooth out
into pure, radiant delight—especially the
young, who look like, well, kids in a candy
store. Most of their walk in clientele are
reasonably local, according to Helen, from a
area ranging from Palmerston North down
to Wellington. But Kapiti Candies go much
further afield, with orders rolling in from
Whangarei to Invercargill and stock lists
around the country, including gourmet food
stores such as Nosh and Farro Fresh.
Besides the absolutely traditional lines
—lollipops, candy canes, boiled lollies,
marshmallows, nougat, fudges, and the like.
Kapiti Candies also stock more modern
lines made by others, such as gummies of
various descriptions. And they are among
the few confectioners who make sugar and
gluten free candies thanks to Helen and
Bruce, even diabetics can enjoy a sweet now
and again.
Bruce is the factory manager and not
afraid to mix it with the product, while
Helen looks after the administrative side
with the orders, accounts and marketing
they both work hard: the factory is on the
go seven days a week.
They brought the business right at the
beginning of the recession, but have come
through it - they’ve even expanded, opening
another Kapiti Coast retail outlet this year
—and this is a source of considerable price.
“Its incredibly hands on. When your pulling rock (stretching rock candy), or lifting the kettle…you don’t need a gym membership.”
Turn off the Main Highway and go hunting for all things sweet and delicious. Discover
with John McCrystal how Kapiti Candies can meet everyone’s needs—Diabetic or not.
Illustration Andrew Rae
Sweet Times at Kapiti Candies
Good Magazine 1-2 17/06/11 12:25 PM
/ / I T S A L i F E O F L O L L i E S
[ g o o d m a g a z i n e i l l u s t r a t i o n ]
A magazine illustration created for GooD
magazine, a magazine based around simple
choices for a better life.
The illustration created has been created to
represent life. I used a circle of candy in order
to represent both a circle of life that you are
constantly revolved around. The colour palette
implemented was created to show how yummy
sickly sweet candy is.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
171717/ / L A D i 6
[ s t y l e a n d t e c h n i q u e i l l u s t r a t i o n ]
This brief was designed to dissect how
illustrators work and the methods that they use
to create their final outcome.
I was inspired by Timba Smits, a illustrator who
is featured in Wooden Toy magazine regularly. I
implemented Timba’s style in creating this mock
illustration slide for the VMA’s.
a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e
181818 Vegetable inks?
brighter colours?
doesn’t smudge?
can recycle?
the environment?
Vegetable Inks are 100% non-toxic and emit low VOC’s (Volatile Organic
Compounds)–reducing the amount of toxins released into the air and soil
during manufacturing, printing and recycling.
VOC’s are added to the Vegetable Ink so it produces more intense colours,
as well as accelerate the drying process –so you can get that hot bit of paper in
your hands quicker!
Vegetable Ink doesn’t rub off on your hands and definatly won’t smudge!
Vegetable Ink plays a choice part in paper recycling because the ink can
be taken away easier than normal inks from the paper de-inking process.
So choose Vegetable Ink! An environmentally friendly ink.
vegetable inks! isn’t toxic?
/ / d o Y o U U S E V E G E i N K S ?
[ i n f o g r a p h i c p o s t e r ]
An infographic poster created in illustrator
related to being both a sustainable designer
and also maintaining a sustainable design
studio. Vegetable inks was used as the voice to
represent being a sustainable designer as it was
food related (something that instantly makes me
more interested). The idea for this infographic
material is to get you thinking about using
sustainable inks while educating the reader
about vegetable inks at the same time.
YOU are changing our future for the
GOOD if you use vegetable inks.
YOU are changing our future for the
BAD if you don’t.