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H A RV EST TOGE TH ER

BLUE TRAIN ≥ ≥ BRAND REVITALIZATION ≥ ≥ VUNA

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VUNA

CONCEPT

INFLUENCE

IDENTITY

PHOTOGRAPHY

APPLICATION

CONCLUSION

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06

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02

CONCEPT

03

South Africa’s reputation as a gourmet destination has increased by

leaps and bounds in the past decade. Internationally renowned chefs

have been drawn by the attractive climate and wealth of fresh produce,

and global critics acknowledge that the country has some of the best

fine-dining options in the world.

SOUTH AFRICA…has some

of the best fine-dining

options in the world.

Key points

A Culinary Emphasis & Expansion

Restaurant Dinning Experience

Food is a Universal language and a social uni-

fier, From harvesting to consumption.

South African Cusine is a blend of many cul-

tures, offering a variety of delicious dishes.

Use of key concept “Rainbow Cuisine”

A term that reflects the cultural depth, cre-

ative spectrum, and spiritual unity of a diverse

people.

With 40 million inhabitants speaking 11 differ-

ent languages, the country offers a fascinating

potpourri of fresh, delectable, eclectic fare.

Identified 6 influences on South African Cuisine\

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04 CONCEPT

X

* Visiting Friends and Relatives is the number one reason

for domestic travelers to take a trip.

R 4.0

R 3.5

R 3.0

R 2.5

R 2.0

R 1.5

R 1.0

R 0.5

R 0.0

* VFR Holiday Religious Business

R 3.8 = 470,092.62 USD

R 1.05 R 1.02

R 0.23

Va

lue

Ca

ptu

re

d i

n B

illi

on

s

CAPE T

OWN

MAT

JIESF

ONTEIN

BEAUFORT W

EST

139 miles

2.3 hrs*

141 miles

2.4 hrs*

181 miles

3.0 hrs*

05

sTRATEGY

An expansion of a current strength of the brand.

The Blue train offers award winning cuisine and

Service aboard it’s luxurious rail experience.

The Blue Train Currently under utilizes one train

set, due to recent damages.

Opportunity to take that set and transform it to be

a subset and expansion of the brand.

Market this new train towards an untapped mar-

ket of Domestic tourists.

DE A

R

KIMBERLY

KLERKSD

ORP

PRETORIA

139 miles

2.3 hrs*

194 miles

3.2 hrs*

136 miles

2.2 hrs*

ROUTE

Stops are added at Klerksdorp, De-ar, Beaufort

West & Motjiesfontein.

Chosen primarily for distance and the amount of

time to be spent on train.

Shorter ROutes = less time = more passengers =

more revenue.

Domestic tourist friendly with several stations.

RESTAURANT

Offering 3-4 course meals, depending on the length

of trip or segment of the route.

Journeying to one stop then returning.

Social opportunity for local & domestic tourist

aboard the train.

MENU

Can change weekly between routes

Locals can board train on nearest stop & experience

a weekly rotating menu.

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06 02

INFLUENCE

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“Rainbow Cuisine” defines the food style in South Africa. It’s a term

that reflects the cultural depth, creative spectrum, and spiritual unity

of a diverse people. With 40 million inhabitants speaking 11 different

languages, the country offers a fascinating potpourri of fresh, delec-

table, eclectic fare.

INFLUENCES

ANCIENT AFRICAN

BANTU

INDIAN

MALAY

PORTUGUESE

AFRIKAAN

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03

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08 INFLUENCE

ANCIENT/TRADITIONAL AFRICAN01 ≥ANCIENT CUISINE

THOSE WHO HAVE SEEN THE LANDSCAPE OF THE NAMIB AND THE KALAHARI

deserts where the San people live and roam, may easily laugh at the

thought of any form of culinary enjoyment in these areas.

South Africa food history shows however, that the San people did enjoy

a surprisingly varied menu of edible roots, leaves, plants, berries and

nuts gathered from the “veld” (field). They also gathered eggs, being par-

ticularly fond of ostrich eggs. To complete the menu they hunted for meat

such as antelope, birds and small animals.

Some of the Khoi people living at the coast close to the beach known as

the “Strandlopers” (beach walkers), had a diet just as varied. They dined

on mussels, abalone, crayfish, seals and penguins, supplemented with

edible wild plants, fruits and seaweed.

At a certain stage in their history, influenced by the livestock farming

culture of the Bantu people, the Khoi people changed their source of food

supply from gathering and hunting to a nomadic type of livestock farm-

ing, starting with sheep at first and adding cattle at a later stage.

Mutton and meat from other domesticated animals became an impor-

tant part of their cuisine.

South Africa food history tells us that one of their favourite menu

items was crisply fried sheep-tail fat called “kaiings” (cracklings). Today

one can still feast on delicious “Kaiing” dishes.

It is difficult to ascertain to what extend the South African cuisine was

influenced by the “Khoi” and the “San” people. Fact is, that the early set-

tlers and later the “Voortrekkers” (migrating farmers) learned from their

knowledge of edible plants and herbs in the wild, using these plants and

herbs in their “Potjies” (cooking pots), salads and jams.

An famous example is “Waterblommetjies” (water-lilies) which grow

in abundance in the dams and ponds of the Boland region beyond Cape

Town. In season these little creamy white flowers make it to the table in

the form of a “Waterblommetjie bredie”, a delicious stew usually (but not

necessarily) made with mutton and flavoured with sorel.

02

10 INFLUENCE

BANTU INFLUENCE02 ≥EARLY BANTU COOKING TRADITIONS

HAVING MIGRATED FROM THE NORTH, THE BANTU pEOpLE SETTLED THEM-

selves in South Africa around 1000 AD at the end of the Southern Migra-

tion. Using for those days sophisticated iron tools, they introduced

agriculture in South Africa, practising the cultivation of a variety of

crops such as maize, sorghum, millet and vegetables amongst others

and keeping herds of domesticated cattle.

An important protein supply for the Bantu people were insects as

Mopani caterpillars, locusts and termites. Fried, grilled or cooked they

are still considered delicacies today.

… caterpillars, locusts and termites. Fried, grilled or

cooked they are still considered delicacies today.

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12 INFLUENCE

INDIAN INFLUENCE03 ≥THE INDIAN TOUCH

ABOUT TWO HUNDRED YEARS AFTER THE ARRIVAL OF THE MALAY SLAVES, THE

first boatload of indentured labourers from India arrived in the harbour

of Durban to work un the sugarcane fields of Natal (KwaZulu-Natal).

When their 10 year contracts were over, they stayed. The essence of the

Indian cooking tradition, is said to be the large variety of curries (there

are 22 main varieties) they use in their recipes.

Curry dishes have become very popular in South Africa among people

of all ethnic groups. Curry and rice is a national favourite almost as

popular as “pap en vleis” (maize meal porridge and meat). In the pro-

cess rice has also become popular as a staple food next to maize. Both

coming from the Far East, there are similarities between the malay and

Indian cuisines and they often supplement each other.

An essential feature of Indian cooking whether vegetarian or not, is

the use of spices, mostly in the form of curries. Curries, served sweet, mild

or hot, are combinations of spices, of which there are 22 main ones used

in Indian recipes.

Curries are mostly made from the so called “C” spices, cassia, cumin,

coriander, cardamom, coves, chillies and cinnamon. Another important

feature is the use of masalas, which are mixtures of herbs and spices

with ingredients such as chillies, garlic, ginger, salt and oil.

Leaving out the ginger, the Zulu people in KwaZulu-Natal embraced

the Indian curry in their cookery as if it was their own. Rice is a staple

food in the Indian culture. It is often prepared with tasty ingredients

such as nuts, saffron, sultanas, lentils, and vegetables to create pilau.

Other starches often served with a meal are oven-baked bread (naan),

unleavened bread (roti), spiced pancakes (poora) and fried yeast bread.

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14 INFLUENCE

MALAY-INDONESIAN04 ≥MALAY - INDONESIAN INFLUENCE

THE SO-CALLED MALAY SLAVES IMPORTED INTO THE CAPE BY THE DUTCH

EAST India company in 1658, came from Indonesia, Malaysia and Mada-

gascar. Indonesia was a Dutch colony at the time. They brought with

them their cooking traditions, which were characterized by the use of a

large variety of spices. Many of them, particularly the women, were em-

ployed in the households and kitchens of the settler families.

Their ability to adapt their recipes to locally available ingredients

soon became apparent and their cooking talents, using the aromatic

spices from the Far East, greatly enhanced the local settler cuisine. This

was an important development in the South Africa food history. The

Cape Dutch cuisine that has emerged from this culinary fusion, owes at

least as much to the cooking traditions of the slaves, as it does to the

European styles of cooking imported by the settlers.

The Dutch cooking customs in the early days of the Cape colony were

changed forever with the arrival of the slaves from the Far East. Malay

slaves began to arrive at the Cape towards the end of the 17th century.

Among the man were skilled fishermen, and the women were expert

cooks who included a multitude of spices in their dishes.

They brought aniseed, star fennel, turmeric, cardamom and ginger

(both green and dried) amongst others. They brought a variety of mas-

salas, mixtures of different spices used for different dishes, common to

the Indonesian culinary culture and they brought saltpetre, the miracle

ingredient for pickling.

The intermingling of the early Dutch and Malay cookery is known

today as the Cape Dutch cuisine, a fragrant style of cooking which is

unique to South Africa.

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PORTUGUESE05 ≥pORTUGUESE

THE PORTUGUESE WERE THE FIRST EUROPEANS TO ROUND THE CAPE OF GOOD

Hope and to set foot on South African soil in the 15th century. At the

time they were not interested to establish a settlement in South Africa.

Instead they choose at a later stage to colonize Angola on the west of

the continent and Mozambique on the east, both of them bordering onto

South Africa, which included Namibia at the time.

They brought with them their talents for flavouring with spices and

their techniques of roasting and marinating, blending them with local

African cuisine and ingredients to produce spicy dishes. From their Asian

colonies they brought the orange, lemon and lime. and from Brazil, their

colony in South America, they brought chillies, peppers, corn, tomato,

pineapples, banana and the domesticated pig.

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AFRIKAAN06 ≥AFRIKAANS

“AFRIKANERS” ARE MOSTLY DESCENDENTS FROM THE ORIGINAL DUTCH,

FRENCH and German settlers, who founded the Cape colony in the 17th

century. The cuisine that stands out as typical “Afrikaner”, is to a large

extend based on the Dutch settlers cuisine, with contributions of the

French and German settlers. Add to that a large portion of Malay cooking

and temper it all by years of migrating on the Great Trek.

And so we inherited today’s fabulous legacy of “Potjiekos” (potfood),

“Braais” (barbecues), “biltong” (spicy dried meat) and “Boerewors”

(farmers sausage). Hunting was the order of the day on the Great Trek, to

keep the cooking pot filled with meat. Today amongst the “Afrikaners”

hunting is still regarded as a must to provide the venison for their deli-

cious game dishes.

18 INFLUENCE

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20

LOGODEVELOPMENT

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The development of the Vuna Identity is attempting to convey the es-

sence of South Africa's unity amongst cultural diversity across culinary

influence. The mark itself is the solution to the problem and the identity

of the concept. In the following pages the Development stages of this

concept will be previewed.

22 LOGO DEVELOPMENT

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The logo is an abstraction of several key ele-

ments that I wanted to directly relate to what

I had uncovered in the research about South

Africa's cuisine being a "Rainbow" of influence.

I have learned that without the depth of the re-

search I would not have been able to develop a

mark that has so much meaning and relevance

to the essence of the concept.

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LOGOTYPE& SIGNATURE

LOGO GUIDLINES

The success of our brand depends on the consistent and frequent use of key

elements, which when used effectively, produce a powerful and lasting im-

pression in the minds of our customers

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04 LOGO GUIDLINES

LogotypeMark/Avatar

SIGNATURE

The Preferred placement of the

logo in print is directly to the left

of the logotype with the rounded

forms rising and dropping slightly

above and below the cap height

and baseline.

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Always leave the minimum

clear space around the

Logo to frame and set off

our identity. In print, the

clear space requirement is

at least one x height of the

logo on each side.

HARVEST TOGETHER

X-HEIGHT

X-HEIGHT

Inside edge, Right Stem of “U”

Standard Signature

1/3 X-HEIGHT

SIGNATURE WITH TAGLINE

Alternate Logotype. Use primarily

for multimedia applications. Can

also be used for print at minimum

size requirement.

28 IDENTITY

Mark is an abstraction of

≥ Rainbow

≥ Train wheels

≥ Unity amongst diversity

≥ Motion

≥ Life cycle

≥ Sowing & harvesting

≥ Six bands represent the six

major culinary influences.

minimum scale for

print collateral is

1/4 of an inch.

Maximum Scale.

No scale restrictions

on how big you go.

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TYpOGRApHY

Typeface: DEMOCRATICA

Serifed typeface with medium-high

contrast in stroke

Unique serifs showcase the typeface’s

strength & elegance

Rounded letterforms relate to the mark.

Oldstyle text lining numerals

30 IDENTITY

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ABCDEFGHIJKL

MNOpQRSTUV

wXYZ

abcdefghijkl

mnopqrstuv

wxyz

123456789031

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PHOTOGRAPHIC STYLE

pHOTOpGRApHY

All Images used in Vuna’s Communications express the quality and

strength that is inherent in the Vuna brand.

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Traditional & Ancient African

When creating collateral for the Ancient African

& Bantu influenced theme, use strong images of

tribal men & Women.

These images illustrate the core value of cul-

tural elegance that Vuna stands for.

Use only Duotone Images

people in their traditional dress, up close and

personal communicate the idea of a personal

cultural experience that one will experience

aboard Vuna.

34 PHOTOGRAPHIC STYLE

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36 PHOTOGRAPHIC STYLE

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APPLICATION

ARTIFACTS & COLLATERAL

Key applications that represent real future scenarios need to be identified.

Dwell in the possibilities.

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40 APPLICATION

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42 APPLICATION

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01 LOGO GUIDLINES

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46 CONCLUSION

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IN CONCLUSION, I FEEL THAT VUNA HAS THE PO-

tential to become a strong piece of my portfo-

lio. The beauty of the mark and the contrast

developed between photography style, color

and culture makes me wish this train actually

existed. I know that might sound biased, but I

don't think I would have been able to develop

such a concept without the amount of research

involved. My only regret is that I didn't have

anything to show for the Spring Show and that I

didn't have more articles designed.

Throughout the course of this semester, I have

learned several things that I hope will stick

with me the rest of my career. The first of those

lessons is how to sift through a tremendous

amount of research and how to filter that re-

search, reaarange it and analyze it effectively.

Through the amount of research I have learned

that it really does add an amazing amount of

depth and meaning to what we design or create.

I have also learned the value of working in

a team as a class because without it there is no

way I would have been able to find all of that

research on my own. I have learned to push the

contrast between elements I use and to effec-

tively edit and critique my own work.

Gwen I thank you again, for forcing us to

grow no matter how uncomfortable it may have

been for all of us. I personally feel that I can

walk away from this program prepared for what

this profession entails, and I look forward to

learning more and growing into my own.

The beauty of the mark and the contrast

developed between the photographic

style, color and culture makes me wish

this train actually existed.

BLUE TRAIN ≥ ≥ BRAND REVITALIZATION ≥ ≥ VUNA

JOEL FELIX

GRAPHIC DESIGN 155

CORPORATE IDENTITY

SPRING 2008