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The Canva Generation: Is Template Culture Changing Design?

Zandile TshabalalaZandile Tshabalala·
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How Canva is reshaping design culture, from accessibility and template trends to what it means for young South African creatives.

Design is no longer limited to studios and agencies. Today, posters, pitch decks and social media campaigns are created on phones, in classrooms and at kitchen tables.

At the centre of this shift is Canva, the drag-and-drop design platform did not only change how visual work is made but also who gets to make it.

More people are designing than ever before. But the look of design is changing too.

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Design without the gatekeepers

Since launching in 2013, Canva has positioned itself as a tool for non-designers. It offers ready-made templates, built-in fonts and image libraries and brand kits that allow users to create content quickly.

Canva now has more than 220 million users across 190 countries, with tens of billions of designs created on the platform since its launch.

In South Africa, its impact is visible across the informal economy and creative sector. Small businesses use it to build their brand presence. NGOs create campaign materials without hiring agencies. Students produce portfolios and presentations without needing access to expensive software.

For many young creatives, Canva is their first design tool and because it is so easy to use and so extensive and many never feel the need to progress onto to more specialised programmes.

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The template look

Accessibility has also produced a new visual language.

Scroll through Instagram or LinkedIn and familiar formats appear. Quote cards with soft gradients. Clean carousel layouts. Minimal event posters. Bold headline slides even brand ads.

Much of this comes from template libraries designed for speed and consistency.

Templates help users:

  • Produce content quickly
  • Maintain brand consistency
  • Reduce design decisions

For social media managers and small teams, the efficiency matters. But the result is a growing sense of visual sameness.

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Where designers fit now

For professional designers, the Canva era brings both pressure and opportunity.

Clients expect faster turnaround and lower costs. Some also feel less of a need to engage professional designers when they and their teams can do it themselves.

At the same time, many professional studios are also using Canva for quick social content and internal materials. Plugging their specialist or unique designs into templates and pushing out work with greater efficiency.

The shift is moving the value of design away from execution and towards:

  • Brand strategy
  • Visual systems
  • Creative direction
  • Concept development

Execution is becoming easier. Thinking is becoming more valuable.

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A generation learning visually

One clear shift is the rise of everyday design literacy. Young people now understand layout, hierarchy and colour simply through regular content creation. Many are already using Canva at school to make posters and presentations, becoming familiar with how to create visual moments and produce work that looks good or feels on trend. In the process, they begin to develop a visual language while learning subjects like maths, science and languages.  It’s something previous generations were rarely exposed to, and its long-term impact is still unfolding.

Canva’s impact on design in a way mirrors what smartphones did for photography. The tools are accessible but in the end strong work still depends on ideas and intention and having ‘an eye’ or a feeling for what works.

Knowing how to use a template is one thing. Knowing how to build a visual identity or tell a visual story is another.

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Designed for the feed

The Canva aesthetic also reflects our obsession with social media culture. Most templates are built for mobile viewing, fast scrolling and carousel storytelling.

Design is becoming more functional and content-driven. It has become a way to make content more beautiful so it performs better and is trusted more. Performance is measured through reach and trust through saves and engagement – good looking posts can improve both. Performance is no longer dependant on originality alone.

Performance is no longer dependant on originality alone.

More access, more noise

The Canva generation signals a broader shift: design is no longer a specialist skill, it is part of everyday communication.

This means more content and more competition for attention. It also raises the bar for what looks visually compelling, while bringing more people into the creative pipeline. As visual trends compete with original design for clicks, they begin to shape our expectations of design and even what we consider visually appealing.

For emerging South African creatives, Canva is now a baseline skill. What sets people apart is concept, storytelling and having a clear point of view. Some will stay inside templates. Others will push beyond them.

The tool has opened the door. What happens next depends on how far users move beyond the template and who’s behind the mouse.

* Also read: CANVA DEEPENS ITS ROOTS IN AFRICA: A NEW ERA OF ACCESS, CREATIVITY, AND OPPORTUNITY

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Where to Look for Grants, Residencies & Open Calls in 2026

Zandile TshabalalaZandile Tshabalala·
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A practical guide for SA creatives on where to find grants, residencies and funding platforms in 2026.

Most creatives don’t struggle because there are no opportunities. They struggle because they don’t know where to find them. That is why Between 10and5 decided to do the research for you and to put this nifty list together.

Top tip: Instead of waiting for opportunities to find you, make it a habit to…

  1. Check the right platforms
  2. Track deadlines
  3. Keep your portfolio ready
  4. Apply, even when you feel unsure

Most creative careers are not built from one big break. They are built from consistency and staying connected to the ecosystem. The secret is that it often takes much longer to achieve success than one thinks when you start out.

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Start Here: National Funding Platforms

National Arts Council (NAC)
www.nac.org.za
Funding cycles: January to February and July to August
Tip: Set calendar reminders. Most artists start preparing too late.

Department of Sport, Arts and Culture (DSAC)
www.dsac.gov.za
Main funding window: May to June
Tip: Projects with clear community impact are more competitive.

VANSA. The Visual Arts Network of South Africa.
https://vansa.co.za/arts-opportunities/
Great community to search for a variety of opportunities, including funding, competitions, education and jobs in the art world.

BASA. Business Arts South Africa.
https://basa.co.za/
The BASA Supporting Grant programme, funded by the Department of Arts and Culture, helps businesses and the arts work together in ways that benefit both.

For International Opportunities

Pro Helvetia Johannesburg
www.prohelvetia.org/en/where-we-work/johannesburg
Deadlines: 1 March, 1 June, 1 September, 1 December
Tip: Check their site at the start of every quarter.

British Council South Africa
www.britishcouncil.org.za
Watch for calls: March to May
Tip: Follow their social media. Calls open and close quickly.

For Residencies and Studio Time

Bag Factory Artists’ Studios
www.bagfactoryart.org.za
Applications: September to October (for the following year)
Tip: Show your process, not only finished work.

Rijksakademie (Netherlands)
www.rijksakademie.nl
Deadline: 1 October each year
Tip: It is competitive, but South African artists are selected regularly.

For Photography and Visual Storytelling

Market Photo Workshop
www.marketphotoworkshop.co.za
Applications: October to November
Tip: Strong storytelling matters more than expensive equipment.

For Collaborative or Experimental Projects

Goethe-Institut South Africa
www.goethe.de/southafrica
Watch for calls: April to June
Tip: Interdisciplinary and socially engaged work fits well here.

For Digital and New Media Creatives

Fak’ugesi Digital Africa
www.fakugesi.co.za
Open call: May to June | Festival in September
Tip: Ideal for work connected to digital culture, gaming, AI or design.

For Pan-African Funding

African Culture Fund (ACF)
www.africanculturefund.net
Open call: February to March
Tip: They prioritise projects that strengthen the creative sector.

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Make Opportunity a Habit

Opportunities rarely come from luck. They come from showing up consistently. As they say, ‘the rhythm will set you free’. In this case the habit of continuously trying and applying for more opportunities will help you build your reputation, gain experience and visibility and make connections that will open up more opportunities again.

The more regularly you check these platforms, the less opportunity feels like something you are chasing. It becomes part of your practice.

If this list feels overwhelming, start small:

  1. Bookmark two platforms
  2. Set monthly reminders
  3. Keep your portfolio, bio and CV updated

You do not have to apply for everything. You just have to stay ready.

In the art world, momentum comes from knowing where to look and showing up when the opportunity comes knocking.

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GALXBOY Enters the Sneaker race

Zandile TshabalalaZandile Tshabalala·
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From apparel to footwear, GALXBOY drops its first sneaker, the 012, expanding its footprint in SA’s growing streetwear scene.

South African streetwear label GALXBOY has officially entered a new chapter. Known for its bold graphics and strong cultural presence, the brand has launched its first major sneaker, the 012, marking a significant move from apparel into footwear.

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A New Step for the Brand

For years, GALXBOY has built a loyal following through clothing that speaks directly to South Africa’s youth culture. The release of the 012 signals the brand’s ambition to evolve into a full lifestyle label and expand its presence in the competitive sneaker market.

The move reflects a broader trend of local streetwear brands pushing beyond apparel to create products that live fully within the culture they represent.

Design and Aesthetic

The 012 arrives in a triple-black colourway, a choice that keeps the sneaker versatile and easy to style. The silhouette leans into the chunky, futuristic look that continues to shape global streetwear, featuring:

  • Layered synthetic and mesh panels
  • A sculpted, statement sole
  • Subtle GALXBOY branding at the heel and upper

The design balances boldness with everyday wearability, positioning the shoe as a lifestyle staple rather than a performance trainer.

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Culture Over Hype

More than a product launch, the 012 wants to position itself as a cultural moment. GALXBOY’s identity is rooted in township style, youth expression and local pride. Entering the sneaker space allows the brand to deepen that connection and compete in a category long dominated by international labels.

If the release performs well, it could open the door to new colourways, collaborations and future footwear drops, strengthening the presence of homegrown brands in South Africa’s sneaker scene.

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Early Reception

Initial reactions online have been positive, with many praising the clean aesthetic and the significance of a local brand entering the footwear market. As with any first release, the long-term conversation will likely focus on comfort, durability and value, key factors for buyers comparing local options with global competitors.

The Bigger Picture

The launch of the 012 reflects the continued growth of SA’s streetwear industry and the growing confidence of local brands to expand, innovate and shape culture on their own terms.

For GALXBOY, this release signals where the brand could be heading next.

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AI Is Changing How SA Creatives Work

Zandile TshabalalaZandile Tshabalala·
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AI trends are everywhere online, but South African artists are raising concerns about ownership, jobs and the future of creative work.

Artificial Intelligence is no longer a future trend in South Africa’s creative industry. It is already part of the everyday process. Designers are generating mood boards in minutes. Photographers are building environments that would be impossible to shoot. Musicians are experimenting with AI-assisted sound.

But while the technology is spreading, the response from the creative community is mixed. Some see opportunity. Others see risk. Most are still figuring out where they stand.

Across Instagram and LinkedIn, creatives are sharing how they are using AI as a thinking tool, not a replacement but a co-pilot.

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Illustration generated Photography: @jr_ecko, Creative Direction: @guguwakwamasango x @jr_ecko, Lighting: @kr_twala, Retoucher: @luddy_mabotha, CGI: @oootsile, Studio: @redlife_studios

Pretoria-based illustrator and creative director Brent Swart has posted about using Midjourney and Adobe Firefly to develop concepts and visual directions. For him, AI speeds up early exploration and frees time for strategy and creative decision-making.

Photographer and digital artist Jr Ecko uses AI to extend his photographic work into surreal, futuristic scenes. The camera remains central, but the final world is built through a mix of traditional and generative techniques.

Multidisciplinary creative Dune Tilley has also been vocal online about AI as a rapid prototyping tool for fashion and campaign development, positioning it as part of creative research rather than the final product.

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JR Echo for Converse.

Experimentation across industries

The experimentation is happening across disciplines.

Designers Fikile Sokhulu and Nao Serati Mofammere used AI-assisted design in a collaboration with Volvo Car South Africa, translating digital concepts into physical garments.

Artist Sarina Engelbrecht shares AI-generated collections online that explore multiple visual styles, while Pietermaritzburg-based Mkhize has used AI comic formats to highlight local issues such as water shortages and electricity outages.

In film and storytelling, Garon Campbell is training emerging creatives to use AI for ideation and rapid development.

Music is also entering the conversation. Producer Gift Lubele gained attention on social media for creating an AI-generated Amapiano project that blends machine-generated elements with local sound and rhythm.

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The TikTok paradox

This is where the tension becomes clearer. AI visuals are widely shared and celebrated on TikTok and Instagram. Filters, avatars and stylised animations regularly go viral.

But when the same technology moves into professional creative work, the reaction shifts. Especially in music. Voice and sound are closely tied to identity, and many artists worry about ownership, imitation and income in an industry where earnings are already limited.

The general public sentiment we’ve observed can be summarised in a way that reveals a contradiction. And that is that AI is fun when it’s entertainment but it becomes controversial when it replaces paid work.

Comment sections start asking harder questions: “Is this original? Was a creative paid? What happens to the jobs behind the work?”

The real concerns

Within the industry, three issues come up repeatedly:

  1. Consent — whose work trained the AI?
  2. Transparency — should AI-assisted work be disclosed?
  3. Creative labour — what happens to the people behind the production?

Some creatives now use AI only for mood boards and concepting. Others avoid it entirely. Many are experimenting while setting their own boundaries.

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What AI can’t generate

The shift is also changing what creative value looks like.

AI can generate images, text and sound. What it cannot generate is context. Asking they ‘why’ and adding a level of ‘taste’ and truly understanding what the human need is that a design, song or piece of work needs to address is still a uniquely human skill.

South African work is shaped by language, culture and lived experience. Township aesthetics, local humour and social realities still require a human perspective. For many, the role of the creative is moving from maker to director. The skill is no longer just execution, but taste, concept and cultural understanding.

In this context, AI is not replacing South African creativity. But it is changing how work is made, and the industry is responding with equal parts curiosity and caution.

The tool is here. The boundaries are still being negotiated. Stay curious and stay AI positive.

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New Balance Launches New Colourways of the ABZORB 2000 at JD Sports

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New Balance’s latest campaign at JD Sports celebrates the launch of the ABZORB 2000 through the energy of community, shot across four global cities; Liverpool, Marseille, Los Angeles and Bangkok.

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Originally introduced in 1993, ABZORB cushioning revolutionized running technology and has since become a signature feature of several fan favorite lifestyle models. The ABZORB 2000 uniquely transforms this functional feature into a fresh visual design statement standing out amongst other New Balance silhouettes, delivering exceptional comfort while honoring New Balance’s running heritage through a modern lens.

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The ABZORB 2000’s Design

First previewed at Milan Design Week in early 2025, the ABZORB 2000 brings together a progressive design, a minimalist upper, and futuristic details for a new look at visible tech.

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The design process incorporated 3D tools to help create a hyper detailed articulated sole unit and capture curves not easily represented on paper. This experimental design features a full-length combination of ABZORB cushioning and ABZORB SBS pods, using a distinctive feature of 2000s running-inspired classics as a focal point.

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The Global Campaign

Following a European roadtrip across Liverpool – Rotterdam – Marseille and Naples in December 2025, the global campaign now shines a light on communities driving culture in key cities across the world, all lead by New Balance athlete, Jeremie Frimpong shot in Liverpool.

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Liverpool Star, Jeremie Frimpong

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The professional footballer is known for his explosive pace, dribbling & attacking ability on the pitch and his unique, relatable personality & energy off the field of play. Since signing a major partnership with New Balance, he’s becoming one of the brand’s key ambassadors at the intersection of sport & culture.

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The campaign features two new colourways launching exclusively available at JD Sports stores across South Africa.

Picture by Karsten Winegeart
Picture by Karsten Winegeart

Are you an influencer? Here’s how the tax man will come for you

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SARS has warned that influencers must declare all income, including gifts, trips and free products. Here’s what young creators in SA need to know about tax.

If you’re growing a following on TikTok, Instagram or YouTube and making money from it, the tax man is paying attention. And it’s not only about cash.

The South African Revenue Service (SARS) has made it clear that influencers must declare everything they earn from their work. That includes money, but also gifts, products, services and trips.

A free phone. A paid-for weekend away. Clothes sent by a brand. If you received it in exchange for promotion or content, SARS sees it as income.

In a statement aimed directly at social media creators, SARS confirmed that influencers are now formally recognised as part of its taxpayer system. In simple terms, that means creators are treated like small businesses or independent workers when it comes to tax.

SARS Commissioner Edward Kieswetter said the revenue service wants to help influencers understand what’s expected of them. “SARS is looking forward to working with this segment to provide clarity and certainty, but also to provide them with a seamless taxpayer experience.”

Alvin for Good Faces.
Alvin for Good Faces.

But the message also came with a warning. Declaring income is not optional.

Influencers are required to declare all earnings from brand deals, sponsored posts and affiliate work. It does not matter whether payment comes as cash or as goods and services.

Kieswetter said SARS is willing to assist creators who want to do the right thing.

“SARS is more than willing to assist honest taxpayers to comply with their tax obligations. I am reminding social influencers to uphold their end of the bargain.” – Edward Kieswetter

This position is based on existing tax law. Under the Income Tax Act, income does not have to land in your bank account to count. If you receive something of value because of work you did, it can be taxable.

For many young creators, this is a shift. Freebies have often been seen as perks, not pay. But tax experts say undeclared non-cash income has been common, and SARS is now focusing more closely on this part of the economy.

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Image by George Pagan III

What Budget 2026 means for influencers

The 2026 National Budget did not introduce a new tax for influencers. Instead, it signalled a stronger focus on collecting tax already owed by individuals who make a living from doing influencer work for brands.

If you are operating not as an individual creator but as a registered creative business or agency doing influencer work for money, there is some relief. The compulsory VAT registration threshold has increased, meaning fewer small creative businesses are required to register for VAT. The compulsory VAT registration threshold has increased from R1 million to R2.3 million in annual turnover.

This means fewer small businesses are required to register for VAT. However, the basics still apply. If your total income, including the value of gifts and perks you receive for work, crosses the relevant tax thresholds, you are required to declare it and pay tax like any other business.

The takeaway is simple. If you’re earning from your content, SARS considers you a taxpayer. And if you’re getting paid in products or experiences instead of cash, that still counts.