Grand Egyptian Museum Njirimara Ụlọ Ọrụ nke Rana Gaber

Ihe emepụtara bụ Grand Egyptian Museum Njirimara Ụlọ Ọrụ nke Rana Gaber bụ onye meriri a na-asọpụrụ nke ukwuu nke 2020 Ihe Nrite A' Design Award nke Ọlaedo na Udi Asọmpi Nhazi Eserese, Ịse Ihe na Nkwurịta Anya.

ỌlaedoEserese· 2020

Grand Egyptian Museum Njirimara Ụlọ Ọrụ

nke Rana Gaber

Onye Ahịa: Rana Hossam

Onye Meriri Ihe Nrite A' Design Award nke Ọlaedo na Udi Eserese

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #100110

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Grand Egyptian Museum Njirimara Ụlọ Ọrụ

Grand Egyptian Museum bụ njirimara ụlọ ọrụ maka ụlọ ngosi ihe mgbe ochie nke ihe okike Egypt oge gboo. E wuru akara ngosi (logo) ahụ site na ihe odide hieroglyph ise nke na-agụ Egypt, nke ejikọtara n'ụdị geometric dị mfe. Ọdịdị akụkụ anọ toro ogologo ahụ sitere na mmụọ nsinye nke cartouche, bụ okpokolo nke na-egosi aha eze. Oji bụ agba bụ isi, n'ihi na a na-akpọ akụkụ osimiri Naịl Ala Ojii. Agba ndị ọzọ sitere na mmụọ nsinye nke ihe ịchọ mma Egypt oge gboo. Roboto bụ isi ụdị mkpụrụedemede, n'ihi na akụkụ ya na mgbagọ ya dabara na nke logotype ahụ. E mepụtara usoro akara ngosi nnwale.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaedo

Grand Egyptian Museum Njirimara Ụlọ Ọrụ meriri A' Design Award nke Ọlaedo, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa mbụ, dị ịtụnanya ma pụtara ìhè. Ndị meriri na Ọlaedo bụ ihe e kere eke dị oke ọhụrụ, nwere ọhụụ ma na-egbu maramara nke na-egosipụta ọgụgụ isi, amamihe na nka nke ndị designer ha. A na-atụ anya na Grand Egyptian Museum Njirimara Ụlọ Ọrụ ga-abụ ihe e mepụtara kacha enweta otuto, na-edu ọnọdụ ma bụrụ ihe ncheta nke na-enye uru na-adịbeghị mgbe ọ bụla. Design a meriri A' Design Award nke Ọlaedo bụ ọrụ dị ebube, a na-asọpụrụ nke na-erite uru buru ibu ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Grand Egyptian Museum Njirimara Ụlọ Ọrụ na-eweta mmetụta ọchịchọ siri ike, na-akpali agụụ, na-akwado nzụlite ihe ma na-adọrọ anyị adọrọ.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: While maintaining the use of ancient Egyptian design aesthetics as an inspiration, a logo was created using five hieroglyphs that read Egypt. They were combined together to create this geometrical yet simple look and feel. The elongated rectangular shape is inspired by the cartouche; a frame indicating that the text enclosed is a royal name. Black is the primary color because ancient Egyptians referred to the banks of the Nile as the Black Land. The secondary colors were inspired by colorful ancient Egyptian jewelry designs. Lastly, an experimental signage system was developed
Nha & Mkpuchi: The aspect ratio of the logo is 6:2.3. The letter 'E' form the logo was used as a measuring unit. Roboto was chosen as the main typeface as it is a very modern and simple font. To add to this it is somehow geometrical. the angles and the curves of the font are the same angles and curves of the logo type. This similarity creates harmony and consisitincy
Mkpado: Visual Identity, Logo, Branding, Typography, Signage system
Teknụzụ Mmepụta: Exploring different visual languages to develop a logo and a signage system that is inspired from the hieroglyphs.
Ịma Aka Imepụta: Capturing the essence of the history with all it’s reverence was challenging enough. But the true Everest of this project was bridging the gap between the past and present. To bring that history with all its pretense into today’s world, required a deep dive into what is relatable. The research showed that most modern interpretations of ancient Egypt end up looking comical or simply a caricature.

If I were to avoid that pitfall, the design had to be simple. This was a case of less is more. In order to be relatable in today’s world the answer had to be Simplicity.

Tremendous time and effort went into carrying the complexity of the history within the folds of a simple modern design. Finding that common ground was at the heart of the creative/research challenge.
Nchọpụta: My research process depends entirely on the subject matter. Thus every project dictates the path I take to best understand the subject. The goal is not learn about an idea. Therefore the challenge lies in finding the purest, simplest meaning behind it.

My research journey for this project had to begin with spending a lot of time with the curators of the original museum. A masterpiece in it's own right with a rich history beyond a century old. I also invested many hours of study with the resident Egyptologists, archaeologists and guides. People who dedicated their lives to becoming that history. They were the key as they helped me understand the ancient Egyptian hieroglyphs, their deeper meanings and even how to pronounce them. To know how a language sounded paints a mental image in itself. They taught me how to make sentences out of hieroglyphs. I then buttressed this new knowledge by doing my own readings, including 'Egyptian Grammar' by Sir Alan Gardiner.

I took a deep dive into philology, literature, vocabulary, and translation. Only at the end of this exhausting yet exhilarating journey, did I start sketching and drawing until I reached to a simple clear iconography.
Mkpali: The Grand Egyptian Museum hosts the most prominent collection of ancient Egyptian artifacts, dating back to various historical epochs. Developing a visual identity posed a great challenge; to represent the gravitas of the history while maintaining a modern and fresh look. The research and exploration process led to a rich identity inspired by the basic shapes of ancient Egyptian alphabets hieroglyphs. I incorporated hieroglyphs in the logotype and the signage system to invoke the ancient Egyptian culture and style. The viewer familiarizes with hieroglyphs without feeling foreign
Oge Ọrụ: 2015 German University in Cairo, 3 months
During the pre-master in Graphic Design Degree.
Usoro Ọrụ: It Creates a unique visual experience, where it also introduces people to ancient Egyptian hieroglyphs through a modern yet simple corporate identity.
Ndị Otu: none.
Asụsụ Foto: credits to: Shutterstock and bensound