Grand Egyptian Museum Mari-pamantarana Orinasa nataon'i Rana Gaber

Ny endrika Grand Egyptian Museum Mari-pamantarana Orinasa nataon'i Rana Gaber dia mpandresy sarobidy amin'ny 2020 A' Design Award Volamena amin'ny Sokajin'ny Fifanintsanana Famolavolana Grafika, Sary ary Fifandraisana Ara-tsary.

VolamenaGrafika· 2020

Grand Egyptian Museum Mari-pamantarana Orinasa

nataon'i Rana Gaber

Mpanjifa: Rana Hossam

Mpandresy A' Design Award Volamena amin'ny Sokajy Grafika

61,233

Mpandresy Loka Voamarina

Hanamarina ny Sata Loka ho an'ny #100110

Tsidiho ny Tranonkala Jereo ao amin'ny A' Design Award Fanambarana ho an'ny Mpanao Gazety Marika Loka

Loko

Ny Endrika

Momba ny Grand Egyptian Museum Mari-pamantarana Orinasa

Ny Grand Egyptian Museum dia mari-pamantarana orinasa ho an'ny tranombakoka misy vakoka egyptiana fahiny. Ny logo dia namboarina avy amin'ny hieroglyphe dimy izay vakiana hoe Egypta, natambatra ho endrika jeometrika sy tsotra. Ny endriny mahitsizoro lavalava dia nahazo aingam-panahy avy amin'ny cartouche, sisiny iray manondro anaram-panjaka. Ny mainty no loko fototra, satria ny morontsirak'i Neily dia nantsoina hoe Tany Mainty. Ny loko faharoa dia nahazo aingam-panahy avy amin'ny firavaka egyptiana fahiny. Roboto no endri-tsoratra fototra, satria ny zoro sy ny fiolahany dia mifanaraka amin'ny an'ny logotype. Novolavolaina ihany koa ny rafitra famantarana andrana iray.

Ny Fankasitrahana

Momba ny A' Design Award Volamena

Nandresy ny A' Design Award Volamena ny famolavolana Grand Egyptian Museum Mari-pamantarana Orinasa, fankasitrahana malaza indrindra tsy refesi-mandidy omena ny famolavolana kilasy voalohany, mahagaga ary miavaka. Ny mpandresy Volamena dia famoronana vaovao indrindra, mahay mijery lavitra ary mamirapiratra mahafinaritra izay maneho ny fahamoramoran-tsaina, ny fahendrena ary ny fahaizan'ny mpamolavola azy. Andrasana ho fikarohana mahazo ankasitrahana indrindra, mitarika ny fironana ary tsangambato ny famolavolana Grand Egyptian Museum Mari-pamantarana Orinasa izay mamatsy sanda tsy mbola nisy toy izany. Ity famolavolana nandresy ny A' Design Award Volamena ity dia tetikasa mahavariana sy hajaina izay mahasoa be ary mampandroso ny sisintanin'ny zavakanto, ny siansa, ny famolavolana ary ny teknolojia. Ny famolavolana Grand Egyptian Museum Mari-pamantarana Orinasa dia mamorona fihetseham-po mafy momba ny faniriana, mamelona ny ahiahy, mamporisika ny fahaiza-mamorona ary mahasarika antsika.

Ao Ambadiky ny Endrika

Fitaovana ho an'ny Mpanao Gazety

Fankasitrahana, mpikambana ao amin'ny ekipa ary antsipiriany teknika nomen'ny mpanao endrika.

Toetra Manokana: 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
Refy & Fonosana: 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
Marika: Visual Identity, Logo, Branding, Typography, Signage system
Teknolojia Famokarana: Exploring different visual languages to develop a logo and a signage system that is inspired from the hieroglyphs.
Fanamby Endrika: 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.
Fikarohana: 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.
Aingam-panahy: 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
Faharetan'ny Tetikasa: 2015 German University in Cairo, 3 months
During the pre-master in Graphic Design Degree.
Fizotr'asa: It Creates a unique visual experience, where it also introduces people to ancient Egyptian hieroglyphs through a modern yet simple corporate identity.
Mpikambana ao amin'ny Ekipa: none.
Loharanon-tsary: credits to: Shutterstock and bensound