Grand Egyptian Museum Aqoonsiga Shirkadeed oo uu sameeyey Rana Gaber

Naqshadda Grand Egyptian Museum Aqoonsiga Shirkadeed oo uu sameeyey Rana Gaber waa mid aad u sharaf badan oo ku guulaysatay tartanka qaybta Naqshadeynta Garaafigga, Sawir-gacmeedka iyo Isgaarsiinta Muuqaalka ee 2020 Abaalmarinta Dahabka ah ee A' Design Award.

DahabGaraafig· 2020

Grand Egyptian Museum Aqoonsiga Shirkadeed

Rana Gaber uu sameeyay

Macmiilka: Rana Hossam

Ku Guuleystaha Abaalmarinta Dahabka ah ee A' Design Award ee Qaybta Garaafig

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Ku Guuleystaha Abaalmarinta La Xaqiijiyey

Xaqiiji Xaaladda Abaalmarinta #100110

Booqo Bogga Ka Eeg A' Design Award War-saxaafadeed Calaamadda Abaalmarinta

Midabada

Naqshadeynta

Wax ku saabsan Grand Egyptian Museum Aqoonsiga Shirkadeed

Grand Egyptian Museum waa aqoonsi shirkadeed oo loo sameeyay madxaf ay ku jiraan farshaxanno qadiimi ah oo Masri hore ah. Astaanta (logo) waxaa laga dhisay shan xaraf oo hieroglyph ah oo akhrinayaa Masar, kuwaas oo lagu daray qaab joomatari ah oo fudud. Qaabka leydiga dheer waxaa laga dhaxlay cartouche-ka, oo ah dabayl qeexaysa magac boqornimo. Midabka madow ayaa ah midabka koowaad, sababtoo ah daafaha Webiga Niil waxaa loogu yeeri jiray Dhulka Madow. Midabbada labaad waxaa laga dhaxlay dahabka iyo qurxinta Masaaridii hore. Roboto ayaa ah farta ugu weyn ee la isticmaalo, maadaama xagalladeeda iyo qalooc-yadeedu ay la mid yihiin kuwa astaanta qoraalka (logotype). Waxaa la sameeyay nidaam calaamadeyn tijaabo ah.

Aqoonsiga

Wax ku saabsan Abaalmarinta Dahabka ah ee A' Design Award

Grand Egyptian Museum Aqoonsiga Shirkadeed waa guuleystaha Abaalmarinta Dahabka ah ee A' Design Award, aqoonsi sharaf aad u weyn oo la siiyo naqshado heerka koowaad ah, cajiib ah oo aan caadi ahayn. Guuleystayaasha Dahabka waa hal-abuurro cusub oo aad u badan, aragti fog leh oo si indho-qabsi ah u dhalaalaya, kuwaas oo ka tarjumaya caqli, xikmad iyo xirfadda naqshadeeyayaashooda. Grand Egyptian Museum Aqoonsiga Shirkadeed waa shaqo la filayo inay noqoto hal-abuur aad loo ammaano, dejisa isbeddello cusub oo weyn, keenta qiimo aan hore loo arag. Naqshadahan ku guuleystay Abaalmarinta Dahabka ah ee A' Design Award waa shaqo cajiib ah oo la ixtiraamo, waxtar weyn leh oo hormarisa xuduudaha farshaxanka, sayniska, naqshadaynta iyo tignoolajiyada. Grand Egyptian Museum Aqoonsiga Shirkadeed waa shaqo abuurta dareenno xoog leh oo rabitaan ah, kicisa xiiso, dhiirigelisa hal-abuur una soo jiidata.

Gadaasha Naqshadeynta

Xirmada Warbaahinta

Shahaadooyinka, xubnaha kooxda iyo faahfaahinta farsamada ee uu bixiyay naqshadeeluhu.

Sifooyinka Gaarka ah: 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
Cabbirka & Qaabaynta: 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
Summado: Visual Identity, Logo, Branding, Typography, Signage system
Tiknoloojiyada Soo Saarka: Exploring different visual languages to develop a logo and a signage system that is inspired from the hieroglyphs.
Caqabadda Naqshadda: 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.
Cilmi-baadhis: 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.
Dhiirrigelinta: 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
Muddada Mashruuca: 2015 German University in Cairo, 3 months
During the pre-master in Graphic Design Degree.
Socodka Hawlgalka: It Creates a unique visual experience, where it also introduces people to ancient Egyptian hieroglyphs through a modern yet simple corporate identity.
Xubnaha Kooxda: none.
Amaanta Sawirrada: credits to: Shutterstock and bensound