Grand Egyptian Museum Boitsebiso ba Khoebo ka Rana Gaber

Moralo oa Grand Egyptian Museum Boitsebiso ba Khoebo ka Rana Gaber ke mohlodi oa khau e hlomphehang haholo ya 2020 Moputso oa Khauta oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Dikerafikhe, Ditshwantsho le Puisano ka Pono.

KhautaKerafikhe· 2020

Grand Egyptian Museum Boitsebiso ba Khoebo

ka Rana Gaber

Moreki: Rana Hossam

Mohlodi oa Moputso oa Khauta oa A' Design Award Mokhahleong oa Kerafikhe

61,233

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #100110

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Grand Egyptian Museum Boitsebiso ba Khoebo

Grand Egyptian Museum ke boitsebiso ba khoebo bakeng sa musiamo oa lintho tsa khale tsa Baegepeta. Logo e hahiloe ka lihieroglyphs tse hlano tse balehang Egepeta, tse kopantsoeng ho ba sebopeho se geometric le se bonolo. Sebopeho se selelele sa khutlonne se bululetsoe ke cartouche, e leng foreime e supang lebitso la borena. Botšo ke 'mala oa mantlha, hobane mabōpo a Nile a ne a bitsoa Lefatše le Letšo. Mebala ea bobeli e bululetsoe ke mabenyane a khale a Baegepeta. Roboto ke mongolo o ka sehloohong, kaha likhutlo le likurve tsa oona li lumellana le tsa logotype. Ho ile ha ntlafatsoa sisteme ea liteken tsa liexperimente.

Kamohelo

Mabapi le Moputso oa Khauta oa A' Design Award

Grand Egyptian Museum Boitsebiso ba Khoebo ke mohapi oa Moputso oa Khauta oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo ea maemo a pele, e ntle ka ho makatsa le e ikhethang. Bahapi ba Khauta ke lintho tse hlahisitsoeng tse nang le mehopolo e mecha haholo, tse shebileng pele le tse khanyang ka ho foufatsa, tse bontšang botsebi, bohlale le bokhoni ba baqapi ba tsona. Grand Egyptian Museum Boitsebiso ba Khoebo e lebelletsoe ho ba mohopolo o babatsoang haholo, o thehang mekhoa e mecha le o moholo, o tlisang boleng bo sa kang ba bonoa. Moralo ona o hapileng Moputso oa Khauta oa A' Design Award ke mosebetsi o tsosang maikutlo, o hlomphehang, o tlisang molemo o moholo le o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. Grand Egyptian Museum Boitsebiso ba Khoebo e hlahisa maikutlo a matla a takatso, e tsosa tjantjello, e khothalletsa boqapi mme e re khahlisa.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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
Boholo le Phuthelo: 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
Lithegi: Visual Identity, Logo, Branding, Typography, Signage system
Theknoloji ya Tlhahiso: Exploring different visual languages to develop a logo and a signage system that is inspired from the hieroglyphs.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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
Nako ya Projeke: 2015 German University in Cairo, 3 months
During the pre-master in Graphic Design Degree.
Tsamaiso ya Mosebetsi: It Creates a unique visual experience, where it also introduces people to ancient Egyptian hieroglyphs through a modern yet simple corporate identity.
Litho tsa Sehlopha: none.
Litlotla tsa Setshwantsho: credits to: Shutterstock and bensound