Grand Egyptian Museum Chizindikiro cha Bungwe ndi Rana Gaber

Dizayini ya Grand Egyptian Museum Chizindikiro cha Bungwe ndi Rana Gaber ndi wopambana wotamandika kwambiri pa mphotho yaulemu ya 2020 Mphoto ya Golide ya A' Design Award mu Gawo la Mpikisano la Mapangidwe a Zithunzi, Zojambulidwa ndi Kulumikizana Mwazithunzi.

GolideZithunzi· 2020

Grand Egyptian Museum Chizindikiro cha Bungwe

ndi Rana Gaber

Kasitomala: Rana Hossam

Wopambana pa Mphoto ya Golide ya A' Design Award mu Gawo la Zithunzi

61,233

Wopambana Wotsimikizidwa

Tsimikizani Mkhalidwe wa Mphotho ya #100110

Pitani ku Tsamba Onani ku A' Design Award Nkhani Yofalitsidwa Chizindikiro cha Mphotho

Mitundu

Kapangidwe

Za Grand Egyptian Museum Chizindikiro cha Bungwe

Grand Egyptian Museum ndi chizindikiro cha bungwe cha nyumba yosungiramo zinthu zakale za Aigupto. Chizindikirocho chapangidwa kuchokera ku zilembo zisanu za hieroglyph zomwe zimawerengedwa kuti Egypt, zophatikizidwa kukhala mawonekedwe a masamu a geometry ndi osavuta. Mawonekedwe ake otalika a makona anayi anachokera ku cartouche, chimango chomwe chimasonyeza dzina la ufumu. Wakuda ndi mtundu waukulu, chifukwa m'mbali mwa mtsinje wa Nile munkatchedwa Dziko Lakuda. Mitundu yowonjezera inachokera ku zodzikongoletsera zakale za Aigupto. Roboto ndi kalembedwe kakulu ka zilembo, chifukwa makona ake ndi mizere yake yopindika zimagwirizana ndi za chizindikirocho. Ndondomeko ya zikwangwani yoyesera inapangidwa.

Chidziwitso

Za Mphoto ya Golide ya A' Design Award

Grand Egyptian Museum Chizindikiro cha Bungwe ndi mmodzi mwa opambana a Mphoto ya Golide ya A' Design Award, kuzindikirika kolemekezeka kwambiri komwe kumaperekedwa kwa mapangidwe a pamwamba, odabwitsa ndi odziwika. Opambana a Golide ndi zolengedwa zatsopano kwambiri, zoona patali ndi zonyezimira zomwe zimaonetsa luntha, nzeru ndi luso la opanga awo. Grand Egyptian Museum Chizindikiro cha Bungwe akuyembekezeka kukhala chopangidwa chotamandidwa kwambiri, chokhazikitsa zochitika ndi chachikulu chomwe chimabweretsa phindu losawonekapo kale. Mapangidwe opambana Mphoto ya Golide ya A' Design Award awa ndi ntchito yodabwitsa, yolemekezeka yomwe imapindulitsa kwambiri ndi kukulitsa malire a luso, sayansi, kapangidwe ndi ukadaulo. Grand Egyptian Museum Chizindikiro cha Bungwe amabweretsa zilakolako zamphamvu, kudzutsa chidwi, kulimbikitsa luso lolenga ndi kutikopa.

Kumbuyo kwa Kapangidwe

Katundu wa Atolankhani

Umboni, mamembala a gulu ndi zambiri zapadera zoperekedwa ndi wopanga.

Makhalidwe Apadera: 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
Miyezo ndi Kuphimba: 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
Zizindikiro: Visual Identity, Logo, Branding, Typography, Signage system
Teknoloji Yopangira: Exploring different visual languages to develop a logo and a signage system that is inspired from the hieroglyphs.
Vuto la Dizayini: 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.
Kafukufuku: 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.
Chilimbikitso: 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
Nthawi ya Polojekiti: 2015 German University in Cairo, 3 months
During the pre-master in Graphic Design Degree.
Mdondomeko ya Ntchito: It Creates a unique visual experience, where it also introduces people to ancient Egyptian hieroglyphs through a modern yet simple corporate identity.
Mamembala a Gulu: none.
Mwini Zithunzi: credits to: Shutterstock and bensound