NOW
PACKAG ING
SP ECIF ICATIONS BRAN D E D M E RCHAN D ISE
FACTIONALITY The main idea for the packaging was that to create something that could be not only used as a gift box, but also in other different ways. For instance the bottoms of the boxes unfolds into a poster or an informative leaflet.
PACKAGING MATERIAL - Four box sizes: 10x10x10 cm, 17.5x12x8 cm, 7x7x3 cm, 25,5x7,5x2 cm - Wrapping paper - Poster tube - Bags in two colours - Ribbon - Tags in two designs 10x6 cm (folded) - Stickers
Two sided tags
Poster tube & sticker
Paper bags
PRODUCTS To extend the brand message, we have created customized products, such as notebooks, calendars, pencils, posters, postal cards and more.
Notebooks
Pencils
ADVERTISING
POW E RF U L COM M UN ICATIONS
BRAND CONSISTENCY Consistency in branding increases public recognition and helps create an emotional connection to a brand. The less artful we are about changes in branding, the more powerful the ATHENA: THEN & NOW brand will be. This is often more than early inclusion of product and logo. It’s about relying on elements that are unique to the brand and building on them. These pages present the guidelines for the branding tools we have to use to enhance the brand’s image and meaning. Please consult these pages regularly and incorporate in to any future applications.
DISPLAYS & SIGNAGE The visual identity of the brand should appear on all displays and signage, not only in the main exhibition points, but also in any other campaign presantation or representation such as information centers, conventions and others.
MARBLE STATUE OF A BOY MATERIAL: PARIAN MARBLE PROVENANCE: ANTIKYTHERA SHIPWRECK. FROM THE MATERIAL RETRIEVED IN 1900-1901 (13.12.1900) DATE: EARLY 1ST C. BC DIMENSIONS: H. WITH PLINTH 1.115 M., H. OF PLINTH 0.075 M.
The left side of the statue is corroded, but the right is in exceptionally good condition. Where preserved by being protected from stone-eating organisms in the sediment on the sea bed, the marble skin is uniformly smoothed and polished. The inherent plinth bears traces of finishing with a point and claw chisel. Its original outline is preserved only behind the figure's right leg. The left arm was separately made, as was the upper part of the head and hair. The joint between the right upper arm and forearm, however, seems more likely to be due to a repair immediately following retrieval. Such a means and position for effecting a join was unusual in antiquity, as the other sculptures from the wreck demonstrate. Breaks exist on the right shin directly below the knee and above the ankle, also on the support joining the plinth with the statue's left thigh. A third of the support, as well as the left leg down to the knee, is completely destroyed by sea water. A quadrilateral strut joins the right elbow to the thigh; another such beneath the right knee is fractured in the middle. The middle and ring fingers on the right hand are broken; the gap between the thumb and forefinger is bridged by a very thin strut. The boy is depicted nude and half bent-over with his head raised. He stands full on his left leg, extended and bent at a right angle at the knee. The right leg, also slightly bent, is drawn back and only the toes rest on the plinth. The upper part of the torso leans sharply forward. The left upper arm, to judge from the small preserved section, was held up and to the front. He turns his head back, with his gaze following the direction of his arm. The right arm is lowered, its palm slightly open.
PANEPISTIMIOU ST., IPPOKRATOUS ST.
The figure is balanced between tension and relaxation. Like a tightly-drawn bow, movement runs from the right leg across to the outstretched left arm; the arrangement of both the head and so the
boy's gaze follow the same course. The body reflects this uneven distribution: the tension-filled left side contrasts with the right side "sinking" slowly and languidly downward. One can even discern a difference in the modeling, by comparing the deep groove of the spine with the shallow transitions on the relaxed right side. Similar antitheses are also found in the facial features. The boy's round head, with its low forehead, soft cheeks, large and round chin and fleshy lips contrast with the angular, raised eyebrows that wrinkles the forehead, and the hard contours of the eyes and eyelids. The wings of the nose are very delicately rendered, while the ears are depicted as large and fleshy, almost swollen. The contour of the face is clearly delineated by the hair, which has been finished with the point and is arranged in zones around the head. Many interpretations have been proposed for the figure. It has been interpreted as a youth in the aposkopein (?ποσκοπε?ν) pose, as a warrior, hunter, knuckle-bones player (?στραγαλίζων), as a barbarian (Gaul?) imploring the magnanimity of his victorious opponent, as Aktaion hidden among the trees and endeavouring to catch sight of Artemis, as Lykaon, the next-to-youngest son of the Trojan king Priam, fallen on his knee and supplicating Achilles to grant him his life, as a small satyr provoking a nymph, and as a charioteer. However, the most likely interpretation is that of a pancratiast or a wrestler represented at the moment of assuming his position just prior to the match. His stance and expression assume the presence of a second opposing figure, which would have been his mirror copy. Doubtless he formed part of a group. Comparisons of the boy's face with other sculptures permit this work to be securely dated to the early 1st c. BC: namely with portraits from Delos dating around 100 BC or immediately after, and specially with the statue of a boy from the Italian villa at Fianelle Sabino near Rome.
Example of exhibition signing
PRINTED COMMUNICATIONS Print advertising can include a variety of different pieces. For instance brochures, magazine Inserts, calendars of events, tour planning directory, tourism or special-Interest themed brochures, travel guides and many others. Instead of using photography for the print campaign, we should promote the visual identity of the project by using illustrations, typography and the map as advertising tools.
The map poster and an example of a typographic leaflet
DIGITAL COMMUNICATIONS Digital advertising includes the ATHENA: THEN & NOW website with all the details of the project, a mobile app which practically can be your personal tour guide, it can walk you through Athens and the exhibition points. Furthermore, the project could be advertised in relevant websites with web banners or special featurings. To ensure brand recognition, advise the identity guidelines.
The mobile application and the ATHENA: THEN & NOW website