Brand Refresh + Communication System for Museum Of Goa : Graduation Project

VISUAL COMMUNICATION (BACHELOR OF DESIGN) GRADUATION PROJECT

Vol. 1 of 1

Project Title: Brand Refresh + Communication System for Museum of Goa, Goa

Name: Srajan Jain

Project Mentor: Sambit Kumar Pradhan

2021

Chairperson

The Graduation Project Evaluation Jury recommends SRAJAN JAIN from Visual Communication for the Master’s/ Bachelor’s Graduation Degree of Unitedworld Institute of Design, Karnavati University, Gandhinagar, India herewith, for the project titled Brand Refresh + Communication System for Museum of Goa. The project is complete in every aspect in accordance to the guidelines set by the institution.

Members

*Subsequent remarks regarding fulfilling the requirements

COPYRIGHT © 2021

Student document publication, meant for private circulation only.

All rights reserved.

No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Srajan Jain and Unitedworld Institute of Design. All Illustrations and photographs in this document are Copyright © 2021 by respective people and organizations.

Written and designed by Srajan Jain, under the guidance of Sambit Kumar Pradhan.

Printed digitally in Name the Place May, 2021.

ORIGINALITY STATEMENT

COPYRIGHT STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the Unitedworld Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Institutes’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have neither used any substantial portions of copyright material in any document nor have I obtained permission to use copyright material.

Student Name in Full:

SRAJAN JAIN

Date:

Student Name in Full:

SRAJAN JAIN

Signature:

Date:

Acknowledgements

This document is a joint effort of all the people that helped me doubt, and grow from it.

My family, for being the steady support and for believing in me always. Thank you, Mummy, Papa, and Bhai for all the love and strength. For giving me space and freedom to explore and grow. For always being supportive of my decisions.

Friends,

All my friends and batchmates at UID, who have contributed to my growth and learnings with their stories and experiences. Jeel, Aman Gupta, Anusheel, Venky, Vignesh, Drishty, Ishan Bhaiya, Aman Patel, Mazhar, Jenny, Vineet, Diksha, Ruchika, Kadambari, Mili, Heeteshi, Aman Busa, Purva, Naitri, Varada, Yashashree, Vansh, Swapnil, Yashjeet and my homies, Arpit, Ankit, Aman, Pankaj.

The Institute, Unitedworld Institute of Design, for availing me the platform to interact, play and grow, test my skills, for all the education on design and life, and for being this place where I got a chance to discover myself.

My mentors, Sambit Kumar Pradhan, for guiding me throughout this project and helping polish my skills in these past few years, for listening and narrating all the beautiful stories, for helping me to become a better observer.

Lolita Dutta, for being the coolest HOD. your knowledge and way of working always inspired me. Thank you for all those life lessons, design understandings, teachings, and for creating and conducting Modus, for making me realize that Design is about life experiences.

I would like to thank all the other faculty members at UID who have contributed to my education in direct and indirect ways, Honey Panchal, Nayna Yadav, Arun Chanchal, Abhrojit Boral, Hardik Pancholi, Titu Mili, Ghanshyam Rathod, Saumya Bandyopadhyay.

Museum of Goa, for offering me the opportunity for this project. And fo making me feel warm and comfortable. And giving me room to voice my thoughts and explore my ideas freely.

Dr. Subodh Kerkar, for believing in me and for providing all the knowledge of Contemporary Art, Installations, Materials, and for telling all the Stories and histories of Food, Art, Goa, and Life through lectures and evening chit-chat sessions and guardianship.

People in Goa, for their warmth, stories, company, and helping throughout the journey. Rohit, Bhavesh, Mohit, Aayushi, Shivi, Bhawana, Ryan, Ritika, Eshita, Bhavya, Aayushi M, Yogesh, Lavina, Blendina, Sukanya, Carmine Ma’am, Sharada Kerkar, Siddharth Kerkar, Parshu Bhai, Anil Bhai, Sunil Bhai, Rakesh Bhai, and all the Museum staff.

Kunal Ray, for helping with the content of the Museum of Goa book and sharing your experiences.

Pankaj Kabirpanthi, for helping with the photography of the MOG book and documentation.

Preface

As a part of the college curriculum, the end of the student tenure at Unitedworld Institute of design is marked by the conclusion of an extensive researchbased project which can be either organizational or self-initiated.

A student is expected to generate professional design assignments with the application and implementation capabilities. in the field of design and on a topic that is related to the respective discipline that has been perused by the student.

This is known as the Degree Project or Graduation Project. During the tenure of the project, students are exposed to real-life or hypothetical situations under the guidance of the faculties. The student picks up a topic that is later studied in detail in order to develop a design perspective towards it.

Along with the design, the project would also focus on presentation, time management, skills, communication, and handling, of practical constraints. Through this project, the strengths and weaknesses are analyzed before stepping into the industry as a design professional.

The following project is organizational, with sponsor support of the Museum of Goa. The project was completed over a course of five months with four reviews, which were conducted to check the progress in the fields of research, concept, design, and execution.

Brand Refresh + Communication System for Museum of Goa

Unitedworld Institute of Design Institute

Unitedworld Institute of Design (UID) is one of the premier Design institutes of India. The institute aims to create globally sought-after professionals who can exhibit their creativity and trigger novel trends. UID’S pursuit for excellence has made its name shine with an extraordinary record of success in a short span.

UID offers a diverse range of UG and PG courses in the area of art & design. These programs are designed with strong professional emphasis and in close partnership with the industry. Every course has been structured to deliver insights into the importance of individual and collective creativity,

be it a theoretical assessment, design practice, curatorial evaluations or artistic considerations.

UID’s course on Visual Communication empowers the student to produce creative solutions to meet the visual design needs of society. Students are equipped with technical and conceptual skills to articulate and express ideas, think conceptually, conduct research and critically evaluate the process. The course involves imparting Knowledge in Critical Thinking, Design Process, and Visual narratives to create defined solutions in the ambit of both Digital and Print mediums.

Sambit Kumar Pradhan

Mentor

Sambit is an architect who studied Lifestyle Accessory Design for his master's from the National Institute of Design, Ahmedabad. Even though his formal education is largely in the industrial and spatial design domain, he has always had a keen interest in communication design and over the past 10 years he has worked as a communications content writer and editor, screen and stage actor, has written and co-written lyrics, dialogues, and scripts for short films and has worked as a voice artist.

As a design educator, he covers a diverse range of subjects- space, forms, structures, design process, lateral

thinking, storytelling, experiential design, prints, culture studies, theatre, films, etc. He believes that the key to good design is empathy and the ability to simultaneously cater to the specifics as well as their larger enveloping context(s). He hopes to one day publish at least one book pertaining to design education in India and another ofpoetry.

Brand Refresh + Communication System for Museum of Goa

Dr. Subodh Kerkar Sponsor

Dr. Subodh Kerkar is a well-known Indian artist. Thirty years ago, he gave up his medical profession to pursue his passion for art. Since then, he has garnered great success and critical acclaim, presenting his work at biennales and exhibitions across the world. He is the Founder - Director of the Museum of Goa.

He also holds the Mario Miranda Chair at Goa University where he conducts courses on contemporary art. A creator and communicator, educationist, and orator, Dr. Kerkar is a captivating speaker. He has spoken at The Hindu Lit for Life Festival, University College London, London School of Economics,

Van Gogh Museum, as well as Ted Talks and Ink events. He recognizes that in a country of 1.2 billion people, not more than 1 lakh are connected with the world of contemporary art. He intends to break this cultural barrier through art education in the country.

Brand Refresh + Communication System for Museum of Goa

About me

I’m Srajan Jain currently pursuing a bachelor's in Visual Communication. I illustrate anything and everything that I find it interesting and inspiring. I like to stay connected to reality and I try my best to showcase that in work. The things that have always inspired me to create are the people I meet and interact with, the places I visit and explore, the stories I come across, and everything that I feel.

Brand Refresh + Communication System for Museum of Goa

Why this project?

It all started when I came here for my Internship, working with Dr. Subooth Kerkes at the Museum of Goa (onsite) was a great experience, learned a lot of new things other than graphic Design like how to work with materials, the process of any installation, creative thinking, marketing and lot of things.

I got a chance to work on many projects like packaging design, label design for pickle, Branding, and collaterals for food cafe, brochure, posters, website handling, Social media, and Email marketing, handling workshops online & offline). shooting talks & lectures, Installation process, painting process, and other things. worked on many Installation with Dr. Subodh Kerkar,

installation proposal for Banglure airport, Sunburn Music Cafe, Installation on the beach for MG Hector Suv Promotional Series Video by tripato.

In three months I observed many things related to there working system, environment, events, workshops and there overall communcation system.

I came to realise that they don’t have any sort of brand guidelines and language for there identity, they don’t have proper wayfinding and signage system, they only have logo which has a scope of improvement and to convert in a extensive design system.

About Museum of Goa

Museum of Goa (MOG) is a private contemporary art space founded by artist Subodh Kerkar in 2015.

Since its inception, MOG has endeavored to take art to a large audience to reduce the huge cultural gap that exists in our country. A wide majority of India’s population is excluded from the opportunity to enjoy and experience contemporary art. The Museum of Goa has contributed significantly in democratizing contemporary art and making it accessible to all, including school and college students. MOG has become a vibrant and inclusive space for the arts, bringing together artists, curators, collectors, art enthusiasts, educators,

students and audiences from all walks of life. MOG organizes workshops, residencies, lectures, talks, and art courses. ‘MOG Sundays’ is a series of weekly lectures by eminent artists, scholars, and activists, which has become very popular.

MOG showcases a permanent exhibition, ‘Histories of Goa’, curated by Dr. Subodh Kerkar, which attempts to narrate Goa’s histories using contemporary artistic idioms. For the past year, the museum has been working on art education programs, both physical and digital which will be made available in different languages to benefit large audiences.

MOG has so far received over 4 lakh visitors and the number is constantly increasing. For over 70 percent of our visitors, their visit to MOG is perhaps their first encounter with contemporary art. MOG’s efforts have put Goa on the international art map and made her a significant participant in diverse global art conversations.

Brand Refresh + Communication System for Museum of Goa

Synopsis

This project contains the process of a brand refresh, publication, and a communication system for the Museum of Goa.

The project helps develop a deeper understanding of the design system by gathering and analyzing information about the important aspects of the process. The project gives an opportunity to define design direction and make design decisions for the design system by working closely onsite with different stakeholders like the founder, manager, staff, employees, visitors, and interns in an engaging environment.

The project starts with understanding the history, background, research including interviews, comparative study of different museums, existing identity analysis, ideation, designing a new identity, brand guidelines, stationery, and other collaterals by taking important decisions about the visual design.

Along with the new identity the project involves designing the publication, wayfinding, and signage system for the museum. The project follows the process till the Execution of the whole design system.

Brand Refresh + Communication System for Museum of Goa

Design Brief

To improve the Visual Identity of Museum of Goa and convert it into an extensive design system.

Possible Deliverables

Brand refresh + Communication System for Museum of Goa

Identity Design

Brand Guidelines (print/digital)

Logo uses Colors

Typography

Publications Design

A collectible book about Museum of Goa Flyers

Signage System

Signages

Roadside promotions

Other collaterals

T-shirts, Stickers, Badges, Tote bag, Ticket / bookmarks, Letterhead, envelope Business Card

Brand Refresh + Communication System for Museum of Goa

Project Proposal

This is the project proposal that was submitted to UID. This proposal states the project brief, possible deliverables, project stages, and timeline.

Project Timeline

PRIMARY RESEARCH

SECONDARY RESEARCH

DESIGN ITERATION

IMPLIMENTATION

DOCUMENTATION

PRIMARY RESEARCH

To study the basic of branding and rebranding, sketching mind maps and research directions and taking some interviews of the people.

SECONDARY RESEARCH

To do a comparitive analysis of different aspect of brand refresh and communication systems of different museums around the world and write down the Conclusion from it.

DESIGN ITERATION

To make a completly new brand refresh and communication system which includes publication, signages and all the promotional designs

IMPLIMENTATION

To impliment every design outcome in the museum by making prototypes and then finalizing it, to give it in production.

DOCUMENTATION

To document every possible step for the design process of making new brand refresh and communication system for Museum of Goa.

Brand Refresh + Communication System for Museum of Goa

History & Background

Dr. Subodh Kerkar had purchased this land more than 20 years ago when the government was trying to attract people to set up industries in the area. Later, when he got a notice from the government since his land was not utilized, he decided to start the museum.

For this, he sold another piece of land and received INR 3.5 crore that was used to create the museum.

The three-story gallery building was designed by Dean D’Cruz and was completed in 2015 on the site of Kerkar’s former studio. A sculpture garden at the site is present. Mog, the acronym for the

museum, and a Konkani word, translates to “love”.

The gallery opened on 6 November 2015 with an exhibition entitled ‘Gopalapatanam’, of work by 20 Indian artists – including Kerkar – on the topic of Goan history.

Invitations to visit MOG were mailed to schools and colleges in the city.

The Museum of Goa (MOG), is a privately owned contemporary art gallery in Pilerne Industrial Estate, near Calangute, Goa, India. It has no permanent collection. At 1,500 square metres (16,000 sq ft), it is India’s largest

private art space. The gallery encourages experimental exhibit ideas.

The museum organizes various exhibitions, art courses, plays, residencies, workshops, book readings, lectures, screenings, and talks.

Brand Refresh + Communication System for Museum of Goa

Mind Maps

At the very initial stage of my the project, I have drawn some mind map related to the Museum of Goa, which include the communication system, space, environment, digital content, facilities, services, workflow, and many other things.

Research Directions

After mind maps, I have jotted down all the possible research directions for this project which include studying the existing identity of other museums, existing publication of other museums, promotional strategies, thought behind branding or rebranding, the target audience of the museum of goa, how they narrate stories and histories of contemporary art and goan art and some other things.

Graduation Project

Existing Museum

Communications

Rebranding vs Brand Refresh

Article by - fabrikbrands.com

After writing down the research directions and mind map, I studied what is the basic difference between rebranding and brand refresh of any organization.

Rebranding, brand refresh – it all sounds the same, doesn’t it?

To people on the outside of the design world looking in, it’s easy to get confused when these two terms come hand in hand. You see companies evolving, changing, and adapting to the current market, but are they rebranding, or just refreshing?

Though the two terms seem similar on the surface, when you get down to the details, the differences are like night and day.

While a brand refresh is like giving your company a fresh lick of paint, a new look, and a fancy new logo, “rebranding”, is all about tearing down everything you’ve built, and starting again from scratch. In other words, one is far more dramatic than the other.

Rebranding Vs brand refresh?

In this thought-piece, we’ll outline the key differences.

Brand Refresh

To simplify the idea a little further, a brand refresh might include:

- Tweaking your current design or logo.

- Updating your slogan.

- Changing your colour pallet.

- Refreshing marketing materials.

- Using a new font.

Rebranding

A rebrand, on the other hand means:

- Creating a new personality.

- Designing a new background for your company.

- Establishing yourself within a different market.

- Overhauling your entire image.

Brand Refresh

Article by - fabrikbrands.com

Dr. Subodh Kerkar told me in the very beginning that you can only alter the logo, type, and color without changing its form and message.

After reading this article I got more clarity about what I’m Going to do with the Museum of Goa Identity.

What is a brand refresh?

In the world of branding, a refresh is like a tactical manoeuvre. How complicated your brand refresh process is will depend on the extent to which you need to change your image. Often, the idea is to have a distinct impact on the way that your company feels, sounds, and looks to your customer.

That means changing:

-Your brand voice.

-Your visual branding.

-Your customer service / product offerings.

As businesses grow and change, it’s important for their brands to reflect the current marketplace. Simply put, if you stayed the same while all the companies in your industry changed, adopted fresher logos, and newer ways of communicating with their audience, then you’d end up losing your competitive edge.

A great example of this is the Microsoft Logo, which you can see here :

marketplace, Microsoft have made the necessary changes to keep pace with companies like Apple, and Linux.

Ultimately, a brand refresh not only tells your audience that you’re modern and relevant, it also shows that you’re connected to your industry. Nobody wants to do business with a company that seems as though it’s way behind the curve.

typography, styles, and even your tone of voice. Though it’s not as comprehensive as a rebrand, the results can be astonishing.

Think of it as your personal makeover, a way to transform how your brand is perceived. It’s amazing how much a fresh image and a little bit of new photography can change a brand – plus, it’s a lot faster and cheaper than a fullscale rebrand.

Over the years, the logo has evolved to reflect the aesthetics that appeal best to their customers. As simple graphics, colour, and clarity have become more appealing to people within the modern

Your brand refresh will be your attempt to reflect a more current, updated image of your company, reassuring your customers that you still know what you’re doing. Typically, the brand refresh process will look at your use of colour,

Interviews

As part of my research

I have taken some interviews of people who were working in the Museum of Goa.

I have prepared a questionnaire and asked questions related to the their respected field for my project

Bhavesh Solanki

Age - 25 years

Brand Manager @siddarthakerkarshop [Store + Website]

Mohit Tulaskar

Age - 23 years

Video Editor + Photographer

At Museum of Goa

Bhawana Jain

Age - 22 years

Graphic Design + Art Intern

At Museum of Goa

Bhavya Kant

Age - 24 years

Digital Marketing + Graphic Design Intern

At Museum of Goa

Ryan Bhengra

Age - 31 years

Art Historian + Printmaker

At Museum of Goa

A look inside some of the world’s greatest

museum communications

Article by - Maya Lekach 99designs.com

here I did a comparative analysis of some of the world's greatest museum communications.

Today, museums can’t simply rely on the merits of old objects and antiquated scholars. Smart phones, instant internet and ease of travel have added growing pressure to appeal to a globalized crowd. In a few quick clicks, museums must show what they stand for and what’s to be expected with a trip down their hallowed halls.

While naysayers may complain that “branding” is too corporate, there’s a commonality arising. Chic and sophisticated brands from some of the world’s top design firms are infusing

artistic elements in their designs to mirror the art and personality within each museum. The results are inspiring.

Check out some of these recent rebrands and explore how these museums visually express their mission statements.

New Museum, New York City

The New Museum released their new logo along with the unveiling of their new building in The Bowery (via Wolff Olins)

Coinciding with the opening of their new building in 2012, they used the momentum to launch their new identity. The rebrand increased visitors by 600%. The New Museum’s logo, which features a sparse silhouette of the building itself, follows another trope of the museum rebrand: an image of the building.

For an industry in which architecture is not just functional, but also a part of the offerings of the museum itself, this style of logo has become almost commonplace – although the variety of architectural offerings keep this motif diverse.

Brand Refresh + Communication System for Museum of Goa

Asian Art Museum, San Francisco

The Asian Art Museum, one of the only ones of its kind, had been struggling with low attendance. For their rebrand, they aimed to emphasize the museum as a catalyst for creativity and a place to bring ancient history into our modern lives.

The new upside-down “A” could stand for either Asian or Art – or it could be a reinterpretation of the mathematical symbol for “everything”, which better exemplifies their wide range of ancient and modern artifacts.

This logo represents the museum’s new direction by bringing the historical museum firmly into the present. Brilliantly, the simplicity of the logo makes it highly adaptive and is often filled with traditional Asian paintings and patterns – the perfect combination of new and old.

Victoria & Albert Museum – London

The Victoria & Albert Museum in London is one of the world’s largest museums of art and design. Their mission: to inspire creativity and inspiration through their collection of design and decorative items, ranging from antiquity to the present. As one of the biggest museums of its kind, the logo and branding must appeal to both new, online and global audience members, as well as the brandhating cynics.

The new logo maintains a classical style with its elegant lines and simple serif-font, while still allowing for contemporary influence (neon colors, bold collateral) and a new digital audience to access their collection. The brand of this museum attempts to show that an organization does not have to be corporate in order to have its own brand.

Brand Refresh + Communication System for Museum of Goa

Bihar Museum, Patna

The Bodhi Tree – having clear associations with growth, learning and enlightenment – emerged as a primary symbol. It connected with Biharis and the world as the Tree of Wisdom. The Peepal is also the State Symbol of Bihar. This formed the logo in conjunction with a logotype.

Designed by Lopez Design

Brand Refresh + Communication System for Museum of Goa

Museum of Art & Photography, Bengaluru

Comprising one of India’s most important private collections, MAP aims to redefine the museum-going experience in India. Tsk created a brand identity that is vibrant, approachable and culturally relevant.

Designed by TSK Design

Western Australian Museum, Australia

The Western Australian Museum was rebranded to reflect their future ambitions and reaffirm the organisation as a leading Perth cultural icon. The identity needed to be a strong reflection of the West Australian community, with the desire to put people at the heart of its brand.

Designed by Brand Agency

Brand Refresh + Communication System for Museum of Goa

MoMA, New York

MoMA’s identity has been a landmark of institutional branding since 1964, In 2004 this logotype was redrawn in a new custom typeface, MoMA Gothic, created by Matthew Carter. The redesigned identity system expands on this logotype, making MoMA Gothic the principal font for all typography. More importantly, the system creates a complete methodology for the identity’s application and handling across all platforms.

Designed by Pentagram

Australian Museum, Australia

Our brand identity has been created to reflect the dynamic, vibrant, ever changing organisation that makes up the Australian Museum. More than a kit of parts, it is a system that can flex and change based on the content it needs to support – it is a system that can look, and sound, as diverse as our collection.

Designed by Australian Museum

Brand Refresh + Communication System for Museum of Goa

TATE Modern, United Kingdom

The same dotted logo is now being used across all four of the Tate galleries, and the number of dots has been reduced from 3,000 to 340, which aims to make it “more functional” across all mediums such as digital, print materials and embroidery.

Designed by Wolff Olins

Queens Museum, New york

Pentagram designed the identity and environmental graphics for the newly expanded Queens Museum in New York. The expansive addition includes a suite of new galleries, artist studios, flexible public and special event spaces, education classrooms, a café, back-ofhouse facilities, and visitor amenities, along with a new entrance, a generous skylit atrium, and an expanded outdoor space on the Flushing Meadows Corona Park side of the building.

Designed by Pentagram

Brand Refresh + Communication System for Museum of Goa

Bihar Museum, Patna

Visual framework : The visual ethos carried forward the “Bridge to the Past, Gateway to the Future” strategy by placing artefacts from the past in context to the future.

Cultural bridge : The script of a nation is representative of its original character, geography and culture. Descriptor words in Hindi that related to the primary image were an intrinsic part of all communications.

Designed by Lopez Design

Brand Refresh + Communication System for Museum of Goa

Museum of Art & Photography, Bengaluru

Brand Language : To resonate with MAP’s cross disciplinary approach to curating, a dynamic set of widgets adds a sense of play and creative interpretation to the identity. It is the idea of redrawing the lines that lies at the heart of MAP’s

Brand Identity

Designed by Tsk Design

Asking the community to rethink their world, a generative logo device was created as a window into people’s own experiences. An ever-changing suite of imagery reflected the many Museum experiences and was used to help create hundreds of logo variations, giving a true account of the society in which we live.

Western Australian Museum, Australia

Designed by Brand Agency

Brand Refresh + Communication System for Museum of Goa

MoMA, New York

System : The new system employs prominent use of the MoMA logo as a graphic device, dramatic cropping and juxtapositions of artwork, and a brighter color palette to create a bold, contemporary image.

The new identity establishes a system for the consistent treatment of images and type

Designed by Pentagram

Australian Museum, Australia

Brand Pattern

A standardised pattern has been created for use on all AM branded communications. The pattern acts as an extension of the logomark and is a recognisable element of our identity system.

Pattern have been created that synergise with the core identity system and do not complete or overpower content. The brand pattern should always remain recognisable as belonging to the AM.

Designed by Austrailan Museum

Brand Refresh + Communication System for Museum of Goa

TATE Modern, United Kingdom

“It was about making the logo playful and bringing it alive,” “The moving dots give off the idea of everybody coming together, which is part of the Tate’s new strategy to activate a younger, more diverse audience.”

The dot emblem provides versatility to suit a number of different exhibitions or events. Different activations will be used to suit different exhibitions and events, allowing the logo to constantly evolve.

Designed by Wolff Olins

Victoria & Albert Museum – London

The Victoria & Albert Museum in London is one of the world’s largest museums of art and design.

The new logo maintains a classical style with its elegant lines and simple serif-font, while still allowing for contemporary influence (neon colors, bold collateral) and a new digital audience to access their collection. The brand of this museum attempts to show that an organization does not have to be corporate in order to have its own brand.

Designed by Pentagram

Brand Refresh + Communication System for Museum of Goa

Daelim Museum, South Korea

In this system they used bold capital typography and solid black rectangular shape with proper spacing, they used icons separately in another solid black rectangle, because of neutral color these signage has high visibility and can be seen from far distance easily

Designed by Named Studio

Brand Refresh + Communication System for Museum of Goa

For the set of icons they use the element of their visual identity, they used 3 solid shapes to generate whole icons.

This signage system designed by named-labs based in Seoul, Republic of Korea

Brand Refresh + Communication System for Museum of Goa

Visvesvaraya Industrial and Technology Museum, Bangalore

In this signage system, the shape is fixed with solid blue color and white minimal icons.

This signage system designed by Karthik Raj from Mumbai is a collegebased project.

Designed by Karthik Raj

Brand Refresh + Communication System for Museum of Goa

Queens Museum, New york

Pentagram designed the identity and environmental graphics for the newly expanded Queens Museum in New York. Originally constructed for the 1939 World’s Fair, the resilient structure underwent its fourth renovation in April of 2011.

These signages have a very minimal approach using just an outline which can be seen from a far distance.

Designed by Pentagram

Bihar Museum, Patna

These museum collaterals have a very unique visual language with typography in the back of the artifacts, they use earthy color gradients as a background and artifact shadow to give a sense of depth in these collaterals.

Designed by Lopez Design

Brand Refresh + Communication System for Museum of Goa

Museum of Art & Photography, Bengaluru

These museum collaterals have a very particular visual language. They used different outlined shapes extracted from the Identity and pop Indian colors, which looks minimal and contemporary.

Designed by Tsk Design

Brand Refresh + Communication System for Museum of Goa

MoMA, New York

The new collaterals designed by Pentagram and Hoffmann employ prominent use of the MoMA logo as a graphic device, dramatic cropping and juxtapositions of artwork, and a brighter color palette to create a bold, contemporary image. The identity also underscores the museum’s leadership role in the field of design.

Designed by Pentagram

Brand Refresh + Communication System for Museum of Goa

Western Australian Museum, Australia

These museum collaterals have a very strong visual language focused on colorful identity. They used imagery and pattern for their collaterals.

Designed by Brand Agency

Australian Museum, Australia

For their collaterals they have used their brand pattern which can be applied to photography, illustration, or stand alone as a design treatment however it doesn’t interplay with these elements, it either sits behind or in front.

Designed by Australian Museum

TATE Modern, United Kingdom

For their collaterals, they used the same dotted logo and playful diagonal typography across everything.

Designed by Wolff Olins

Brand Refresh + Communication System for Museum of Goa

Queens Museum, New york

For their collaterals, they used colorful & grey typography from the brand color palate and high-resolution imagery.

Designed by Pentagram

Bihar Museum, Patna

These booklets have a very playful layout with colored typography and high-resolution artifact imagery. The inauguration brochure has a two column grid whereas the orientation brochure has a modular grid with artifacts on one side and text on another.

Designed by Lopez Design

Brand Refresh + Communication System for Museum of Goa

Tribal Museum, Bhopal

This square book has a simple layout with one side imagery, one side typography. It has Single column grid.

Designed by Tribal Museum

Serendipity Arts Festival,

Goa

This event book has a playful layout with pop colors and bold typography. It has a Single column grid with vertical and horizontal bold big typograph on the left page and boy text on the right page.

Designed by The Brew House

Kochi Biennale, Kochi

This event book has a simple twocolumn grid with monochrome imagery and typography.

Designed by Kahani Design Works

Brand Refresh + Communication System for Museum of Goa

Sea Art Festival 2017

This event book has a playful twocolumn modular grid with attracting colorful page breakers and highresolution imagery.

Designed by Sea Art Festival

Brand Refresh + Communication System for Museum of Goa

Janela

This event book has a single column grid with black and white imagery and typography.

Designed by Janela Publications

Logo proposals (Rejected

Logos)

Once Museum of Goa hired one design studio to change their identity. These are the options they shared but MOG didn't like any of them instead of these options they went with this

Which is designed by inhouse graphic designer and Siddarth Kerkar ( son of Dr. Subodh Kerker) long time ago.

Brand Refresh + Communication System for Museum of Goa

Thoughts on the existing brand identity

Typeface

this logotype is Josifin Sans, it has very sharp characters for Museum of Goa logo.

Meaning of MOG

The meaning of ‘MOG’ is love in goan local language Konkani.

Bright yellow color

while printing or using digitally this bright neon yellow color looks too much bright and it merges with the white background. character of capital ‘G’ the character of this G looks a little odd in this rectangular shape.

Rectangular Shape

this rectangular

the shape can be more refined, it looks a little unbalanced with the current typeface.

Spacing between the letters the spacing between the letters is uneven.

Edges of ‘A’ and ‘M’ the edges of capital ‘A’ and ‘M’ is very sharp for the Museum of Goa, it can be a little soft.

Uneven Leading the leading between the words is a little uneven.

Line weight

the line weight of the rectangular shape is more than the typical weight, so it looks unbalanced.

Curve in corner

the curve in corner of the rectangular shape looks very different from the curve of the letter G.

Inferences

The extensive research about all these museum communication systems helped me understand clearly what is brand refresh, how to use proper visual language, how to make icons and signages with the proper size, how to make a layout for publication.

In respect of the number of visitors and brand name of the museum, many things are missing / need improvement in terms of visual communication in all possible ways.

The aim is to improve and create an extensive communication system to attract today's generation public to engage with the museum of goa.

Design Iterations

Identity Design

Form Explorations for the Identity

After analyzing the research, I started form explorations, 'MOG' means love in the local Goan Konkani language. so it is the biggest constrain to keep 'MOG' in a boundary box because of the meaning it serves to its audience.

Testing Different Typefaces

Family : Montserrat

Weight : Regular

MUSEUM OF GOA

Family : Poppins

Weight : Light

Family : Gotham

Weight : Bold

Family : Manjari

Weight : Regular

Family Neue World Weight : Semi Bold

MUSEUM OF GOA

Family Poppins Weight : Regular

Family : Nexa Demo

Weight : Light

Family : Nexa

Weight Light

Family Montserrat Weight : Black

Family : Gotham Weight Book

Family Neue World Weight : Thin

Family : Gilroy Weight : Regular

Form Exploration Using Different Elements

Brand Refresh + Communication System for Museum of Goa

Finalizing Form

Final Form

After the selection of typeface and form, I explored different weights from the selected type family Poppins.

when I tested by taking print in a small size it became much easier to finalize the weight of the typeface.

Clearance

Always keep a minimum safe the area around the logo to maintain visual clarity and to provide maximum impact.

The clearance area is defined by the cap height of the logotype. Photos, text, and graphic elements should not overlap the blue area.

Scale

The preferred minimum size for the logo is .75” wide in print and 100 pixels for digital use. The logo should always be scaled proportionally with width/height.

Brand Refresh + Communication System for Museum of Goa

Logos

Color Version

Master logo

This is the primary version of the logo (color), It should be used in all cases possible (print and digtial) unless shape or length creates a constrain

Secondary logo

This version of the logo should only be use when the primary version cannot be used due to shape or size constrains

Black & White Version

Master logo

This is the primary version of the logo (B&W), It should be used in print purpose only, where the color version can not be used.

Secondary logo

This version of the logo should only be use for print purposes, when the secondary version(Color) can not be used.

Brand Refresh + Communication System for Museum of Goa

Logo on Background

The MOG logo can only be placed on solid colors specified here. Each variation of the logo color on corresponding background colors is presented here and can only be used in the prescribed format.

Logo Evolution

As you can see the logos always tried to emphasis the MOG part of Museum of Goa logo, because 'MOG' means love in the local Goan Konkani language.

I have tried to Improve the Identity with the given constraints of keeping MOG in a boundary, I have tried to made a communication system for the museum by using new identity.

Brand Refresh + Communication System for Museum of Goa

Logo Misuse

Scale - Do not squish the or stretch the logo. Always keep the shift - key pressed on while scailing the logos.

Orientation - Do not rotate change the orientation of the logo.

Effects - Do not add any kind of effects ( eg : a drop shadow) to the logo

Thickness- Do not alter the thickness of the rounded rectangle part of the logo

Spacing - Do not alter the spacing in any way

Background - Do not place the white logo on any colors besides the ones specified in this document

At we.... At we.....

Overlap - Do not overlap anything on the logo

Sentence - Do not use primary and secondary logo in sentence.

Background - Do not place the black logo on any colors besides the ones specified in this document

Crop - Do not crop the logo in any form.

Logotype - que porumet autque eseque doluptatur alicae sit fugit

Safezone - Do not put anything in the safe zone.

Color - Do not change the colors of the logotype for any of the logos.

Outline - Do not create any kind of outline.

Boarder - Do not create any kind of boarder.

Contrast - Do not place the logos in locations that are too complex to be viewed cleary.

Color - Do not change the colors of any of the logos.

Logotype - Do not alter the logotype or break it in parts; always use all of it together

Flip - Do not flip the logo. Transparency - Do not lay any kind of transparency over the logo.

Brand Refresh + Communication System for Museum of Goa

Colors

In older days only these colors were available in Goa majorly which is used in vernacular architecture consisted of organic pigments like ferrous oxide obtained from laterite, yellow from turmeric, and indigo blue along with the principal ingredient in the paints being lime wash. These colors were dominant during the Portuguese rule in Goa and were widely used in domestic and residential architecture.

When someone visualizes Goa, they think of sunsets, beaches, spices, lush green landscapes, flowers, houses, and Goan food which have a very similar color palate.

For giving the essence of Goa in Museum of Goa Identity the selection of colors, I have researched about Goan houses and architecture, Goan common food, flowers, beaches, sunsets, landscapes and spices.

GOAN HOUSES GOAN FOOD FLOWERS BEACHES SUNSETS LANDSCAPES

SPICES

These swatches are generated from the photography that I came across about Goa. These swatches are generated through www.coolors.com

Brand Refresh + Communication System for Museum of Goa

Tetradic Color Scheme

A Tetradic color scheme should be composed of two sets of complementary colors. This is a tricky color scheme to pull of, but when you do, the results are vibrant and contrasted while having some harmonies. Keep in mind though that while you are picking four colors, you should consider not using them in equal parts in your illustration. Consider using one or two colors as accents and using the rest to fill the page.

Percentage Value of Hue, Saturation and Brightness.

Color Blind Check

When I checked with Adobe Colors - an online color generating software by adobe. These swatches are color blind safe.

HEX - #0059ba

RGB - 0, 89, 181

CMYK - 92, 70, 0, 0

HEX - #007a70

RGB - 0, 121, 112

CMYK - 87, 32, 58, 12

HEX - #abadab

RGB - 171, 173, 171

CMYK - 34, 26, 29, 0

HEX - #ffa617

RGB - 255, 166, 23

CMYK - 0, 40, 99, 0

HEX - #99261c

RGB - 153, 38, 28

CMYK - 26, 95, 100, 23

HEX - #261f17

RGB - 38, 31, 23

CMYK - 64, 65, 75, 76

Brand Refresh + Communication System for Museum of Goa

Typography Poppins

18 styles

Why Poppins?

I have selected sans serif typeface Poppins for logotype and body type because of its clear geometric characters. It is readable even in small sizes.

Geometric sans serif typefaces have been a popular design tool ever since these actors took to the world’s stage. Poppins is one of the new comers to this long tradition. With support for the Devanagari and Latin writing systems, it is an internationalist take on the genre.

Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design is particularly new, and is the first ever Devanagari typeface with a range of weights in this genre.

Just like the Latin, the Devanagari is based on pure geometry, particularly circles. Each letterform is nearly

monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color.

The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high.

Latin देवनागरी

Typography Uses

Line Length

Itae etabid que porumet autque eseque doluptatur alicae sit fugit arum int fugaffa ic tem quis doloria natem dest, ant, sus, sequat estiber iassimp orepero escisolen dis aut dunt. Accum, int accust que odigendunt magnis ulparia que quae omnias atem escia ditatin restenimos magniendaest et volectur, non prat. Dentur sumenihit in cus nus aut porempedit

Using Type Effectively

50- 75 characters

Typographic Style

One must adhere closely to the guidelines when using the Poppins typeface.

Note: Some natural distortion of type is inevitable when used in a photo or illustration. All the same please maintain the overall integrity of the typeface.

Use typeface, type size and type weight wisely to establish a clear hierarchy of information.

Dos and Don’ts of Typeface Usage

Dos Don’ts

• Do use a combination of uppercase and lowercase.

• Do use only approved colors.

• Do use only the approved MOG typefaces.

• Do align text in body copy lush left and ragged right.

• Do avoid using all uppercase, unless it’s the logotype.

• Don’t place type in a hard-to-read format.

• Don’t use special effects to emphasize type.

• Don’t change Kerning when setting headlines or copy

• Don’t distort the typeface.

• Don’t substitute other typefaces.

Typography on Colored Background

Brand typography should be used from suggested combinations of colored backgrounds only.

Note:- Typography on the colored background can only be used in creatives. (eg: Posters, social media posts, website banners)

Do not apply this to recolor the MOG logo.

Colored Typography

GOA GOA GOA GOA GOA GOA

Brand typography should be used from suggested colored typography only.

Note:- Colored typography can only be used in creatives. (eg: Posters, social media posts, website banners)

Do not apply this to recolor the MOG logo.

Brand Refresh + Communication System for Museum of Goa

CONTEMPORARY

CONTEMPORARY

CONTEMPORARY

CONTEMPORARY

CONTEMPORARY

Publication Design Layout

Explorations I

These are the layout I have explored for mog publication which an A-6 size guide book of the museum.

the publication contains all the major artworks which is in the Museum of Goa with their descriptions,

A museum guide book or publication should contain more visual and less text so, I have explored layout with less text and more visual.

Content for Publication

For the content of the Museum of Goa publication, I had taken one round of museum with Dr. Subodh Kerkar to mark which all artworks to put in a book, after marking 30-40 artworks, I have collected all the descriptions from the HR which was written earlier than for the proofreading and editing I’m very thankful that I meet Kunal ray who was writing the book on Dr. Subodh Kerker at that time, he has given me the edited final content which was proofread by Dr. Kerker also.

For the Photography of the Museum of Goa publication, I got some of the images from the hard drives which was taken earlier and for some images, I’m very thankful to Pankaj Kabirpanthi who was working as a photographer and video editor at Mog at that time, he helped me in photography and editing of the same.

Here I have shown all the artwork and its descriptions which I have collected and edited.

Editing of Photography

After collecting and clicking all the photographs, I have cropped and edited all the images in photoshop.

here I have shown a screenshot of the process of editing artworks.

Brand Refresh + Communication System for Museum of Goa

Editing of Content

Carpet of Joy

Medium Discarded plastic water bottles, oil paint, plastic net

Size Variable

Year 2017

Artist : Subodh Kerkar

Littering is a major problem in India. We believe that a lot of public education is needed to get rid of it. Throwing a plastic bottle, a tetra-pack or a chocolate wrapper is an act of violence against Mother Nature and against oneself. To be conscious about not littering is the primary act of citizenship and patriotism. Carpet of Joy is created with about fifty thousand plastic bottles, which were collected from the surroundings. They were painted and converted into flowers. We hope that the Carpet of Joy will inspire every visitor to keep their surroundings litter-free.

Chillies

Medium : Fibreglass and tyre pieces / cotton fabric

Size 220 cm x 40 cm x 70 cm (each chilly)

Year 2015

Artist Subodh Kerkar

No other commodity imported to India has affected the life of Indians as much as chillies. It is unlikely that there is any Indian who has not tasted chillies. Indian cuisine used pepper and other spices until chillies arrived in Goa on a Portuguese caravel coming from Brazil in the early 16th century.

The first mention of chillies in Indian literature is in a poem by the South Indian composer and saint poet Purandaradasa, written in 1560’s.

The poem states:

I saw you green

Then turning red as you ripened

Nice to look at and tasty in the dish

Enhancer of good food

And when I eat you

Even to think of Vithala is difficult!

Death and Life

Medium Fibreglass and antlers

Size Variable

Year 2016

Artist : Siddharth Kerkar

The artist has juxtaposed eggs, which symbolize life with skulls and antlers of dead animals.

After collecting all the description of artworks, I have given to Kunal Ray who was writing the book on Dr. Subodh Kerker at that time, he has given me the edited final content which was proofread by Dr. Kerker also.

We have shorter down the text of the artwork description for the publication.

Here I have shown thumbnails of artworks and their edited descriptions.

Layout Explorations II

After exploring layouts on paper, I have tried some digitally also to see the amount of text and size of images on an A6 size book.

Typography For Publication

Source Serif Pro

12 styles

Why Source Serif Pro?

I have selected serif typeface Source Serif Pro for publication because of its elegant characters. It is easy to read when printed in a small size.

Source Serif Pro is a serif typeface in the transitional style, designed to complement the Source Sans Pro family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age.

Both typeface families have different personalities because they spring from the hands of different designers : Source Serif was designed by Frank Grießhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other — just like their designers do.

Final Layout and Grid for Cover

0.39 in 0.39 in 0.39 in

This is the final layout and grid for the cover which is been selected. It is for A6 size publication.

Size if the cover is 8.6in x 5.8in with a spine of 0.39 in

I have taken 0.39in guides.

Brand Refresh + Communication System for Museum of Goa

Final Cover

This is the final cover after aligning all the visual element properly using guides.

Final Layout and Grid for Inside Pages

This is the final layout and grid for the inside pages. I have used a modular grid for the layout.

The size of the spread is 8.2 in x 5.8 in. I have taken margin of 0.39 and a modular grid with 0.16 in the gutter.

Visual element from Museum of Goa new brand identity, which is being repeated across all the pages.

Grey color background

Safe zone for cropped artworks

Center align artwork

Artwork Description

Type - Source Serif

Pro ( semibold & Regular ) Size - 7 pt.

Brand Refresh + Communication System for Museum of Goa

Page number

Type - Source Serif

Pro ( Regular ) Size - 6 pt.

Heading Type - Source Serif

Pro ( black ) Size - 32 pt.

Artist Name

Type - Source Serif

Pro ( Italic ) Size - 9 pt.

About the artwork

Type - Source Serif

Pro ( Regular ) Size - 9 pt.

Plain white Background

Visual element

Name of the museum

Type - Source Serif

Pro ( Regular ) Size - 6 pt.

Layouts for Inside Pages

There is a total of 78 pages in which the initial pages, in the beginning, is 7,

artwork pages are 68, and ending pages is 3.

There are a total of 33 artworks in which 5 artwork has a full-page photograph and 1 artwork has full spread photograph and the rest 27 has clean cropped photographs. I have equally kept fullpage artworks after every 5 - 6 cropped artwork page.

Addition artwork

Grey background

Logo

inside page of the book cover

Grey background

Heading

Type - Source Serif

Pro ( Semibold )

Size - 8 pt

Body text

Type - Source Serif

Pro ( Regular )

Size - 8 pt

Yellow background

Addition artwork

Brand Refresh + Communication System for Museum of Goa

Museum

Image

Heading

Type - Source Serif

Pro ( Black )

Size - 30 pt

Body text

Type - Source Serif

Pro ( Regular )

Size - 9 pt

Plain white Background

Founder Image

Heading

Type - Source Serif

Pro ( Black ) Size - 32 pt

Body text

Type - Source Serif

Pro ( Regular ) Size - 9 pt

Plain white background

Brand Refresh + Communication System for Museum of Goa

Visual element

Heading

Type - Source Serif

Pro ( Black )

Size - 32 pt

Title

Type - Source Serif

Pro ( Semibold )

Size - 8 pt

Artist name

Type - Source Serif

Pro ( Light Italic )

Size - 6 pt

Page number

Type - Source Serif

Pro ( Regular )

Size - 8 pt

Grey background

Visual Element

There are a total of four-color visual elements in the publication, they are in order of maroon, yellow, turquoise, and blue.

I have written page numbers and name of the museum on it.

Brand Refresh + Communication System for Museum of Goa

Spreads

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Signage Design

Floor Plans of Museum of Goa

While doing my research I asked for floor plans to mark out all the possible areas in which signages are required.

There are a total; 4 floors in the museum with garden and workshop space, ground floor, mezzanine, floor, first floor, second floor, and the garden and workshop space.

For marking the area, I have taken photographs from my phone.

These are the entrance and inside areas on the ground floor where signages are required.

These are the workshop and garden areas on the ground floor where signages are required.

Brand Refresh + Communication System for Museum of Goa

There are only 2 areas on the mezzanine floor where signages are required.

These are the areas on the first floor where signages are required.

Brand Refresh + Communication System for Museum of Goa

These are the areas on the second floor which include the terrace area also where signages are required.

List of required signages

Outer space

Big sign board

MOG board

Siddharth kerkar shop

Staff washroom

Workshop 1

Printing room

Workshop 2

Auditorium 2

Mog cafe

Mog studios

Sculpture garden

Ground floor

Reception

Mog store

Office

Lift

Male washroom

Auditorium 1

Documentary here

Way to sculpture garden

Ground floor

Mezzanine floor

Grey room

Store room

Female washroom

First floor

Staff only (Store room)

Staff only (Store balcony)

Lift

Second floor

Staff only (Dr. Kerkar office)

Staff only (Washroom)

Lift

Terrace area

Icon Explorations I

After brand refresh and publication, I have explored signages on paper using the visual element extracted from the identity. I thought of using this element because I was trying to make a language that will look like one family.

After sketches I tried to digitalize some of the icons, here you can see I tried to made icons using the visual element from the Identity, for the washroom I thought of making it very minimal using a visual element from the identity, but later on, we selected drawing of Dr. Subodh Kerkar for male and female washrooms.

Brand Refresh + Communication System for Museum of Goa

Icon Explorations II

Sculpture Garden

MOG Studios

Auditorium - 2

MOG Art Cafe

Auditorium - 1

Workshop

Brand Refresh + Communication System for Museum of Goa

Grid for Icons

To balance each of the icons perfectly, I used the same grid that was used in making digital icons for websites and apps.

Final set of Icons

These are the final set of icons that have been selected and refined lately. Some of the icons are made using a visual element from the Identity and some are directly made by refining Dr. Kerker's drawings and the shape of the sculpture digitally.

Mog Art Cafe Mog Studios Office Auditorium - 2 No Smoking zone Smoking zone

Sculpture Garden Direction arrow Auditorium - 1 Female Male Wahroom Lift

Brand Refresh + Communication System for Museum of Goa

Shape & Design Explorations

After Icons, I have explored the shape of the signages using the visual element extracted from the identity and the colors finalized. I thought of using this element because I was trying to make a language that will look like one family.

Brand Refresh + Communication System for Museum of Goa

Grids & layout for Signages

- 2

This is the final layout and grid for signages, it can be adjustable according to the number of letters, the height of shape remain constant but the width is adjustable.

These two signages are exceptional, they have larger in size. the one which is on the top is direction signage that will come on top of the door, it is 75 in x 3.8 in and the Auditorium - 1 will stick perpendicular to the wall has a size of 15.1 in x 14 in.

Brand Refresh + Communication System for Museum of Goa

Typography for Signages

I used two weights of the Poppins family from the brand typography which are Poppins Bold - 92pt for Latin and Poppins Semibold - 82pt for Devanagari. These sizes are common in every signage except a few, which are larger than normal signages.

Poppins Bold - 92pt

Poppins Semibold - 82pt

Poppins Bold - 55pt

Poppins Semibold - 49pt

AUDITORIUM - 2

Poppins Bold - 92pt

Poppins Semibold - 82pt

Poppins Bold - 121pt

ENTRY TICKETS

Poppins Bold - 29pt

INTERNATIONAL VISITORS INR 300

Poppins Semibold - 29pt

INDIAN VISITORS INR 200

INDIVIDUALS BELOW 18 YRS -50%

This is the information panel about the ticket price for the museum, it will stick on the wall in the reception area. It is 10.3 in x 28.9 in

CHILDREN BELOW 5 YEARS FREE FOR MORE INFORMATION ON GUIDED TOURS AND ART MEDIATION ACTIVITIES, PLEASE ENQUIRE AT THE DESK.

Management is not responsible for your belonging.

Do not touch the artworks

Poppins Bold Italic - 29pt

Poppins Semibold Italic - 29pt

Height from the Ground

I have taken a height of 6.5 feet above the ground by keeping in mind the avarage human size, because of the height its above our heads and readable when someone is standing in front.

Size and Visibility Tests

While exploring the size and colors for signages, I have taken some prints to compare the size and color by placing signage next to each other.

I realise that the signage in the bottom is more readable and visible from a far distance because of the bigger size, dark colors and bold typography.

Final Designs

These are the final signages that are going to Implement in the museum of goa. they follow the same language with a curved rectangular shape and color from the new brand identity.

Brand Manual

For the brand manual of Museum of Goa, I have taken an A4 size landscape size which can be used in both, print and digital.

This is the layout and grid for the pages. I have used a modular grid for the layout.

The size of the page is 8.3 in x 11.7 in. I have taken margin of 1 in and a modular grid with 0.16 in gutter.

Brand Refresh + Communication System for Museum of Goa

Final Design

These are the final design for brand manual, I have taken poppins type family as a heading and bodytype. The size of the heading is 24 pt bold and the size of the bodytype is 9.5 pt regular.

Roadside Banners

Layout Explorations

Here I have explored layout for roadside banners, it will be attached to government electricity poles in all major areas of Goa.

Size

3.5 feet

The size of the roadside banners is 3.5 feet x 5 feet, because of the bigger size it can be seen from a far distance when someone is crossing with their vehicle.

5 feet

Layout & Typography

I have taken very simple layout for roadside banners with plain solid brand colored background, bigger logo, artwork in the middle, address and contact information.

Grid for Banners

Final Banners

Brand Refresh + Communication System for Museum of Goa

Tickets & Bookmarks

Layout Explorations

Here I have explored layout using visual element from the identity. These tickets can be used as bookmarks as well.

7 inch

2 inch

The size of the ticket and bookmark is 2 in x 7 in which is the standard size of bookmarks.

Final Tickets

Brand Refresh + Communication System for Museum of Goa

Flyer Designs Layout Explorations

Here I have explored layout for A-6 size flyers which will be kept at the entrance door of the Museum of Goa, it is for the people who come to visit museum.

Grid and Size

The size of the flyer is 4.1 in. x 5.8 in. which is the standard size for A-6 flyers.

Layout & Typography

Final Designs

Business Cards

Layout Explorations

These are the layout I explored for business cards, I have explored two types of business cards, one is general card for Museum of Goa, and another is personal cards for founder/director and manager.

Grid and Size

This is the grid for general and personal business cards.

Brand Refresh + Communication System for Museum of Goa

Layouts and Typography

Monochrome Logo

Colored Logo

Contact Info Regular - 5.1 pt

Colored Logo

Name Bold - 9pt

Contact Info Regular - 5.1 pt

Monochrome Logo

Final Designs

I have used same color palette to make it look like one family.

Brand Refresh + Communication System for Museum of Goa

Letterhead Design Layout Explorations

Here I have explored layouts for letterhead, after checking examples and faculty feedback, I came to realise that the left part and the logo in option-1 will be hidden or cut when someone punches in the file.

Grid and Size

I have given border margin around the content, so that it can be visible after punching it in the file.

The size of the letterhead is standard 11 in. x 8.5 in.

Layout and Typography

Colored Logo

Contact Info Regular - 5.1 pt

Name of the person Sembold - 10 pt

Body text Regular - 10 pt

Final Design

Envelope Design Layout Explorations

Here I have explored layouts for Envelope, after checking examples and faculty feedback, I came to realise that the top right corner part is used to put stamp.

Grid for Envelope

The size of the Envelope is standard 3.8 in. x 8.7 in. with the colored MOG logo, yellow color back flap and contact information.

3.8 in

Layout, Size and Typography

Colored

Badges and Sticker Design

Explorations

Here I have explored designs for badges and stickers, I have used brand color palette, artworks and typography.

Size

I have taken variable sizes for stickers and the size for badges is 1.5 in x 1.5 in.

Brand Refresh + Communication System for Museum of Goa

T-shirts Design Explorations

Layout

Logo

Safe area to place Artwork

Brand Refresh + Communication System for Museum of Goa

Tote Bag Design

Explorations

These are the explorations for tote canvas bag. I have kept the layout simple by placing the big logo in top and artwork in the bottom, it can be colorful also using brand color palette.

Safe area to place Artwork

Brand Refresh + Communication System for Museum of Goa

Prototype

Signages

While making signages I have taken some prints to make a prototype of different signages by sticking them on a thick sheet of paper.

I have taken all the prints to check the size and visibility for each signage. for testing light and sizes, I have attached these signages in the wall in every area.

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Publication

While working on the book, I have taken some prints on a normal copier sheet to check the size of the type, colors and the photography.

Brand Refresh + Communication System for Museum of Goa

Execution

Publication

After testing it in the museum, I have asked for the quotation from different printing press.

After comparing the quality and price we have decided to go with one of the printing press in Pune.

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

This book have a handy size which can easily fit in the pocket.

These are the information I have given to printing press.

Size- A6

Cover - 300 Gsm Soft bound

Pages - 78 + Cover

Inner pages - 130 gsm matte

Copies - 1000

Signages

For the Signages we have decided to go with laser cutting and vinyl sticker print on a stainless steel 2 mm sheet.

For the background color we have decided to paint it full grey in the MOG workshop, then stick the vinyl sticker on top of it.

Brand Refresh + Communication System for Museum of Goa

Brand Manual

Roadside Banners

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Brand Refresh + Communication System for Museum of Goa

Reflective Note

Agnis ent molest, simus. Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor molum quostiust, si dolupta speris ratio berum ide cus experum facid quas mossed magnias doleni sinvent lis aborro qui quo molest lit aut a ipit quia culparc hicianienis veliti aut volorpos dolestius id magnimo luptae velentet lam ea volorporro conseceris is que lis cum corestios ellatur?

Agnis ent molest, simus. Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor molum quostiust, si dolupta speris ratio berum ide cus experum facid quas mossed magnias doleni sinvent lis aborro qui quo molest lit aut a ipit quia culparc hicianienis veliti aut volorpos dolestius id magnimo luptae velentet lam ea volorporro conseceris is que lis cum corestios ellatur?

Omnisqui anit hiligent essedignam repta id magnimpor as as ut moditate nobis ut aperrum sin remporem consern atistibus, ut ulles maximus que laci int lani nustem quos et occum

Bibliography

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Agnis ent molest, simus.Omnis dem que nistet mos est peri doloris cienis dolorepe velloreptam et quunt quiatempora venim dolor

Brand Refresh + Communication System for Museum of Goa

Colophon

This document has been written and designed by Srajan Jain.

It has been set in : Montserrat Type Family

Designed by Julieta Ulanovsky, Sol Matas, Juan Pablo del Peral, Jacques Le Bailly

Released by Julieta Ulanovsky