My perspective
My perspective
Zsuzsanna Munkacsi
CONTENT
Figure 1. (Pastedown). Typographic experiment creating pattern/ texture in response to the notions connecting to the Our Museum brief.
I N T RO D U C T I O N 4
D I S C O V E R
6
D E F I N E
14
D E V E L O P
18
D E L I V E R
24
E VA L U AT I O N 3 0
P RO C E S S B O O K
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B I B L I O G R A P H Y 4 0
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INTRODUCTION
Dear Reader, This is the process book of the Our Museum project, that was our first live brief as Level 5 Graphic Design students at AUB. The client was the Poole Museum and we had been tasked to design a visual identity to their new project. This book is created to show my journey from the brief to the final outcome in a clear and understandable way. Thank you for reading. Suzie M. GD Level5 AUB Bournemouth, 7. 11. 2020.
Figure 2. (to the left): Typographic experiment creating pattern in response to the notions connecting to the Our Museum brief.
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INTRODUCTION
Our team / No Clue
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F i n - To m - D a n - S u z i e - h o w it wor ked. No Clue is the name of the group I was assigned to. Our first steps were as a group to setup platforms to beable to communicate effectively and to share files with each other. We started off using Snapchat suggested by the rest of the team, as they were known to each other and used that app in level 4 for teamwork. I found it personally not suitable for this purpose so after using it for a few days I suggested to switch to Messenger which allows the user to response to each block of text directly, therefor it makes it clear who is responding to who and for which question. Another feature which was useful that it displays shared images within the chat flow, so it makes them much more accessible while on Snapchat we had to click on each image to display it each time we wanted to look at it and that is very time consuming. Another app that was useful in the beginning is Miro. It allows people to share notes on a virtual wall display. Everybody who is invited to the board can add to it and edit its content in real time. We used it mostly to generate ideas for our proposal. Once we moved forward to the designing stage, we shared a One Drive folder to upload any files we created in the process. We had folders like ‘Research’,
’Idea generation’, ‘Finals’, and one for each of us in the team so it was clear whose work is uploaded there. It enabled us to access all the group’s work at any time and to use it in processes like creating the presentation deck. During the whole project, we held regular meetings on Zoom. It was really helpful to be able to discuss work, ask for advice, give feedback and be able to reflect on it at the same time. We regularly made changes or amendments on shared screen, so all of us could have a say or suggestion. Although I believe that personal contact is being the best form of communication, I have to admit that I really enjoyed working online as it felt smooth and time efficient. It allowed us to work late evenings which suited all of us better.
Figure 3-8.: Screenshots of various group activities on different online platforms.
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DISCOVER
The brief
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The project brief was delivered by Dr. Alex Reynolds, who represented Poole Museum as the client. She is the Our Museum Collections Officer. The brief had covered Poole Museum’s aims with the Our Museum project and informed us about their ambitions and their intended audiences. Their goal is to create a maritime gallery that is contemporary, sustainable and relevant. They wish to transform the museum into a cultural centre which also functions as a community place that is reflective of the needs and interests of the local people. We had been tasked to create a visual identity for this project. They needed a logo and a brand which are contemporary yet work alongside with their current logo. While I was listening to Dr. Reynolds, I made notes and I tried to capture the essence of her talk. I focused on the words and phrases she used with the most enthusiasm as I thought they are the ones which will help us to understand what the museum and its new project really need from the new brand.
Who is the Target Audience? • Local people • Artists and Creatives • Families • Younger People • Volunteers
Figure 9.: Keywords extracted from the brief. (Maritime, Stories, People, Alive, Dynamic, Energy Changing, Living history Harbour & Home Openness & Accessibility Relevance &Responsiveness Generosity & Care.)
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Research
DISCOVER
Po o l e M u s e u m v i s i t We took a visit to Poole Museum together to carry out primary research on the scene and to look for visual inspiration. We went through the main site and took photos while we were also having discussion about our impressions. I focused on finding inspiration in forms, colours, typography and shapes. I took photos of the pottery collection as they have broad colour palette and typographies with maritime connections. I captured the ceilings of the different parts of the museum as the timber roof gives so significant characteristic to them that I thought it could become a starting point when designing the logo, even though I was not sure back then how it will feed exactly into it. We had been lucky to find notes left by the public on the walls of the Our Museum Project Lab, which has been created for people to contribute thoughts and ideas informing the design of the new maritime gallery spaces. I did use these findings for inspiration in the later stages of the design process.
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Figure 10. (on this page): Poole Museum front Figure 11. (top left): Ceramics made in a Poole manufactury. Figure 12. (top right): Timber roof detail I. Figure 13-15. (middle left): Notes, left by public in the Project Lab, have influenced my finial color choice of the brand and the logo. Figure 16. (middle right): Timber roof of Scaplen’s Court. The ‘Grade 1’ listed medieval building belongs to the Poole Museum. Figure 17. (bottom left): Signage of a boat company. Early 1900’s Figure 18. (bottom right): Timber roof detail II.
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DISCOVER DISCOVER
Po o l e t o w n w a l k
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After our visit to the museum, I took a walk in the town centre of Poole to capture its look and its atmosphere. It was a busy Saturday afternoon with many families being on move. I have noticed that many people were using the tiny roads leading into the high street. That made me think that those quieter areas with large blank walls could provide a surface for reaching out to local people. I intended to take photos without recognizable people on them as I didn’t want to ask for their consent.
Figure 19. (to the left): Sea Music Sculpture at the quay of Poole. Figure 20-22.: Streets of Poole offer lots of surface which could be used by local artist to reach out to local people who use these paths every day to access the high street.
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DISCOVER
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Museum branding and logo designs We received a brief from our tutor, Alice, about different museum brandings and logo designs. It has covered so many different directions that whichever way I tried to extend my research, I kept coming across the same examples. Therefore, what I did, was to go through them looking for the features which makes them outstanding and can provide inspiration for my design. I also looked at articles of current logotrends to have a picture of contemporary logo designs. I did research online about Poole and logos related to the town. I found that most of them include various shades of blue.
Figure 23.: The Willi Burth Museum logo is dynamic, asymetric, complex yet effective. Figure 24.: The Natural History Museum logo is using a bright photographic image and hierarchy in text.
Figure 25.: Photographic campaign of the Maritime Museum of Rotterdam showing people who relate to the sea.
Figure 26.: Science Museum logo is a shape made of typography.
Figure 27: A reflective, dynamic logo of the MMCA. It functions as a window and its content is variable.
Figure 28.: The Tate logo shows openness, fluidity. It provides opportunity for individual interpretation.
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Our Proposal
DEFINE
Wo r k s h o p a n d Ta l k s
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In order to write our proposal, we needed to understand why it is so important for a brand to have its manifesto or ethos. In my interpretation it works as an invisible compass, giving direction and showing the right path to the companies to their decision making. It was a great help to be able to listen to the talk of Bond & Coyne and get some insight into their Versa branding project. We referred back to it later in the process when we were working on the final version of our brand proposal. After the branding talk, we had a workshop with Ben Friend (creative director) who shared with us his brand designing process (brief-research-work-execution), which resonates well to the stages of the 4 Diamond Designing model that already had been introduced to us in Level 4. Ben highlighted how vital it is to grab the essence of a company in order to create a successful branding around it. His story of the flying fish and how it became their company’s visual identity has demonstrated well what is the task we had been given by this brief. During the workshop we were required to come up with ideas how to finish the sentence: “Our Museum is ...” These half sentences were the first input in forming our proposal.
Figure 29.: Miro board with our first inputs to the proposal. Figure 30.: A slide of Ben Friend’s presentation.
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DEFINE
Finalizing the proposal To take it to the next level, we wrote 2-3 different versions per person, then we discussed it on a Zoom meeting. We did amendments on them and combined some of it together to come up with 6 strong and different approaches. We shared the result with the client and based on her feedback we managed to narrow it down to the final version. When I was working on my ideas, I was inspired by the branding proposal of Primal Roots. The design company, who did their branding, came up with a manifesto which
is successfully capturing the naturistic spirit of this gym and challenging the conventions of the traditional gyms. In a way this is the job we had been asked to do for Poole Museum too. We had to capture the spirit of history, art and culture and also to find the tone of voice which communicates effectively the changed functionality of the museum in a contemporary manner. I think we were on the right path when we showed it to Ben on a tutorial. He suggested to make it simpler to help
Figure 32: The 6 sentence we presented to the client. The second and third ones are based on my inputs. Figure 31.: Primal Roots manifesto (Lantern, London) has been a great inspiration.
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our next design stage, however, as a team, we hadn’t taken that advice on board. Having seen our peer’s final responses it became clear that our proposal was too complex a starting point.
“Our Museum Project is the heartbeat of Poole. We want everyone to hear it and feel it just as we experience the atmosphere of the coast. We are here to strengthen your voice and make you feel belonged to. Our proposition aims to install a new culture of community and conversation around Poole past and present. A gallery of diversity, bringing people together. Tune into the heartbeat of Poole!”
Figure 33.: Details of my notebook. Idea generation for the proposal.
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Idea development
DEVELOP
Initial sketches
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The next step was to start producing ideas. During this stage I sketched up my ideas in Adobe Illustrator. I really enjoyed this process as it was a free flow activity, letting my mind respond to the proposal. My aim was to show dynamic and liveliness in special focus of the heartbeat motif. I have carried out further research regarding how else I could represent heartbeat rather than an ECG line. I spent about a day on generating these initial ideas in order to be able to show different options to my group and have them ready as a starting point. I tried a few possible routes. One was to approach the heartbeat as a sound and that took me to research vibe and its visualisation. Another route was to combine the heartbeat with maritime themes, so I created some initial sketches about this idea too. When the group looked at it, they found that the museum front idea could work the best out of these, so they advised me to start developing that further. They liked the spiral drawing (Figure 39) too, but it wasn’t as strong as the museum front with the heart idea. Colours are random, not considered at this stage. I picked blue shades mostly because of the maritime theme and because they complement the orange in the Poole Museum logo.
Figure 34.: Poole Museum front. Figure 35.: Museum front drawing developed further to draw out a folded heart shape. An attempt to combine the heartbeat notion with the home & harbour theme.
Figure 36.: A very literal approach of combining heart and wave, mostly for fun.
Figure 37.: Idea generation around the vibe idea. The dashed heart shape only included to show the process.
Figure 38.: Logo idea generation. ‘Too “maritimey”, not enough “museumy”...’
Figure 39.: Vibe -» Wave -» ‘O” ? as in Our Museum. This idea has been dropped at a very early stage.
Figure 40.: Heartbeat transformed to wave -» wave becoming type. We found it not legible enough.
Figure 41.: (to the right): Typographic experiment to represent the notion of vibes and heartbeat.
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“Museum dr awing” development I drew several variations based on the first drawing of the museum front. I experimented with the lines creating different shapes and how it possibly could be improved to be more contemporary. Amongst all the artboards I created, the one on the image (Figure 44, bottom left) was the most successful within the team. They voted to take the red framed form of the logo further. I personally preferred the orange framed version where the lines of the building are converted into a heart. If it were only my call, I would have gone towards that way. Regarding its colour palette, I felt that it was ready. The blue shades refer to maritime, while the golden colour represents history, heritage, art and the positives of being local. At this point we had a discussion with our tutor, Alice, and we advised us to rethink the colour palette. After a discussion with the team, I had been given the advice to try the logo in black and white and give blue shade to the folded heart shape.
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Figure 42. (top left): I experimented with pottery colours. It felt too retro. Figure 43. (top left): Pottery from Poole Museum. Figure 44. (bottom left): Artboard with logo designs. My team liked this artboard the most and they picked the logo in the red frame to be developed further. The orange framed (and its variations) would have been my choice. Figure 45.(top right): Keeping the shape itself was one of the possible routes. It hasn’t been taken further by group decision. Figure 46. (bottom right): More experiment with the museum front. I think the result look too much architectural and “churchy”. I also played with the lines of the museum drawing to create a typeface.
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DEVELOP 22
Finalizing the logo and creating brand guidelines I was looking for a font that gives character to the logo. I found the World of Water free font in my font book, which is an alt-universe, Art Nouveau style display font according to the author. It talks to creatives through its artistic attributes, who are targeted by the Our Museum Project. It also has that quirkiness which supports the logo to stand out. As an alternative font, I chose Optima because it is versatile and serves well for both body text and titling. It is a humanist san-serif which makes it a great match to art and history related texts. Regarding the colour palette (Figure 49), it is based on the blue shade I picked from my sketches. To create a brand which is flexible and covers all the aspects of our proposal I chose four colours and 2 gradients. I hesitated about the use of the gradient in the logo. I thought it is a brave choice that adds dynamic and life to the brand. It also stands for the sea, the vibes of the museum and for the bustling community. I did typographic experiments (Figure 1., 2.) using the gradients and the word ‘Our’. My idea was to create textures or patterns that represent notions connected to the brief. These could work as a playful element of the brand which can be applied in many varieties, giving freedom to the creatives working with the brand.
Brand typefaces - Logo and display
Wo r l d o f Wa t e r A U a v 0
B V b w 1
C D E F G H I J K L M N O P Q R S T W X Y Z c d e f g h i j k l m n o p q r s t u x y z 2 3 4 5 6 7 8 9
Brand typefaces - For use of any text (Posters, tickets, web, etc)
Optima A S a v 0
B C D E F G H I J K L M N O P Q R T U V W X Y Z b c d e f g h i j k l m n o p q r s t u w x y z 1 2 3 4 5 6 7 8 9
Figure 47.: Font sets of the brand.
Figure 48.: Examining alternative usages of the logo font. With its underlined “o” it does look like a person with shoulders, while it splits the word ‘our’ to ‘o’ and ‘ur’. ‘Ur’ is used in communication of younger audiences as a short form of the word “your”. These ideas could have been taken further to create a stronger concept.
Figure 49: Colour scheme of the blue shade we picked. I chose to use 4 of them.
Figure 50.: Gradient pairs I created to see how they work out together. I choose 2 of them that work well as the final brand gradients.
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DELIVER
Execution
Figure 51.: Final gradients of the brand and its colour palette.
Figure 53: The folded heart shape is a motif that could stand on its own as an icon for the brand.
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Figure 52: Final logo on white.
Figure 54: Logo variation of brand colours. The text and the museum lines are always white if the background is coloured.
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Figure55. (top left): Branded t-shirt. Figure 56. (top right): Instagram photo campaign, inspired by living history. Figure 57-58. (bottom left): Branded totebags. Figure 59. (bottom right): Flag with logo. To the right: Figure 60. ( top left): Instagram post on mobile screen. Figure 61. (top right): Poster mock-up I. Figure 62. : Poster mock-up II.
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Figure 63. : Poster mock-up III.
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DELIVER
The pitch
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Our design has been shortlisted, based on our pitch presentation and I consider that a great success. Especially that, as a teamwork, I felt it was a failure. The complexity of our proposal has taken us away from the core idea, and it is clearly visible on the presentation. In my opinion, the team couldn’t manage to work towards the same goal and understand the aim of the proposal on a team level. We didn’t respond to the feedback we were given at the tutorials and the ones coming from within the group many times were not professional. We talked about combining ideas together, like Dan’s curvy lines with my vibe drawings, but no one was acting upon it. I could have made decisions independently and overwrite the team’s choices in my design processes, but because the whole point of the project was to work and create a brand in a team, I let that urge go. The pitch deck itself was two of my peers’ task and they completed it in the very last minute. There was no chance to make any corrections or give feedback on the final version before presentation. When the client picked the design she liked, she gave the same feedback - that the logo should be simplified. However, the team decided to not to make any further change to it before sending it off. It was also a disappointment that we couldn’t follow that simple guide we received regarding the content of the slides, even though we went through it together as a group beforehand.
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Figure 64.: Pitch presentation slides Team No Clue.
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EVALUATION
Critical Evaluation and Self-reflection
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The ‘Our Museum’ project was a great opportunity for me to learn the importance of understanding the brief and the clients’ aims. I became aware that, as a designer, I need to be able to recognize the clients’ needs from a different perspective than that of the clients themselves, as they most likely don’t have a designer point of view. I feel I’ve been successful with the depth of work I have completed during the research phase and idea generation. I came up with many different concepts and did not let my personal choice overwrite the team’s decisions, which resulted in the outcome not necessarily being the one I would have ended up with myself, but it does not mean it is less strong or less right and this is something new that I have learnt. It is satisfying that our logo has been shortlisted, especially as it was my design idea that has been chosen by the museum to represent our team. I think the strength of my brand and logo design that it has a strong concept. It responds to the brief and resonates to my team’s proposal. The brand uses gradient colours which I think is a brave choice, but it felt appropriate as it has a function, to represent the community and the dynamic in the design with maritime shades. My font choice is a non-conventional, display typeface which gives character to the logo and one that is matching the intention of talking to artists and creative individuals, as well as to the local community. It is a flexible design which can be used in many different forms, varying the elements of it according
to its current audience. At the same time, this is also one of its main weaknesses as it became too complex and less contemporary. This is something I wish to focus in the future, to be less complex and illustrative in my designs. We got feedback from peers and the tutors regarding that and I did agree with it, but the group together decided at the last minute not to make the changes. I believe that simplifying it would have improved its success. Designing as a team, we had to overcome a few obstacles. Having had years of experience in teamwork, some of them as a team leader, I had expectations towards the team based on my own experience. It has been a learning curve to me to recognise and accept that my peers’ understanding of teamwork is different because they don’t have a working background. Tackling this challenge meant that I needed to become more open minded, patient and to offer a good example. I aimed to demonstrate that teamwork is not putting individual results next to each other and presenting them together, but it is more of working towards one goal together in order to succeed. I tried to encourage them to strengthen each other’s concepts in those fields where we have weaknesses, so I shared my work regularly with them, asking for feedback and suggestions. I ended up being the engine of the group (I got this feedback from the group itself) pushing work forward, arranging meetings, encouraging teamwork, giving and asking for feedback, answering everybody’s questions, etc. which resulted in my becoming
overwhelmed with the workload. I had the impression that because I am pushing it so hard, it is easier for them to lay back. I was disappointed with the pace of work and the amount of participation from some peers which resulted in the project not ending up with the professional standard I would have expected of myself. However, I believe that under real life employment circumstances it would have worked out differently, assuming that the colleagues already knew their job and what they would be expected to do. On the plus side I have to mention that these issues didn’t develop to a personal level, I did get a lot of positive encouragement as well and overall, we had a positive atmosphere during our discussions. The teamwork did improve compare with what it was at the beginning of the project, so it is a success from that point of view. We have stayed in touch as a support group and regularly discuss our course work.
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PROCESS BOOK
Process Book
Book Design Insight & L a y o u t Wo r k s h o p w i t h Br iony Har tley Watching Briony’s presentation about the different book designs she made has been a start of the process book project. She covered the basics we need to be aware of regarding layouts and hierarchy. It helped to refresh my knowledge I gained in first year. On the layout workshop we put in practice what she taught us about the techinque of using a hanging line. It gives consistancy to the layout, creating a flow throughout the book (Figure 1 and 2). It took time to learn to use it and not to feel restricted by it. We also looked at how different fonts can work together and what attributes (angles, shapes, x-height, varying stroke widths, etc) to compare to pair them well.
Layout Choosing a layout the first step was to research book designs and layouts. I found that many of the artist books and portfolios use square format which looks very appealing to me and I could visualize arranging my content within that square space. Unfortunately I have learnt it on the way that this format - or at least the 32
Figure 65.: Layout workshop with Briony. Practicing hanging lines. Figure 66: Square format book research showing good examples of layouts. Figure 67: A designer’s book of Didot. Square layout with typographic image works perfectly. Figure 68: Book cover with cut-out shape that inspired my design..
way I layed it out- is not suitable for this purpose if the number of pages are limited. I would have liked to spread the contentout more and include pages with minimal typography on it. During my research I found a book cover (Figure 69.) with a very simple cut-out and that inspired me to use the folded heart shape similar way on the front cover. As I miss hand-on work, I did a a quick tutorial of japanese bonding and created a mini book just to see how its mechanism. (FIgure 69) My intention was to create a book that not only tells the story of the design process but visually engaging for its readers. I was thinking to add a rhythm to the book which helps it to stay visually interesting. In order to reach that, I experimented with different methods (Figure 70-71). I created initial flatplans where I played with the background colour and another version where I used the enlarged logo font to add them as a background to the pages. I used the brand’s name ‘Our Museum’ (Figure 72-73) and spread its letters across the pages in an order that it could be read out. At this point I had a tutorial with Briony, who liked the idea so I decided to go by that. The next step was to fill the flatplan with content. I have organized my files into folders, dedicated one for each sections of the book. I wrote an outline (figure )that helped to spread out the content roughly. I learned that I will need more practice judging the amount of images and texts because I wasn’t able to stick to the flatplan and cover all content requirements at the same time.
PROCESS BOOK
Figure 69: Bookbinding experiment.
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Figure 70-71 (top and middle left).: Layout background experiment with colours to create rhythm. Figure 72 (bottom left).: Layout background experiment with typography. Next Page: Figure 73: Outlined content. Figure 74.: Screenshot of the the book spreads in indesign. Figure 75.: Screenshot of Briony’s feedback after our tutorial.
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PROCESS BOOK
Font
Heading1
When we did our brand guidelines, we choose Optima to match the World of water display font. However, when I started to work on the process book, I decided to use Gill Sans for the bodytext ( Figure 4). It has very similar characteristics to Optima (humanist sans-serif) but its strokewidth is wider at regular weight which makes it more legible and readable in a book. For headings, I varied the size and weight of the Gill Sans font, except of the main title (Heading 1) where I used the display font as I found it. To decide about the font size I printed out examples in different sizes and text. In order to make it easy to navigate in the book, I decided to use running head which I placed on a tab, which aligned to the hanging line.
Heading 2 Heading 3 Figure x. Lorem Ipsum.
CONTENT (AS IN RUNNING HEADS) CONTENT (AS IN TABLE OF CONTENT) 36 Figure 76.: Hierarchy - Headings and page number
Colour Regarding the colour palette, I chose to use 3 colours only: black, white and the blue-green gradient. I decided to keep it simple in order to be more successful in creating a consistent visual system.
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O p t i m a r e g u l a r - Font size 9 pt, tracking 12 pt.
Gill Sans regular - Font size 9 pt, tracking 12 pt.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8
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Maximusam utam eationsed quid quam num harum int qui quia nobitaque esto blabore peditiorerro ommo bearum id eos de poriae. Nequodis et excera quis nobist ate volor modiciae conem fugiata tatque volorem hillat alitio moluptas doluptatum nis sam, am quid endi doluptas quamend ernat. Officae conseque res sundi occatatias iur, quiande perfere henistem re, qui inctiss itiusdaes sundaero
O p t i m a r e g u l a r - Fo n t s i z e 8 , t r a c k i n g 1 2 p t A X a 0
B Y b 1
C D E F G H I J K L M N O P Q R S T U V W Z c d e f g h i j k l m n o p q r s t u v w x y z 2 3 4 5 6 7 8 9
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Figure 77.: Gill Sans and Optima comparison. Briony advised me to start experimenting by printing them out, and I found that 9 pt Gill sans works out the best for me.
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PROCESS BOOK 38
Evaluation and selfreflection Designing the process book, I had to overcome some of my weaknesses. On a personal level, one of the biggest challenges for me as a designer is to be able to think and create within a system. My designs tend to be overcomplicated, mostly because of my intention to communicate too many ideas together, which results in difficulties building a coherent system around them. Receiving feedback helped me to acknowledge this and that was the first step towards making changes. In this case, I started off with a very different, more chaotic layout and hierarchy and when I felt that it didn’t work well, I went through the whole book and redesigned it. I managed to simplify it and make it more consistent. However, I can still see areas where it could be improved. Firstly, when I created the flat plan, I didn’t pay attention to the number of images that I have to include. In order to evidence all my work and to reason my design decisions I ended up including a large number of images but laying them out in a way that I imagined, would have required adding more pages to the book and I had already used the maximum of 48 pages. If I had more time and my personal life circumstances didn’t interfere with my studies, I would have had another try to work more on the layout. What I have learned from this is that I have to spend more time on creating a flat plan and give more consideration to it.
Another area where I would like to improve is the contemporariness and that is something I can only achieve if I do more research and more practice working with layouts and colours. I think that expanding my skills and deepening my academic knowledge will create the strong background that I need to free up my creative mind. Coming to the end of the designing process of the book, I feel that I have made many steps further towards my learning goals and writing the evaluation helped me to highlight the areas I need to focus on more. Completing this book has become a very good practice and learning journey where I have significantly improved my technical skills - and it has also helped my confidence.
Bibliogr aphy
List of figures
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Figure 65.: Munkacsi, Zs. (2020). Layout workshop with Briony. [digital images]. In possesion of: the author.
Envato. (2020). How to Create a Table of Contents in InDesign [online].Youtube. Available from: https://www.youtube.com/ watch?v=_pMPYmffgTU [Accessed 6 November 2020]. Hartley, B. (2020). Book design. [web]. Goldust Design. Available from: https://www.goldustdesign.co.uk [Accessed 13 November 2020]. Hartley, B. (2020) Industry Insight: Bookdesign and Typography. [online presentation]. 2 November. Bournemouth. Available from: https://aub.cloud.panopto.eu/Panopto/Pages/Viewer. aspx?id=bfbc83d4-937c-4bf3-9d39-ac670115235e [Accessed 19 November 2020]. InDesignSecrets. (2018). InDesign How-To: Create Paragraph Styles Quickly (Video Tutorial) [online].Youtube. Available from: https://www.youtube.com/watch?v=b3zIToPMEO4[Accessed 5 November 2020]. Pentagram. (2020) Work.: editorial design. [online]. Pentagram. Available from: https://www.pentagram.com/work/ discipline/editorial-design [Accessed 7 November 2020]. Shaughnessy, A. and Bierut, M. (2009). Graphic design: A User’s Manual. London. Laurance King Publishing Ltd.
Figure 66.: Graphicriver.net. (2020). Square format portfolio book. [online]. Envato Pty Ltd. Available from: https://graphicriver.net/ portfolio+book-and-proposal-graphics [Accessed 1 December 2020]. Figure 67.: Metzger, T. Francis Didot book design. [online]. Available from: https://www.taylormetzger.com/francis-didot-handbound-book [accessed 6 November 2020]. Figure 68.: Serra, C. (2013). Book cover with cut-out shape. [online] Behance. Available from: https://www.behance.net/gallery/12760399/ Mini-books-Portfolio [Accessed 6 November 2020]. Figure 69.:Munkacsi, Zs. (2020). Bookbinding experiment. [digital images]. In possesion of: the author. Figure 70-71.: Munkacsi, Zs. (2020). Layout background experiment with colours. [digital images]. In possesion of: the author. Figure 72.: Munkacsi, Zs. (2020). Layout background experiment with typography. [digital image]. In possesion of: the author. Figure 73: Munkacsi, Zs. (2020). Outlined content. [digital image]. In possesion of: the author. Figure 74.: Munkacsi, Zs. (2020). Screenshot of the the book spreads in indesign. [digital image]. In possesion of: the author. Figure 75.: Munkacsi, Zs. (2020). Screenshot of Briony’s feedback after our tutorial. [digital image]. In possesion of: the author. Figure 76.: Munkacsi, Zs. (2020). Hierarchy - Headings and page number. [digital image]. In possesion of: the author Figure 77.: Munkacsi, Zs. (2020). Gill Sans glyphs. [digital image]. In possesion of: the author
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BIBLIOGRAPHY
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Airey, D. (2019). Identity Designed: The Definitive Guide to Visual Branding. Minneapolis: Quarto Publishing Group USA [ebook]. Available from: http://ebookcentral.proquest.com/ lib/aib/detail.action?docID=5702644 [Accessed 16 November 2020]. Bailey, S. and Milligan, A. (2019). Myths of Branding: A Brand Is Just a Logo, and Other Popular Misconceptions. London: Kogan Page, Limited [ebook]. Available from: http://ebookcentral. proquest.com/lib/aib/detail.action?docID=5615284 [Accessed 4 October 2020]. Barbican. (2020) Barbican and visual identity. [online]. Barbican Centre. London. Available from: https://www. barbican.org.uk/branding-and-visual-identity [Accessed: 16 October 2020]. Benbunan, J., Schreier, G. and Knapp, B. (2019). Disruptive Branding: How to Win in Times of Change. London: Kogan Page, Limited [ebook]. Available from: http://ebookcentral. proquest.com/lib/aib/detail.action?docID=5741922 [Accessed 4 October 2020]. Colley Porter Bell (2015-18). Museum of London case study. [online]. Available from: https://www.coleyporterbell.com/case_ study/museum-of-london/ [Accessed 20 October 2020]. Friend, B. (2020) Branding Talk. [workshop] Bournemouth, Art University Bournemouth. 13 October. In possesion of: the author.
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Lemon, S. (2014). DIY Japanese Bookbinding Tutorial. [online].Youtube. Available from: https://www.youtube.com/ watch?v=j-r6c_trSxY [Accessed 6 November 2020]. Maritime Museum. (2020) About the museum. [online]. Available from: https://www.maritiemmuseum.nl/en [Accessed: 20 October 2020]. Noble, I. and Bestley, R. (2011). Visual Research.Second edition. London. Bloomsbury publishing. Pentawards. (2020). Stefan Sagmeister:Why Beauty Matters? [online] Available from: https://vimeo.com/460569669 [Accessed: 4 November 2020]. Poole Museum. (2020) Poole Museums. [online]. Available from: http://www.poolemuseum.org.uk [Accessed: 15 October 2020]. Reynolds, A. (2020). Our Museum Brief. [online presentation]. Bournemouth, Art University Bournemouth. Available from: https://aub.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=c60489c2-a9bb-4be5-8cbc-ac5201080e03 [Accessed: 4 November 2020]. Stevens, A. (2020) Museum Branding brief. [online]. Available from: https://mycourse.aub.ac.uk/bagds5/wp-content/ uploads/sites/50/branding-museums.pdf [Accessed 7 November 2020].
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List of figures Figure 1.: Munkacsi, Zs. (2020). Inner cover. Typographic experiment creating pattern//texture in response to the notions connecting to the Our Museum brief. In possesion of: the author. Figure 2.: Munkacsi, Zs. (2020). Typographic experiment creating pattern in response to the notions connecting to the Our Museum brief. In possesion of: the author. Figure 3-8.: Munkacsi, Zs. (2020). Screenshots of various group activities. [screenshots]. In possesion of: the author
BIBLIOGRAPHY
Figure 9.: Munkacsi, Zs. (2020). Keywords extracted from the brief. In possesion of: the author. Figure 10.: Harris, L. (2013) Image of Poole Museum front. [online]. English Wikipedia. Available from: https://commons.wikimedia.org/wiki/File:Poole_ Museum_Entrance.jpg [Accessed 15 October 2020]. Figure 11.: Munkacsi, Zs. (2020). Ceramics made in a Poole manufactury. [digital image]. In possesion of: the author. Figure 12.:Munkacsi, Zs. (2020). Timber roof detail I. [digital image]. In possesion of: the author. Figure 13-15.: Munkacsi, Zs. (2020). Notes, left by public in the Project Lab. [digital image]. In possesion of: the author. Figure 16.:Munkacsi, Zs. (2020). Timber roof of Scaplen’s Court. [digital image]. In possesion of: the author. Figure 17.: Munkacsi, Zs. (2020). Signage of a boat company. Early 1900’s. [digital image]. In possesion of: the author. Figure 18.: Timber roof detail. II. [digital image]. In possesion of: the author. Figure 19.: Munkacsi, Zs. (2020). Sea Music Sculpture at the quay of Poole. [digital image]. In possesion of: the author. Figure 20-22.: Munkacsi, Zs. (2020). Streets of Poole. [digital image]. In possesion of: the author.w Figure 23-28.: Stevens, A. (2020) Images of the museum branding brief. [online]. Available from: https://mycourse.aub.ac.uk/bagds5/wp-content/ uploads/sites/50/branding-museums.pdf [Accessed 7 November 2020]. Figure 29.: Munkacsi, Zs. (2020) Miro board. [digital image]. In possesion of: Figure 30.: Munkacsi, Zs. (2020) A slide of Ben Friend’s presentation. [digital image]. In possesion of: the author. Figure 31.: Lantern, (2017) Primal Roots manifesto. [online]. Lantern. London. Available from: https://identitydesigned.com/primal-roots/ [Accessed 12 November 2020]. Figure 32.: Ware, F. (2020) The 6 sentence we presented to the client. [doc]. In possesion of: the author. Figure 33.: Munkacsi, Zs. (2020). Details of my notebook. [digital image]. In
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possesion of: the author. Figure 34.: Harris, L. (2013) Image of Poole Museum front. [online]. English Wikipedia. Available from: https://commons.wikimedia.org/wiki/File:Poole_ Museum_Entrance.jpg [Accessed 15 October 2020]. Figure 35.: Munkacsi, Zs. (2020). Museumfront drawing. [digital image]. In possesion of: the author. Figure 36-46.: Munkacsi, Zs. (2020). Logo ideas and sketches. [digital images]. In possesion of: the author. Figure 47.: Munkacsi, Zs. (2020). Font sets of the brand. In possesion of: the author. Figure 48.: Examining alternative usages of the logo font. Figure 49.: Colourwheel, Adobe. (2020).Colour scheme image. [screenshot]. Available from: Figure 50.: Munkacsi, Zs. (2020). Gradient pairs. [digital image].In possesion of: the author. Figure 51-54 .: Munkacsi, Zs. (2020). Brand guidelines. [digital images].In possesion of: the author. Figure 55.: Apemockups. (2020). Branded t-shirt mock-up. [online]. Available from: https://www.apemockups.com/downloads/free-t-shirt-mockup-psd/ [Accessed 25 October 2020]. Figure 56.: Poole Museum. (2014). Instagram photo campaign: John Edward Hibbard Wills [online]. Poole Museum. Available from: http://www.poolehistory. org.uk/node/311197 [Accessed 15 October 2020]. Figure 57-58.: GraphicBurger.com. (2017). Branded totebags mock-up.[online]. GraphicBurger. Available from: https://graphicburger.com/small-canvas-totebag-mockup/ [Accessed 25 October 2020). Figure 59.: Mr Mockup.com (2017). Flag mock-up. [online]. Mr Mockup.com. Available from: https://mrmockup.com/flag-mockup/ [Accessed 25 october 2020]. igure 60.: Unblast. (2020). Instagram post mobile screen mock up. [online]. Unblast. Available from: https://unblast.com/download/24569/ [Accessed 26 October 2020). Figure 61.: GraphicBurger.com. (2016). Urban poster mock-up. [online]. Graphicburger.com. Available from https://graphicburger.com/3-urban-postermockups/ [Accessed 25 October 2020) Figure 62.: Postermockup.com, (2020). Poster mock-ups II. [online]. Available from: http://www.postermockup.com/2018/05/08/outdoor-street-billboardposter-mockup-psd/ [Accessed 25 October 2020]. Figure 63.:Mockupworldhq. (2020). Poster mock-ups III. [online]. Mockupworldhq. Available from: https://www.mockupworldhq.com/prints/ urban-poster-mockup-psd-free/ [Accessed 25 October 2020]. Figure 64.: Love, D., Benson, T. (2020) Pitch presentation slides Team No CLue. Art University Bournemouth. In possession of: the authors. 28 Oct 2020.
