Finishline by Zili Ma

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2015 – 2018

S EL EC T E D WORKS OF ZILI M A

[P R OJEC T]

[D E SIG N E R]

[S C H O OL]

M FA Portfolio

Zili Ma

Academy of Art University

[TITL E]

[Y E A R S]

[D EPA R T M E N T]

Finish Line

201 5 – 2018

School of Graphic Design & Digital Media

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2015 â&#x20AC;&#x201C; 2018

SEL ECTE D WORKS OF ZILI M A

Zili Ma GR APHIC DESIGNER [W E BSITE] zili-ma.com [P H O N E] +1 41 5.466.5060 [E M AIL] zilidesign@outlook.com

Dedicated to my mom and dad for their love and support.

[C O N C E P T]

All successful design solutions start with a good idea, but often thatâ&#x20AC;&#x2122;s just not enough. Knowing how to take that great idea and create something extraordinary is what I love about graphic design. Design is about getting through the finish line. It aims to recognize a clear direction and requires designers to systematically execute possible ideas. Itâ&#x20AC;&#x2122;s about executing, iterating, adapting, and making it work.

table of contents

[P R OJEC T 01] The New Territory

[P R OJEC T 06] 007

[P R OJEC T 02] A Bumpy Ride

151

[P R OJEC T 07] 039

[P R OJEC T 03] Heritage Watch

Chicago Experience

Book of Number

1 67

[P R OJEC T 08] 073

Green House Cafe

179

[P R OJEC T 09] Annual Report Design

[P R OJEC T 04] Inmost

095

[P R OJEC T 05] Grey Waves

for Samuel Adams

195

[P R OJEC T 10] 125

Thesis: Letâ&#x20AC;&#x2122;s ArtHop

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Keep moving

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R E-BR A N DIN G FO R N ATIO N AL

G EO G R A P HIC

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Nature of

Re-branding

Design Strategy

Identity

NGS

Identity Branding

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Fall 2017

Adobe CC

Visual Strategy Guide

[IN S T R U C TO R]

[K E Y W O R D S]

Visual Standards Guide

Hunter Wimmer

Exploration

Website

Visual Development Guide

Education

Experimentation 09

TH E N E W TE R R ITORY 8

THE NEW

T E R RITO RY

[O BJEC TI V E]

Select a defunct company and redesign its brand identity with an expanded future vision. Research the brand history, possible future audiences, a new version for the future, and the new brand direction. The main goal of this project was to create a new visual identity based on the original brand spirit along with the visual guidelines and a website which would detail National Geographic Society’s (NGS) expansion. [A P P R O AC H]

I emphasized the brand’s original dedication to chang-

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ing the world and their belief in the power of science, education, and discovery. I redesigned their logo and website and created other deliverables emphasizing NGS’s foundational mission of improving humanity’s understanding of nature, culture, and science.

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TH E N E W TE R R ITORY

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TH E N E W TE R R ITORY

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TH E N E W TE R R ITORY

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TH E N E W TE R R ITORY

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TH E N E W TE R R ITORY

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TH E N E W TE R R ITORY

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A B U M PTYh R e I DN Ee w Te r r it o r y

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make a dash

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COEN BR OT H E R S’ FIL M

FE S TIVAL

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Integrated

Coen Brothers’

Communication Design

Communication

Film Festival

Art Direction

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E]

Spring 2017

Adobe CC

Posters

[IN S T R U C TO R]

[K E Y W O R D S]

Products: Bungled Kidnap,

Hunter Wimmer

Film Noir

X- Out Your Crime,

Zaniness

Embezzlement Planner

Brutality

Website

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A BU M PY R I D E 40

A B U M PY

RID E

[O BJEC TIV E] The hypothetical film festival project to celebrate the films of the Coen Brothers. The objective is to coordinate a complex set of materials that must function together as a whole. The idea is also to marry multiple messages with divergent formats—all with a unified and holistic aesthetic. This aesthetic has to contain the essence of the directors and their storytelling style. [A P P R O AC H] The name A Bumpy Ride encapsulates one of the most common themes of the Coen Brothers’ films. The Coens are fascinated by losers, who appear as the “heroes” of all their

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films. Kidnapping allows for comic or dramatic tension, and their film are littered with brutal murders. But they are intrinsically fables of good versus evil. This project attempts to incorporate the artistic expression of the Coen Brothers and five chosen films ( Fargo, Hail, Caesar, O’ Brother, Where Art Thou?, Burn After Reading, Raising Arizona ) in two way– through consistent visual language and design deliverables that mesh together as an integrated system.

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H E R I TA G E W T hAT e CNHe w Te r r it o r y

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PRESERVE HIS TO RIC AL BUIL DIN G S

zero

IN C HIN A

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Visual

Heritage

Logo & Identity

Thinking

Watch

Communication Design

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E]

Summer 2016

Adobe CC

Logo Identity & Icons

[IN S T R U C TO R]

[K E Y W O R D S]

Promoting Brochure

Hunter Wimmer

Traditional

Website & App

Brand Book

Conservative

Cultural 09

H E R I TA G E W AT C H 74 H E RITA G E 75

WATC H

[O BJEC TIV E] Identify a problem around us and suggest a graphic design solution. I selected a topic/problem, conducted thorough research to define the brand, and created an identity and follow up materials like brochures, websites, publications, apps and promotional materials to finally summarize and document it in a process book.

[A P P R O AC H] The objective of this project is to raise peopleâ&#x20AC;&#x2122;s awareness about protecting the cultural heritage in China. Because of the citiesâ&#x20AC;&#x2122; construction progress, prop-

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erty developers and the government ignore the value of many historical buildings. Lots of historic sites are knocked down to make way for modernization. By demonstrating the causes and effects of demolishing historic buildings, I want to educate people about the importance of historic sites and call them to action to keep the buildings from being knocked down.

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I NT M h eO SNTe w Te r r it o r y

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EVENT 01

D E SIG N

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Thesis 2

Events Design

Logo & Identity

by Inmost

Communication Design

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E]

Fall 2017

Adobe CC

Logo Identity & Icons

Sketch

Letters Design

Promotional Materials [IN S T R U C TO R]

[K E Y W O R D S]

David Scott

Innovative

Website & App 08

Playful Experimental

INMOST 96 IN M O S T 97

EVENT

[O BJEC TIV E] In:Most is a museum event organizer designed to aid museums in accommodating their changing role in the Twenty-First century. In:Mostâ&#x20AC;&#x2122;s target audience is young adults, and its goal is to make museum events relevant, enjoyable and meaningful to them. [A P P R O AC H] My approach is to create a well-scaffolded event organizing system for providing interesting and engaging museum events so that young adults can more easily

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join the events and enhance their museum experience.

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AN E X P E RIM E N T WIT H

TYPOGRAPHY

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Type 4

Grey Waves

Typography Design

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Spring 2017

Adobe CC

A set of nine posters within its container

[IN S T R U C TO R]

[K E Y W O R D S]

Jeremy Stout

Grey

G R E Y WAV E S 1 26 GREY 127

WAV E S

[O BJEC TIV E] A series of nine posters along with a cover. The subjects are open but the posters all tied together by a grey color theme. The over-riding concept is typographical, so all the subjects are visualized typographically. [A P P R O AC H] I chose grey color theme to complete the nine typographical posters. The nine posters come from nine phrases. They include Grey Mare, Low Key, Grey Scale, Love is Cinereous, Old Grey, Fuzzy Grey, Melancholy Rhapsody, Between Black and White and Lifeless. In

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those fun experiments, I designed with diverse materials, and tried many different ways of compositions to inte grate each concepts with the grey color theme.

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BR A N DIN G FO R SEDG

C O NFE R E N C E

03 [C O U R S E]

[P R OJEC T]

[C AT EG O RIE S]

Type 3

Chicago

Visual System

Experience

Art Direction

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Fall 2016

Adobe CC

Poster

[IN S T R U C TO R]

[K E Y W O R D S]

Tickets

John Nettleton

Exploration

Schedule

Brochure

Education

Experimentation 09

SE DG CH ICAGO E XPE RI E NCE

R E-BR A N DIN G 152

FO R SEDG

153

C O NFE R E N C E

[O BJEC TIV E] Design the conference materials for a hypothetical or actual design conference. I chose to design the 2018 SEGD Conference. [A P P R O AC H] I redesigned the materials for a design conference called â&#x20AC;&#x153;Chicago Experienceâ&#x20AC;? held in Seattle, but I changed the venue to Chicago. This conference aimed to promote awareness of the community and its role in shaping experience. I kept in mind the target audience and the venue location. My design approach was around using geometric

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shapes to represent the constructive urban space. The main goal was to inspire people and nurture demand for design excellence within the built environment.

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BO O K

up in

D E SIG N A BO U T 01

NUMBERS

03 [C O U R S E]

[P R OJEC T]

[D E SIG N FIEL D]

Type 2

Book of

Layout

Numbers

Typography

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Spring 2016

Adobe CC

A book

[IN S T R U C TO R]

[K E Y W O R D S]

Lian Ng

Traditional

Cultural

Royal 09

BOOK OF NUMBER 168

BO O K OF

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N U M BE R S

[O BJEC TIV E] Pick a topic which emphasizes numbers, and deliver a final introductory book about this topic. [A P P R O AC H] In this project, I needed to do content management and integrate the concept with its content by using design principles, which are hierarchy, contrast, scale and

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composition for designing the final book.

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R E BR A N DIN G FO R G R EE N H O U S E

C A FE

03 [C O U R S E]

[P R OJEC T]

[D E SIG N FIEL D]

Visual Literacy

GreenHouse

Visual System

Cafe

Art Direction

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Spring 2016

Adobe CC

Posters

[IN S T R U C TO R]

[K E Y W O R D S]

Hunter Wimmer

Cozy

Website

Organic

Brochure

Handmade 09

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181

C A FE

[O BJEC TI V E] This project focuses on familiar forms of communication and let me choose a bad piece of design that I pass every day.

[A P P R O AC H] I choose GreenHouse Cafe because I saw their out of dated sign stand out there. Handmade coffee, cozy environment, and organic food and drink make a neighborhood cafe more attract-

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ing and popular.

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[P R OJEC T]

[C AT EG O RIE S]

Type 3

A N N U AL

Visual System

R EP O R T 05 [S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Fall 2016

Adobe CC

A Book

[IN S T R U C TO R]

[K E Y W O R D S]

John Nettleton

Exploration Education

Experimentation 09

SAM U E L ADAMS AN N UAL RE PORT

S A M U EL 196

ADAMS A N N U AL

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R EP O R T

[O BJEC TI V E] Choose a company and redesign its annual report or corporate sustainability report. Explore innovative ways to communicate with text, graphics and images.

[A P P R O AC H] I redesigned Samuel Adams Beer Companyâ&#x20AC;&#x2122;s annual report. I tried to keep the handcrafted look and feel, and leverage it with curated imagery that focuses on showing people together. Simple yet elegant infographics were designed to add a touch

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of sophistication.

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Letâ&#x20AC;&#x2122;s ArtHop

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T H E SIS: LET US

ARTHOP

03 [C O U R S E]

[P R OJEC T]

[D E SIG N FIEL D]

M FA Thesis

ArtHop

Art Direction

[S E M E S T E R]

[S OF T WA R E]

[D ELIV E R A BL E S]

Fall 2017

Adobe CC

App User Journey Video

[IN S T R U C TO R]

[K E Y W O R D S]

Posters

David Scott

Young

Website

Carolina De

Artistic

Packaging

Bartolo

Welcoming

3D-Print Prototype

Wioleta Kaminska Phil Hamlett

Mary Scott 10

THESIS: ARTHOP 210

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[O BJEC TI V E] An M FA thesis project is a year-long exploration of a chosen topic that identifies a problem around us and user design thinking to find a possible solution. This includes a variety of in- depth research techniques, strategies, development and execution of deliverabes, all while keeping the ultimate outcome in mind.

[A P P R O AC H] As the director of New York MOMA, Philippe de Montebello says, “A museum is the memory of mankind.” ArtHop’s design solutions reflect its firm belief in making museum-going experiences social, enjoyable and meaningful.

PA G E N O .

N EA statistic reports that currently, museum attendance is underrepresented by young adults. ArtHop is a hypothetical brand that focuses on enhancing young adults’ museum-going experiences. ArtHop is an online platform designed to aid museums in accommodating their changing role in the Twenty-First century.

Fi n s i h L i n e F I N I S H L I N E Z i lZi I LMI aM A T h eT H SE e lSeEcLtEeC d T WE oDr W k sO R K S

Pr o je c t NPo. R O J E0C1T NO. 02 01

03 02

09 07

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REINVENTING

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the museum experience

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Spring 2017

Zili Ma // Student

INSIGHT

NO. 2

ck of communication platform.

Spring 2017

Zili Ma // Student

INSIGHT

NO. 3

Zili Ma // Student

INSIGHT

NO. 4

Lack of well-scaffold participatory activities when young adults visiting art museums.

Lack of information platform. Young adults have poor access to the art museums.

Con

CE SOURCE

my qualitative research, one of the top three dominate factors that affect young adults to be

nparticipants in museums visiting is that they do not have companions to go with. There are

“The rise in social media and changes in how people get information

young adults response from my survey.

SOURCE

are a huge societal shift that museums need to adapt to, and

Ch a r t . 1

Ch a r t .2

43.48%

13.04% 43.48%

4.35%

THESIS: ARTHOP

43.48%

30%

TEGY

40%

// The artworks are too abstract

// The experience is not worthwhile

// They don’t have interesting events

4 5

// I had a bad experience on my last visit

From my qualitative

59.26% 33.33%

// Tourist agencies

research, I find that young

// Social networking websites

adults not likely to use traditional way of getting

// Word of mouth

11.11%

// Brochures

40.74% 33.33%

DELIVERABLES

• Catalog

7.41%

10%

30%

40%

50%

SOURCE From my qualitative research, I find that young adults seek

museums. Printing advertis-

interesting exhibitions and events, however, most of art muse-

ing, Brochures and TV

ums have limited interesting programming, activities, workshop, events that young adults can take part in.

// Web searches

percentage compared to the Social networking

// Public adverting

website section.

30%

40%

50%

Outcom These o provide appealin

STRATEGY

60%

DELIVERABLES

• Website Section • Mobile Application

20%

// TV channel

20%

STRATEGY

social learning spaces.

10%

information about art

Channel occupy a lower

that they do not go to art museums is

• Champion

// Print advertising

22.22%

because they are lack of companions.

unicate and help friend with each other

43.48%

Ch a r t .3

18.52%

There are 43.48% young adults response // The security guards make me feel uncomfortable

50%

munication platform for young adults to

// They don’t have interesting events

// The exhibition is not interesting

aring the same interests. To raise young awareness of conceiving the art muse-

43.48%

is not interesting

in engaging young adult audiences // I don’t receive enough advertising information about museums

21.74%

20%

// The exhibition

—Denver Art Museum, CREATIVITY, COMMUNITY, AND A DASH OF THE UNEXPECTED, adventures

// The admission is so expensive

39.13%

10%

their twenties and thirties.”

// I don’t have companions to go with me

21.74%

Figure extract from Ch a r t . 1

nowhere are these changes more obvious than among people in

DELIVERABLES

To conduct more worthwhile activities to

• Program Materials

scaffold the creative experience. To create a

• Event

well-scaffold participatory experience—to design successful social experience.

• Interests-based Community

A comprehensive art museum information plat-

• Trailer

form which can promote art museums as social

• Marketing Materials

• Tickets

learning spaces. By spreading through digitals or prints, it needs to provide rich and thought-

• Public Installation—special

I need to consider that the personal entry point

• Website Section

should scaffold social experience.

• Giveaway Coupon

ful content for young adults.

newspaper box and building projection

STRATE •

• User Community Support

•

• Public Guiding Signs

• Website Section

EXPERIENCE PARTICIPATORY

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

INSIGHT

NO. 8

itors don’t want a blank slate of rticipation. They need well-scaffolded perience that put their contributions meaningful use.

To collect Environm

To provid

Programm

EXPERIENCE PARTICIPATORY

HUDDLE

To attract

chure, po •

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

EXPERIENCE PARTICIPATORY

HUDDLE

INSIGHT

NO. 9

Two counter-intuitive design principles at the heart of successful participatory projects.

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

HUDDLE

INSIGHT

NO. 10

The five stage of evolution from personal visitor experience to communal interactions.

“Mus play brin or w shar brid plac arou

SOURCE

nver Art Museum (DAM) provided an excellent example of a constrained participatory m experience in their Side Trip gallery on display in the spring of 2009. Side Trip was an ctive space that accompanied an exhibition of psychedelic rock music posters called The delic Experience. In one Side Trip activity, museum educators invited visitors to make their ck music posters.

STAGE 5

Individual Engage with Each Other Socially

STAGE 4

Individual Interactions are Networked for Social Use

STAGE 3

Individual Interactions are Networked in Aggregate

STAGE 2

Individual Interacts with Content

STAGE 1

Individual Consumes Content

— From

Blanken Photo courtesy

216

Denver Art Museum

C I TAT I O N “Chapter 1: Principles of Participation

217

SOURCE

1ST C I TAT I O N

2ND

“Chapter 1: Principles of Participation – The Participatory ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar. 2017

C I TAT I O N

Participants thrive on structures, not open-ended opportunities for self-expression.

– The Participatory ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar. 2017 <http://www.participatorymuseum.org/ chapter1/>.

“Chapter 1: Principles of Participation – The Participatory ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar. 2017 <http://www.participatorymuseum.org/

To collaborate confidently with strangers, participants need to engage through personal, not social, entry point.

chapter1/>.

• Stage one provides visitors with access to the content that they seek. • Stage two provides an opportunities for inquiry and for visitors to take action and ask questions. • Stage three lets visitors see where their interests and actions fit in the wider community of visi-

<http://www.participatorymuseum.org/

tors to the institution.

chapter1/>.

• Stage four helps visitors connect with particular people—staff members and other visitors—who

share their content and activities interests.

Photo courtesy

• Stage five makes the entire institution feel like a social place, full of potential interesting, chal-

lenging, enriching encounters with other people.

EXPERIENCE PARTICIPATORY

Thesis I Spring 2017

INSIGHT

Phillip Hamlett // Instructor Zili Ma // Student

STRATEGY

ost young adults are students or are t starting their career in the workforce, hich translates to very little money and estriction of expendable cash. They are erefore limited by their own personal dgets and the high cost of museum try fees.

EXPERIENCE PARTICIPATORY

HUDDLE

Thesis I Spring 2017

NO. 14

INSIGHT

Phillip Hamlett // Instructor Zili Ma // Student

Young adults want to see and experience something new, unique and entertaining.

• Create free night event • Reduce special admission • Program membership

discounts

EXPERIENCE PARTICIPATORY

HUDDLE

Thesis I Spring 2017

NO. 15

INSIGHT

HUDDLE

Phillip Hamlett // Instructor Zili Ma // Student

NO. 16

Nike+ transformed the motivation to run from being about exercise to being about social competition. It transforms running into a pervasive, fun, socially driven experience.

SOURCE Central to museums overcoming these barriers is the necessity to present them in a different light: as unique, exciting, cutting-edge, social destinations. Young adults desire a museum setting consisting of different spaces that offer a variety of experiences. While increased interaction with the exhibition is a clear desire, the key to all these spaces is options. Young adults want the option of interacting and leaving their mark on a place, but also the option of sitting back, observing and reflecting. Nothing should be forced and everything should be optional.

Youn cupi know feel to th ly-co trad to th envi learn

m Australian Museum C I TAT I O N “The Barriers of Museum Visiting For Young Adults ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar. 2017 <https://australianmuseum.net.au/blog-

PA G E N O .

post/museullaneous/barriers>.

C I TAT I O N Fi g u re e x t r a c t f rom Ch a r t . 1

“The Survey: What young adults want in

C I TAT I O N

museums - Australian ...” Insert Name of

T h e a d m i s sion i s e x p en sive

21.74%

Site in Italics. N.p., n.d. Web. 20 Mar. 2017

“Chapter 1: Principles of Participation

<http://australianmuseum.net.au/blog-

– The Participatory ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar. 2017

post/museullaneous/the-survey>.

<http://www.participatorymuseum.org/ chapter1/>.

Image Source http://www.westword.com/arts/photos-hello-kitty-a-lolita-tea-party-and-more-fun-with-andrew-novick-7961970

10%

20%

30%

40%

50%

rce

os.postenet.net/images/usa/States/ny/museums/NYC%20MOMA%20Free%20Friday%20Line.jpg

EXPERIENCE PARTICIPATORY

Spring 2017

Zili Ma // Student

INSIGHT

NO. 5

nsideration of the outcomes of participation

Spring 2017

Zili Ma // Student

INSIGHT

NO. 6

Participatory activities should never be a “Dumping Ground”.

Zili Ma // Student

INSIGHT

“Satisfying work to do, the experience of being good at something, time spend with people we like, and the chance to be part of something bigger.”

SOURCE

Participatory projects suffer when visitors perceive that the staff is pandering to them or wasting their time with trivialities. Participatory activities should never be a “dumping ground” for interactivity or visitor dialogue.

—Jane McGonigal

Game researcher Jane McGonigal on TED Lecture.

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mes of participation may be as diverse as the goals of the institution overall. outcomes include: to collect and preserve visitor-contributed content; to e educational experiences for visitors; to produce ing marketing campaigns for conversation. SOURCE

C I TAT I O N

Game researcher Jane McGonigal has stated that people need four things to be happy. Many people

“Chapter 1: Principles of Participation

visit museums in social group to spend time with people they like in the context of something

– The Participatory ...” Insert Name of

bigger. Creating content which can give visitors satisfying work and the experience of being good at something. When you put these together and invite people to participate, the institution can

Site in Italics. N.p., n.d. Web. 19 Mar. 2017 <http://www.participatorymuseum.org/

chapter1/>.

meet all four of these needs.

chapter1/>.

EGY

Site in Italics. N.p., n.d. Web. 19 Mar. 2017 <http://www.participatorymuseum.org/

C I TAT I O N

– The Participatory ...” Insert Name of

t new audiences: Marketing strategy–promotion broosters, websites, public advertising, promotion trailer.

Site in Italics. N.p., n.d. Web. 19 Mar. 2017

t and preserve visitor-contributed content:

<http://www.participatorymuseum.org/

•

Create content that relevant to young adults’ needs and wants.

chapter1/>.

•

Finding like-minded person to be their museum visit partners.

mental design, Public guiding signs. de educational experiences for visitors: Workshops,

Having worthwhile activities to do with friends together.

mings, Events.

EXPERIENCE PARTICIPATORY

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

EXPERIENCE PARTICIPATORY

HUDDLE

INSIGHT

NO. 11

seums and cities have a strong role to y together in bridging and bonding. They ng people together at similar life stages … with identity in common … where they can re their experiences. Museums also dge among identities, offering a public ce to bring different groups together und similar interests.”

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

EXPERIENCE PARTICIPATORY

HUDDLE

INSIGHT

NO. 12

Thesis I

Phillip Hamlett // Instructor

Spring 2017

Zili Ma // Student

ZILI MA TH E S E LECTE D WO R KS

STRATEGY

“Chapter 1: Principles of Participation

INSIGHT

“As the role of museums in society shifts from traditional collection-driven institutions to visitor-centred establishments with a prime role in the leisure industry, museums are now met with obligations to entertain visitors.

Young adults hold a stereotypical view of museums as being boring, dictating and uninviting. This unwelcoming atmosphere of museums that has been created by these misconceptions deters young adults from attending museums.

— From Australian Museum

— From Australian Museum STRATEGY

book Cities, Museums, and Soft Power written by Gail Dexter Lord and Ngaire •

nship,

PROJECT NO.

C I TAT I O N “The Barriers of Museum Visiting For Young Adults ...” Insert Name of Site in

C I TAT I O N

Italics. N.p., n.d. Web. 19 Mar. 2017 <https://australianmuseum.net.au/blogpost/museullaneous/barriers>.

“Engaging Young Adults in Museums:

Reason for Research ...” Insert Name of Site in Italics. N.p., n.d. Web. 19 Mar.

Image Source

2017 <https://www.australianmuseum.

http://bunkrapp.com/present/nc32pm/#4

net.au/blogpost/museullaneous/

y Springfield Art Museum (MA)

Create their “comfort zone” to let them relax and make art museum as an inviting destinations to attend.

reason-for-research>.

SCAD Savannah, Winter 2017. deFINE art – opening reception. Images courtesy of SCAD Museum of Art – Photography by John McKinnon

EXPERIENCE PARTICIPATORY

03 Thesis I Spring 2017

HUDDLE

Phillip Hamlett // Instructor Zili Ma // Student

INSIGHT

NO. 17

ng adults see museums as being preocied with the past, when they want to w about the now and the future. They as though museums are not relevant heir needs and wants. They desire jointonstructed knowledge, instead of the ditional museum dictating knowledge hem. They want a social, comfortable ironment where they can be free to n and share ideas as a group.

Thesis I Spring 2017

HUDDLE

Phillip Hamlett // Instructor Zili Ma // Student

INSIGHT

NO. 18

Young adults want museums to be more sociable.

Thesis I Spring 2017

Phillip Hamlett // Instructor Zili Ma // Student

INSIGHT

Museums as Social Learning Spaces SOURCE

Museums as Social Learning Spaces by Lynn Dierking, describes the socio-cultural context of museums, advocates for museums as places of social interaction and meaning-making for visitors, and argues that museums see themselves as valuable in supporting social outcomes for individuals and groups. She wonders how museums can support the cultural and social identities and motivations of groups of visitors. She also wonders if museums can be valuable to visitors by relating the museum’s activities to people’s lives.

The results of the independent survey found that young adults do not view museums as being a sociable venue, nor is it considered to be a place where their friends would attend.

C I TAT I O N Emma Shrapnel -. “Engaging Young Adults in Museums An Audience Research Study.” Engaging Young Adults in Museums An Audience Research Study (n.d.): 1-42. Australian Museum. Australian Museum. Web.

EXPERIENCE PARTICIPATORY

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thank you

T H A N K YO U

[T O M Y FA MILY] Thank you to mu mom and dad for always encouraging and believing in me as I walk the path of graphic design. Words are not enough to say thanks for the great opportunity you gave me and how much I love you. I will never stop learning and striving to become the daughter you are always proud of.

[T O ALL IN S T R U C T O R S] To all of my instructors at Academy of Art University: Mary Scott, Phil Hamlett, Carolina De Bartolo, John Nettleton, Hunter Wimmer, Wioleta Kaminska, David Hake, and supporter Susan Pasley. I will always remember what you have taught me and your critiques. Thanks for always pushing and helping me to do the best work I can.

[T O M Y F RIE N D S A N D CL A S S M AT E S] Thanks to my friends and classmates who gave me help and inspiration. I am very grateful for your patience with me and our great study time since my first year here. I appreciate every single one of you for helping me out.

HOLA

Hola [C O N TAC T]

[FO N TS]

Zili Ma

PF Din Mono Moderat

[P H O N E] +1 415.466.5060

[S OF T WA R E] Adobe Creative Cloud

[E M AIL]

Cinema 4D

zilidesign@outlook.com [BO O K BIN D E RY] [W E BSIT E]

Blurb.com

zili-ma.com [P H OTO G R A P H Y] [IN S T R U C TO R]

Zili Ma

Mary Scott [S C H O OL] [TITL E OF BO O K]

Academy of Art University, Graduate

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School of Graphic Design

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2015 â&#x20AC;&#x201C; 2018 Selected works of Zili Ma Academy of Art University M FA School of Graphic Design & Digital Media