Friday, January 29, 2010
Logo Design: Logos to Refine
Below are 3 designs that I thought best resembled the concept I outlined for the museum's identity system...the building and development of the museum in stages, or building blocks if you will.
Logo Design : Process
As I began the development process for this logo design, I first took the time to create a concept that I wanted to project using the logo. The MFA has many defining characteristics from the structure of the building to the audience that visits every day. For this logo assignment I chose to focus on the unique architecture of the building and the way in which it was designed. The building was originally created in such a way that allowed for additions to be easily made. The building was essentially built in stages. The museum has undergone numerous expansions throughout it’s existence. I wanted to focus on this unique architectural design and planning technique. The focus of my logos is building in stages, or pieces. Below area variety of logos I have begun to develop using this concept.
Below are several types of logo designs: wordmarks, pictoral, letterform, emblem, and abstract. I did have a lot of trouble trying to create a character logo for this organization. While the MFA is an institute for learners and intellectuals, I felt that a cartoon-like character mascot would not do the museum justice and would not be a good path for this type of organization to take.
Below are several types of logo designs: wordmarks, pictoral, letterform, emblem, and abstract. I did have a lot of trouble trying to create a character logo for this organization. While the MFA is an institute for learners and intellectuals, I felt that a cartoon-like character mascot would not do the museum justice and would not be a good path for this type of organization to take.
Sunday, January 24, 2010
Saturday, January 23, 2010
Friday, January 22, 2010
Visual Qualities for Reconsideration
After conducting extensive research and a visual brand audit, I have developed several initial insights regarding items requiring redesign and reconsideration.
Change of logo color. Red is an extremely popular color for logos and corporate identities. Red is much too common a color to represent a client who is so unique and artistic. I am suggesting the use of orange as the main brand color and brand image backbone. Orange is theorized to stimulate mental activity and creativity. Orange is different and stands out and has very high visibility sure to catch the eye.
Focus of the logo. The current logo focuses on the letters of the actual name of the museum, this does not impact on a deeper level. The logo should speak to the organization itself. After researching the museum I have several ideas for a concept the logo could focus on: the constant changing and improvement of the building itself, the sister museum in Japan, the museum being built in stages to allow for the building of new wings in the future, the diversity of the visitors and the fact that the museum has something for everyone. These are just a few initial thoughts.
More brand collateral and a more cohesive brand image. While the client has previously established a brand image and identity, this is very difficult to find and associate with the brand itself. After extensive research, I was unable to find significant amounts of brand collateral. The brand should have a vast array of collateral such as a building sign, banners, posters, flyers, brochures, newsletters, email blasts, etc. I am suggesting a full brand awareness campaign for this client.
Universal brand identity. Since this client focuses around a hugely diverse audience, the brand identity needs to be appealing to this entire demographic. Visitors to the museum range from elementary school students to scholars and intellectuals. The brand developed should appeal to all of these individuals on some level.
Development of gift shop collateral. The museum currently sells branded products in the gift shop, but they do not fully project the brand. Souveniers in the gift shop bearing the MFA logo do not adequately convey the brand itself, these gifts have images of art works on them instead. This is a great opportunity to give museum visitors something MFA branded to take away with them. These items could consist of mugs, t-shirts, magnets, key chains, art sets, book bags, etc. Instead of simply placing images of art work on the gift shop collateral, this is a great opportunity to convey the brand itself.
Banners hanging from the main entrance. The banners hanging from the main entrance of the museum hardly convey the MFA brand itself. Once again the art is the main focal point of this form of collateral. While it is crucial to convey the art itself, it is also important for the brand to be present. I suggest creating a balance between the two. There is such a large beautiful space to work with in front of the building that there is plenty of room to showcase the art along with the MFA brand. People need to associate the art with the MFA.
Change of logo color. Red is an extremely popular color for logos and corporate identities. Red is much too common a color to represent a client who is so unique and artistic. I am suggesting the use of orange as the main brand color and brand image backbone. Orange is theorized to stimulate mental activity and creativity. Orange is different and stands out and has very high visibility sure to catch the eye.
Focus of the logo. The current logo focuses on the letters of the actual name of the museum, this does not impact on a deeper level. The logo should speak to the organization itself. After researching the museum I have several ideas for a concept the logo could focus on: the constant changing and improvement of the building itself, the sister museum in Japan, the museum being built in stages to allow for the building of new wings in the future, the diversity of the visitors and the fact that the museum has something for everyone. These are just a few initial thoughts.
More brand collateral and a more cohesive brand image. While the client has previously established a brand image and identity, this is very difficult to find and associate with the brand itself. After extensive research, I was unable to find significant amounts of brand collateral. The brand should have a vast array of collateral such as a building sign, banners, posters, flyers, brochures, newsletters, email blasts, etc. I am suggesting a full brand awareness campaign for this client.
Universal brand identity. Since this client focuses around a hugely diverse audience, the brand identity needs to be appealing to this entire demographic. Visitors to the museum range from elementary school students to scholars and intellectuals. The brand developed should appeal to all of these individuals on some level.
Development of gift shop collateral. The museum currently sells branded products in the gift shop, but they do not fully project the brand. Souveniers in the gift shop bearing the MFA logo do not adequately convey the brand itself, these gifts have images of art works on them instead. This is a great opportunity to give museum visitors something MFA branded to take away with them. These items could consist of mugs, t-shirts, magnets, key chains, art sets, book bags, etc. Instead of simply placing images of art work on the gift shop collateral, this is a great opportunity to convey the brand itself.
Banners hanging from the main entrance. The banners hanging from the main entrance of the museum hardly convey the MFA brand itself. Once again the art is the main focal point of this form of collateral. While it is crucial to convey the art itself, it is also important for the brand to be present. I suggest creating a balance between the two. There is such a large beautiful space to work with in front of the building that there is plenty of room to showcase the art along with the MFA brand. People need to associate the art with the MFA.
MFA Identity Research
Throughout the course of this week I conducted extensive research on my assigned client, The Museum of Fine Arts (MFA) in Boston. I am excited to be assigned an artistic entity because I hope it will allow me to think on a more abstract, artistic level and employ out-of-the-box design methodologies.
Research I conducted on this client included the history of the museum, the museum's mission and purpose, the audience it reaches, the current brand identity and what it stands for, and much more. Below are elaborations to most of the questions posed in this week's assignments, other visual elements will be seen on my visual audit of the brand.
history of the mfa
1800 –1909
The Museum was founded in 1870 and opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Francis Davis Millet was instrumental in starting the Art School attached to the Museum and getting Emil Otto Grundmann (1844 - 1890) appointed as its first director.
Originally located in a highly ornamented brick Gothic Revival building designed by John Hubbard Sturgis and Charles Brigham, located on Copley Square in the Back Bay neighborhood of Boston. The Copley Square building was notable for its large-scale use of architectural terra cotta in the United States. The Museum moved to its current building on Huntington Avenue, Boston’s "Avenue of the Arts," in 1909.
1909 – 2000s
The museum’s present building was commenced in 1907, when museum trustees hired architect Guy Lowell to create a master plan for a museum that could be built in stages as funding was obtained for each phase. The first section of Lowell’s neoclassical design was completed in 1909, and featured a 500-foot (150 m) façade of cut granite along Huntington Avenue, the grand rotunda, and the associated exhibition galleries. Mrs. Robert Dawson Evans then funded the entire cost of building the next section of the museum’s master plan. This wing along the Back Bay Fens, opened in 1915 and houses painting galleries. From 1916 through 1925, John Singer Sargent created the art that lines the rotunda and the associated colonnade. Numerous additions enlarged the building throughout the years including the Decorative Arts Wing in 1968 and the Norman Jean Calderwood Garden Court and Terrace in 1997. This wing now houses the museum’s cafe, restaurant, and gift shop as well as exhibition space.
2000s expansion
In the mid-2000s, the museum embarked on a major renovation project. This includes the construction of a new wing for the arts of the Americas, redesigned and expanded education facilities, and extensive renovations of its European galleries, visitor services, and conservation facilities. This expansion will increase the size of the MFA by 28% with an additional 133,500 square feet (12,400 m2) of space.
The new wing was designed in a restrained, contemporary style by the London architectural firm of Foster and Partners, under the directorship of Lord (Norman) Foster. Groundbreaking for the addition took place in 2006. In the process, the present garden courtyard will be transformed into a climate-controlled year-round glass enclosure. Landscape architects Gustafson Guthrie Nichol have redesigned the Huntington Avenue and Fenway entrances, gardens, access roads, and interior courtyards. The opening of the new wing is scheduled for late 2010.
location
Located on Huntington Avenue in Boston, Massachusetts.
who runs the museum
Board of trustees, founders, benefactors, overseers.
who is the competition
Based on size and scope: Metropolitan Museum of Art, NY; Museum of Modern Art, NY;
Based on location: Boston University Art Gallery, Institute of Contemporary Art
any sub-brands?
Sister museum in Nagoya, Japan.
what they say they do (mission statement)
The Museum of Fine Arts houses and pr eserves preeminent collections and
aspires to serve a wide variety of people through direct encounters with works of art.
The Museum aims for the highest standards of quality in all its endeavors. It serves as a resource for both those who are already familiar with art and those for whom art is a new experience. Through exhibitions, programs, research and publications, the Museum documents and interprets its own collections. It provides information and perspective on art through time and throughout the world.
The Museum holds its collections in trust for future generations. It assumes conservation as a primary responsibility which requires constant attention to providing a proper environment for works of art and artifacts. Committed to its vast holdings, the Museum nonetheless recognizes the need to identify and explore new and neglected areas of art. It seeks to acquire art of the past and present which is visually significant and educationally meaningful.
The Museum has obligations to the people of Boston and New England, across the nation and abroad. It celebrates diverse cultures and welcomes new and broader constituencies. The Museum is a place in which to see and to learn. It stimulates in its visitors a sense of pleasure, pride and discovery which provides aesthetic challenge and leads to a greater cultural awareness and discernment.
The Museum creates educational opportunities for visitors and accommodates a wide range of experiences and learning styles. The Museum educates artists of the future through its School. The creative efforts of the students and faculty provide the Museum and its public with insights into emerging art and art forms.
The Museum’s ultimate aim is to encourage inquiry and to heighten public understanding and appreciation of the visual world.
audience
Students of all ages, teachers, faculty, parents and children, those seeking to learn about art, artists, art collectors, art enthusiasts, etc.
what does their website do?
The MFA website is both informative and interactive. It provides a history and understanding of the museum itself. It informs visitors of important dates of events and exhibits featured at the museum. It allows the reader to see which art pieces and exhibitions are featured at the museum and learn more about each piece. The website is easily navigated and segmented to each type of viewer whether it be a student, faculty, family, or community member.
does the building have a sign?
There is a sign present on the front of the museum... it is sculpted into the museum exterior itself above the main entrance. There are often banners hanging within the columns on the front of the museum that have the museum’s name on them. I believe there is a sign on the grounds of the museum, but cannot be certain until I visit again.
expressions of brand
The primary expression of the brand is the logo and the museum itself. Throughout my research I found surprisingly little marketing collateral and design representing the brand. The brand is represented by a logo and the feeling of the brand is evoked throughout the museum itself. Along with the logo and the museum itself, the brand also hosts a cleanly designed, easily navigable, informative website. The brand is also represented through the form of electronic newsletters which museum enthusiasts can sign up to receive using a form on the website.
Research I conducted on this client included the history of the museum, the museum's mission and purpose, the audience it reaches, the current brand identity and what it stands for, and much more. Below are elaborations to most of the questions posed in this week's assignments, other visual elements will be seen on my visual audit of the brand.
history of the mfa
1800 –1909
The Museum was founded in 1870 and opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Francis Davis Millet was instrumental in starting the Art School attached to the Museum and getting Emil Otto Grundmann (1844 - 1890) appointed as its first director.
Originally located in a highly ornamented brick Gothic Revival building designed by John Hubbard Sturgis and Charles Brigham, located on Copley Square in the Back Bay neighborhood of Boston. The Copley Square building was notable for its large-scale use of architectural terra cotta in the United States. The Museum moved to its current building on Huntington Avenue, Boston’s "Avenue of the Arts," in 1909.
1909 – 2000s
The museum’s present building was commenced in 1907, when museum trustees hired architect Guy Lowell to create a master plan for a museum that could be built in stages as funding was obtained for each phase. The first section of Lowell’s neoclassical design was completed in 1909, and featured a 500-foot (150 m) façade of cut granite along Huntington Avenue, the grand rotunda, and the associated exhibition galleries. Mrs. Robert Dawson Evans then funded the entire cost of building the next section of the museum’s master plan. This wing along the Back Bay Fens, opened in 1915 and houses painting galleries. From 1916 through 1925, John Singer Sargent created the art that lines the rotunda and the associated colonnade. Numerous additions enlarged the building throughout the years including the Decorative Arts Wing in 1968 and the Norman Jean Calderwood Garden Court and Terrace in 1997. This wing now houses the museum’s cafe, restaurant, and gift shop as well as exhibition space.
2000s expansion
In the mid-2000s, the museum embarked on a major renovation project. This includes the construction of a new wing for the arts of the Americas, redesigned and expanded education facilities, and extensive renovations of its European galleries, visitor services, and conservation facilities. This expansion will increase the size of the MFA by 28% with an additional 133,500 square feet (12,400 m2) of space.
The new wing was designed in a restrained, contemporary style by the London architectural firm of Foster and Partners, under the directorship of Lord (Norman) Foster. Groundbreaking for the addition took place in 2006. In the process, the present garden courtyard will be transformed into a climate-controlled year-round glass enclosure. Landscape architects Gustafson Guthrie Nichol have redesigned the Huntington Avenue and Fenway entrances, gardens, access roads, and interior courtyards. The opening of the new wing is scheduled for late 2010.
location
Located on Huntington Avenue in Boston, Massachusetts.
who runs the museum
Board of trustees, founders, benefactors, overseers.
who is the competition
Based on size and scope: Metropolitan Museum of Art, NY; Museum of Modern Art, NY;
Based on location: Boston University Art Gallery, Institute of Contemporary Art
any sub-brands?
Sister museum in Nagoya, Japan.
what they say they do (mission statement)
The Museum of Fine Arts houses and pr eserves preeminent collections and
aspires to serve a wide variety of people through direct encounters with works of art.
The Museum aims for the highest standards of quality in all its endeavors. It serves as a resource for both those who are already familiar with art and those for whom art is a new experience. Through exhibitions, programs, research and publications, the Museum documents and interprets its own collections. It provides information and perspective on art through time and throughout the world.
The Museum holds its collections in trust for future generations. It assumes conservation as a primary responsibility which requires constant attention to providing a proper environment for works of art and artifacts. Committed to its vast holdings, the Museum nonetheless recognizes the need to identify and explore new and neglected areas of art. It seeks to acquire art of the past and present which is visually significant and educationally meaningful.
The Museum has obligations to the people of Boston and New England, across the nation and abroad. It celebrates diverse cultures and welcomes new and broader constituencies. The Museum is a place in which to see and to learn. It stimulates in its visitors a sense of pleasure, pride and discovery which provides aesthetic challenge and leads to a greater cultural awareness and discernment.
The Museum creates educational opportunities for visitors and accommodates a wide range of experiences and learning styles. The Museum educates artists of the future through its School. The creative efforts of the students and faculty provide the Museum and its public with insights into emerging art and art forms.
The Museum’s ultimate aim is to encourage inquiry and to heighten public understanding and appreciation of the visual world.
audience
Students of all ages, teachers, faculty, parents and children, those seeking to learn about art, artists, art collectors, art enthusiasts, etc.
what does their website do?
The MFA website is both informative and interactive. It provides a history and understanding of the museum itself. It informs visitors of important dates of events and exhibits featured at the museum. It allows the reader to see which art pieces and exhibitions are featured at the museum and learn more about each piece. The website is easily navigated and segmented to each type of viewer whether it be a student, faculty, family, or community member.
does the building have a sign?
There is a sign present on the front of the museum... it is sculpted into the museum exterior itself above the main entrance. There are often banners hanging within the columns on the front of the museum that have the museum’s name on them. I believe there is a sign on the grounds of the museum, but cannot be certain until I visit again.
expressions of brand
The primary expression of the brand is the logo and the museum itself. Throughout my research I found surprisingly little marketing collateral and design representing the brand. The brand is represented by a logo and the feeling of the brand is evoked throughout the museum itself. Along with the logo and the museum itself, the brand also hosts a cleanly designed, easily navigable, informative website. The brand is also represented through the form of electronic newsletters which museum enthusiasts can sign up to receive using a form on the website.
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