Our Museum process book

Our Museum Process Book CULTURAL AND COMMUNAL HUB CONTENTS A process Book on Creating a Cultural and Communal Hub for Poole Museum Through Branding DISCOVER DEFINE Samantha Strathern DEVELOP DEVLIVER BIBLIOGRAPHY 21

OUR MUSEUM PROJECT BRIEF The Heritage Funded Our Museum project will Assignment Brief use co-creation to develop a new maritime gallery and museum space at Poole Museum You are required to design a graphic identity This should include guidelines on how the with Poole’s community at its heart. The project for the Our Museum project that embodies logo is to be used, information on fonts and will be anchored in the history, heritage, space its principles, values and motivations whilst typographic hierarchy as well as the core and place of Poole through engagement with leaving a memorable impression. colour palette. This brand guide should Poole Museum’s buildings and collections. The Our Museum project has the local communicate the brand’s personality and can However, it will bring these assets to life community at its heart. The curator’s aim also include an explanation of the concept in creative ways through collaboration and is to make the museum feel relevant and behind the logo. It shows how the graphic participation with diverse local audiences. contemporary whilst re ecting the needs and identity works across the di erent touchpoints The project will be directed as much by the interests of its audiences. It is crucial that and can also show how not to use the assets. needs of the community as the needs of the you fully understand the ambition, scope It may be presented as series of visual collection. In this way, it will seek to create a and aims of the Our Museum project as well instructions but could also be presented as a sustainable, relevant, contemporary cultural as the intended audiences, both current and short, animated sequence, or both. space, reflective of the needs and interests future. Dr Alexandra Reynolds, the Our Museum of its audiences; able to contribute to place- Collections and Engagement officer, will be making in Poole through this means. on hand at the project launch to talk about the project and answer any questions. 2 The graphic identity must include a logo and brand guidelines that demonstrate how the identity works across different brand touchpoints. This must include an example of how the identity would work online, such as for web and social media as well as in printed form, such as a poster, but can also include other assets, real or imagined. The Museum are aslo interested to see what other ideas you come up with that boraden awareness and engagement of the project. A brand touchpoint is any asset that communicates a brand or interacts with its audiences. You may nd that you want to dictate how your graphic identity is used by others, and should create brand guidelines. 3

PRIMARY RESEARCH About the Artifacts Visiting the Museum • Poole’s Maritime Collections are sufficiently extensive to be able to tell Inside Poole Museum the story of seafaring under sail from the ancient times to the 20th century. As a team, we visited Poole Museum. We • The Museum has a substantial maritime took pictures and took into account the archaeology collection which includes importance and significance of all the four local finds of major importance. artefacts that represent the history of Poole. • The Museum also holds a range of Getting to know the area and artefacts in the adjacent social history, ceramics, Fine museum helped us understand the strengths Art, natural history and photography and weaknesses of the Museum and the brand. collections, elements of which We felt the museum lacked a contemporary are of national significance. feel, this is something we wanted to work on when creating the branding for Our Museum. 5 4

O U R M U S E U M P R O J E C T P R E S E N TAT I O N - B Y A L E X R E Y N O L D S The Museums Vision and Aspirations Target Audience Developing Vision Developing Approach Core Audiences Diversifying Target (to be refined) Interpretive Themes Audience Groups • 6.4% of under 30’s currently visit the museum, Sustainable resilience and cultural regeneration although this demographic makes up 34% of Young People: through learning and participation. BCP’s Population • BAME visitors to Poole Museum number 3.9%, Particularly HE/FE students and schools in • Broad Aspirations: in comparison to 11.6% of the general BCP more disadvantaged areas. population. Our Museum creates sustainable re-generation, • Similarly, visitors affected by disability Artists and Creaters: progressive cultural change-making and reciprocal number 8.2% while representing 19% of BCP’s resilience wider population. to offer a space for artists to work, display For institution and audience through participation, and sell their work. To support artists with co-creation, skills development, critical dialogue and barriers to access. debate. Families: • Developing Mission (to be refined): particularly those families who don’t currently visit, non-nuclear families, To collaboratively create a sustainable, empowering intergenerational groups, carers and relevant museum space of, by and with Poole’s public. Older People: • Description of Project: including those who are socially isolated or in care homes Our Museum uses co-creation to develop a new maritime gallery and museum space reflective Volunteers: of, and responsive to Poole’s community, history and heritage; building social connectedness and we would like to diversify our volunteer empowering audiences to make culture together. base to reflect the broader histories we hope to tell. 67

MUSEUM BRANDING PRESENTATION - BY BRIONY HARTLEY Branding Tips Designing a logo: Choosing a Font: About Brioney: • Simple and distinctive • Present a range information clearly • Freelance graphic designer. • Scalable - easy to see/understand whether • Create a visual hierarchy • Trained as typographer. used small or large • Clear space around it • Be part of a recognisable brand, unique to the • Mainly design books, and • Vector graphic so never loses quality. museum other print, now. • Work across a range of touch points (caption also projects for museums Touchpoints: cards on walls, on phone screen, billboards) • and galleries. could also re ect themes of museum, express Touch points could include: personality • Indoor advertising - posters, leaflets, postcards • Could also represent an historic era in time? • Outdoor advertising - billboards, banners, E.g.. medieval, Victorian, mid century, futuristic. signs, projections, installations, audio... • Online - website, social media, email. Choosing a Colour: Choosing a Lead Image: • Be part of a recognisable brand, unique to the museum • Simple and distinctive • Work across a range of touch points (posters, • Easy to see/understand whether used small or on phone screen, walls) large • Clear space for text in background • Could also re e.c.t themes of museum (e.g.. • High resolution for maximum size you will aquatic, woodland, industrial...) need it • Versatile crop for different shapes. • could also represent an historic era in time? E.g.. medieval, Victorian, mid century, futuristic. 88 9

MOOD BOARDS Current Museum Branding Creating a Mood Board By researching already existing brands and current branding for museums, I was able 11 00 to gather a variety of designs that where successful that I would take into consideration when designing the branding for Our Museum. 1111

POOLE MUSEUM WEBSITE Cafe and Shop Researching Poole Museum Set in a Victorian quayside warehouse, with Discovering they have a cafe and shop an atrium extension dating from 2007, the made us consider a wider variety Museum’s galleries tell the story of the of touch-points for the branding of historic maritime town of Poole and it’s our museum as it means we can put Harbour from prehistory to the 21st century. our brand on different objects in the museum, such as coffee cups, postcards, Poole Museum has a large target audience bottles, tote-bags and many more. which is something our team will consider which designing the brand for Our Museum. The artefacts and fine art bring in a wide range of audiences from all different backgrounds. The Museum offers a wide variety of educational workshops for schools and kids. Additionally, they create events for families like arts and crafts. It can also be used for venue hiring for events like meeting rooms and corporate events bringing is a wide audience of business people. 12 13

DEFINING THE BRIEF COMMUNITY Working in Miro 14 Cultural and Communal Hub Importance of Community in Our Museum Due to COVID regulations we found Miro a great tool to use as a group to communicate our different ideas and develop our project as a group. We felt in the brief it was important to express the significance of cultural and communal hub. Due to COVID regulations we found Miro a great tool to use as a group to communicate our different ideas and develop our project as a group. We felt in the brief it was important to express the significance of cultural and communal hub. 1155

GROUP IDEAS ON MIRO Pathway One Communication 11 66 Pathway Two As a group we used Miro to develop and discuss Pathway Three our ideas. By using this we could see peoples ideas and pick out any as a group which we Pathways on felt would work more successfully. This meant Social Media throughout the project everyone was aware of any important decisions and had their own place to place ideas whenever they like. Furthermore, this helped us pick our favourite colour schemes, fonts and logo. In the end pathway one turned out to be everyones favourite logo. With this we where able to pick a favourite font and colour scheme to go with it. We felt pathway one’s logo represented our brief the best and worked best visually. 1 177

PAT H WAY O N E D E V E LO P M E N T Logo Development Deciding Our Final Logo Idea 1. Final Ideas for Final Logo Logo The idea of this logo came from playing around After developing the logo this was our with the word ‘our’. We wanted to strongly After coming up with 3 final outcome. We choose the mint/ communicate the importance of community and different of our strongest green colour as it complimented Poole culture in the logo which is why we made the options we asked people for museums current logo of a bright option. letter forms look similar to a human figure. feedback to see what they We felt going with this colour could open feel works best and is the a lot of options for the museum for a Style most legible. wider colour palette. We played around with various styles and After thinking about the logos colours to see what would work best for our we produced we felt the font final logo. As well as experimenting with diffrent type and shapes. 2. for museum should match are chosen font of CoconPro. Onve we did this we found that CoconPro didnt match the logo as well which is how we came up with our final out come for the logo. 3. 18 1199

TYPOGRAPHY Choosing a Font COCONPRO EUROPA Final Font Decison OUR MUSEUM OUR MUSEUM CoconPro OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM CoconPro was our final font choice. The soft curves and flowing outlines fit with BROTHER 1816 UBUNTU Our Museum as it compliments the deep- rooted maritime history of Poole Museum. OUR MUSEUM OUR MUSEUM The font is clearly legible and suitable for OUR MUSEUM OUR MUSEUM all audiences. We decided the modern style OUR MUSEUM OUR MUSEUM created an interesting contrast with the traditional artefacts found in the museum. HERO NEW BASKERVILLE This is what Regular looks like. This is what BOLD looks like. OUR MUSEUM OUR MUSEUM This is what Light looks like. OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM 22 00 21

COLOUR THEORY COMPLEMENTARY COLOUR SCHEME Using the Colour Wheel Colours that are opposite on the colour wheel THE COLOUR Final Colour Decision 1 23 WHEEL Poole Museum’s logo is a bright orange 456 MONOCHROMATIC which contrasted well with the colour scheme we picked. We extracted the colour 78 9 ANALOUGOUS from Poole Museum’s logo on Adobe Colour to come up with our colour scheme. Our primary colours for the brand are 1, 2 and 3. We chose these as our main colours because they both compliment and represent the Poole Museum logo. Our client was also interested in the adaptability of our logo in terms of colour so we created a broader colour scheme to represent this. Including classic maritime colours - 4, 6, 7 - as well as bold, vivid colours - 5, 8, 9 - allows our brand to attract a wider audience of museum visitors. Adobe Colour: COMPLEMENTARY 23 2 3 22

PAT T E R N Final Pattern Pattern, Type and Logo Together Pattern Development The logo, pattern and logo all work successfully 1. together making the brand extremely strong. 2. 25 We didn’t want our pattern too over 3. complicated. We took a part of the logos shape and made it figure looking to represent community. 22 44

PAT H WAY T WO D E V E LO P M E N T Final Logo Options Final Logo Logo Development PATHWAY 2 These are the final logo options. The negative space allows for them to be used in different OM STANDARD LOGO creative ways such as an image frame. It is very OM legible and adabtable which is perfect for all OUR MUSEUM audiences. The colours work well together and also with the current Our Museum logo. PATHWAY 2 BLACK AND WHITE Idea OUR MUSEUM OUR MUSEUM The inspiration for this logo came from the first 22 77 letters of Our Museum, the O and M. I made them into full shapes to make the logo more dynamic in how you can use it in posters and other touch-points. 26

PAT T E R N 3. Final Pattern Patten, Type and Logo Together Pattern Experiments The final pattern is on the next page. It works well together if you just want to use part of the The logo, pattern and logo all work successfully 1. 2. pattern or use the whole shape. It’s not over together making the brand extremely strong. complicated and follows the design of the logo nicely. This makes the brand more recognisable 29 for the audience. 22 88

PAT H WAY T H R E E D E V E LO P M E N T Final Logo Options Logo Development OUR MUSEUM Final Logo This was our final logo for pathway three. We decided as a group it works well with the maritime theme of the museum as it represents a fish and the O and M which represents the words ‘Our Museum’. OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEUM OUR MUSEU M 33 11 30

PAT T E R N PATHWAY 3 Pattern Experiments PRINT 1. Final Pattern 2. The final pattern is on the next page. It works well together if you just want to use part of the pattern or use the whole shape. It’s not over complicated and follows the design of the logo nicely. This makes the brand more recognisable for the audience. Pattern, Type and Logo Together The logo, pattern and logo all work successfully together making the brand extremely strong. 33 22 33

PATHWAY 1 postcards PRINT PATHWPAAYTH1 WAY 1 F I N A L B R A N D I N G F O R PAT H WAY O N E BRANBRDATNODUTCOHUPOCHINPTOSINTS PPARTTHIoNWuATcYhp1 oints Our Museum 33 44 I found this logo was our most successful. The branding shows lots of depth with the logo representing a human figure representing a sense of community. The pattern, colour pallet, font and logo work well together and would work to all target audiences. 35 3 5

F I N A L B R A N D I N G F O R PAT H WAY O N E Re-Branding Touchpoints We knew the museum wanted a more contemporary feel to the museum. We achieved “Cultural and this through vibrant colours and a more modern Communal hub.” layout. The designs are legible on all touch- points. 33 66 33 77

PRESENTING TO THE CLIENT Presenting to the client, peers and tutours our different branding “I think pathway one ideas is my favourite as it shows a sense of Our presentation was successful with their current Poole museum community as well as as Alex felt all our logo and logo and she could picture the working well across branding ideas where good. brand fitting in the museum nicely. all toucpoints.” However, as a team we should -Alex Reynolds have rehearsed what we where going to say and when. Although 33 88 we knew what to say we could have prepared better spoken sentences to enhance the delivery and story of each pathway. After Watching other people present I learned a lot on presentation skills. Alex went with our first pathway as it fit the brief the most. She appreciated the sense of community that the logo represented. It also worked well 33 99

BEING SHORT-LISTED Project Lab Being short-listed was extremely exciting for team futura. It taught me to have more confidence In my design which will help enhance my projects in the future, especially when presenting my work to peers, tutors and clients. However, our design didn’t get voted by the public which conveys more research on target audience’s needs to be done in order to make the design more successful. 44 00 4411

C R I T I C A L R E F L E C T I O N A N D E VA L UAT I O N The ‘Our Museum’ project showed strengths and matched our brief, ‘Our Museum and weaknesses. With the project, only project is to create an inclusive cultural being 3 weeks, it was hard to adapt to and communal hub, bringing the museum working at a fast pace, although this was to life.’ The use of colour helped bring a a challenge it made me push myself into contemporary feel to the museum and creating ideas quickly and learning to be made it more of an inviting place to visit confident with what we created. As a group, instead of sticking to a very limited colour we could use our individual strengths to scheme. The main logo for pathway one an advantage which helped making it a was a cool turquoise which complimented successful project. their current logo they have for Poole Personally, I was successful with creating museum which is orange. Furthermore, the posters and touch-points that helped bring type we used ‘CoconPro’ worked well for the brand to life, helping the client get a the museum as it uses soft curves which better understanding. I also put a lot of matches the maritime theme the museum research into typography and colour helping has. Most the feedback was positive and our brand flow. they found the logo successful as it. I found the project exciting and challenging, I felt we explored a wide variety of ideas helping me develop my knowledge and having three different pathways that are all skills on Graphic design. After presenting different where in the end the client chose to the client, peers and tutors, it made me pathway one which we also felt as a group understand the importance of words and that it is our most successful pathway. how you deliver them, this is something I felt as a group we struggled with due I really enjoyed this to not spending enough time planning project and learnt a what we want to say and how we deliver lot about successful it. Watching other presentations helped branding and my understanding on how to deliver a presentation skills. successful presentation. Additionally, more time would have allowed for more research which would have helped strengthen our project it would additionally have allowed us to make any changes to our designs after we got feedback. The work we produced was successful 44 22 44 33

CREATING MY PROCESS BOOK MARGINS, COLOURS AND TYPOGRAPHY Process Book Design Decisions 1. 1. Margins Colours Typography: 2. Y 40mm CoconPro 2. OUR MUSEUM Y 59.267mm OUR MUSEUM OUR MUSEUM 3. Brother 1816 Y 74.7MM OUR MUSEUM 4. OUR MUSEUM Type and Grid 3. For my margins I considered how the For my process book I picked colours from OUR MUSEUM 4. average human would hold a book to the brand guidelines we created for our I made the type consistent throughout the give the thumb enough room to fit in the brand. They worked well together and For my main fonts I used CoconPro as it’s pages which helped made the book flow and 44 margins to hold the book without covering where all completely different which are main brand font and works well for text to show hierarchy. I placed everything to a grid any of the content inside. I wanted to give worked well as it helped as a tool to as its legible. Brother 1816 was the other making the book sophisticated and aesthetically a generous space to also make the book separate font I used as it felt the sharpness was a pleasing. look more sophisticated. nice contract to CoconPro and worked well as headings as it’s bold and striking. 45

BY SAMANTHA STRATHERN CRITICAL Bibliography REFLECTION AND E VA L UAT I O N O N • Design Week (2018). How the Horniman’s new gallery reveals the PROCESS BOOK human stories behind objects [online]. Available from: https://www. designweek.co.uk/issues/9-15-july-2018/how-the-hornimans-new- Creating the process book for the Our Museum project had its gallery-reveals-the-human-stories-behind-3000-objects/ [Accessed successes and challenges. Starting the process book I knew using 3 December 2020]. hierarchy to communicate, type, colour and images where all crucial when making a successful process book. • • Expertise, Work, do, W. we, People, Thinking, N.&, Contact, Policy, P., Doing the process book I thoroughly enjoyed playing around with layout and hierarchy. It allowed me to show my creativeness and Policy, E., Policy, P. and Policy, E. (n.d.). Museum of London Branding exaggerate my process. I did this successfully my using different - Global Branding Agency [online]. Available from: https://www. fonts, type sizes and tracking. Additionally, I felt I was successful coleyporterbell.com/case_study/museum-of-london/ [Accessed 3 showing my process as chapters. I chaptered my process book December 2020]. as ‘discover, define, develop and deliver.’ This helped me clearly • show the process in a correct order, helping the reader understand • Long, M. (2020). Showtown: Blackpool’s first museum inspired by my process and how I got to the final outcome. Furthermore, laying “joy and whimsy” of town [online]. Available from: https://www. out my images and text was enjoyable. It allowed me to play designweek.co.uk/issues/6-12-january-2020/showtown-blackpool- around and find out what worked best ascetically and practically. branding/ [Accessed 3 December 2020]. • Creating the process book I found there where also a lot of • Mindsparkle Mag (2018). MUSEAUM Corporate Design [online]. challenges which really pushed me to develop my skills and Available from: https://mindsparklemag.com/design/museaum- understanding of book design. After first creating my process corporate-design/ [Accessed 3 December 2020]. book then going over it for the first time I found many errors. One • of the errors was font size. Not being able to print the document • Pinterest (n.d.). Harvard museum branding on merchandise, was annoying as I couldn’t tell if my font size was appropriate, really interesting to see the simple logo/type presented on after feedback I was told my main text was far too big which took the … | Museum branding, Merchandise design, Typography away the professionalism of the book. It went from being 12pt to branding [online]. Available from: https://www.pinterest.ca/ 9pt. Looking through it again I realised I wasn’t using my guides pin/123849058477648232/ [Accessed 3 December 2020]. successfully. Although most of the content fitted to my guide, • some of the text and images where out of place and not fitted to • Poolemuseum.org.uk (2014). Home | Poole Museum | History of the guide, this didn’t help my book look cohesive and professional Poole | Poole Heritage | Maritime Museum [online]. Available from: which is why I went back and made sure everything was placed to a http://www.poolemuseum.org.uk. guide. I enjoyed using the brand guidelines our team made for the • Our Museum Project to help me sculpt the book, I did this by using • studiodumbar.com (n.d.). Delft City Marketing [online]. Available the same colour palette and font. from: https://studiodumbar.com/work/delft-city-marketing [Accessed 3 December 2020]. In conclusion, I learnt a lot from creating this process book through • the errors I made. I now think I have a better understanding of • World Brand Design (2020). MuFo—Naming and Visual Identity of the hierarchy, layout and using my guides and margins successfully. Museum of Photography in Krakow [online]. Available from: https:// I would like to further my skills by learning more creative ways I worldbranddesign.com/mufo-naming-and-visual-identity-of-the- could use layout to show my work and process. museum-of-photography-in-krakow/ [Accessed 3 December 2020]. • 46 • www.dandad.org (n.d.). Window into the World | Leo Burnett Chicago | Field Museum | D&AD Awards 2019 Shortlist | Brand Refresh | D&AD [online]. Available from: https://www.dandad.org/awards/ professional/2019/branding/231241/brand-identity-window-into- the-world/ [Accessed 3 December 2020]. • • www.itsnicethat.com (n.d.). North reveals full Science Museum rebrand, and reacts to online criticism [online]. Available from: https://www.itsnicethat.com/news/north-science-museum- rebrand-identity-graphic-design-111017 [Accessed 3 December 2020].