BRIEF 04: MUSEUM OF CHILDHOOD//MUSEUM BRANDING RESEARCH//OUGD603

museum branding.
I have looked into some existing museum branding to get some ideas for the Museum of Childhood.

natural history museum_exhibition posters
I think these set of posters work really well, aesthetically as well as through a simple concept.  This is something I could think about for exhibitions posters for the Museum of Childhood, some good imagery could be used, however, I need to think about whether I want photography to be my main source of visuals.

creative review

'A great poster caught my eye on the tube yesterday. It was for the Natural History Museum and is one of three created for the launch of the new Treasures exhibition in its Cadogan Gallery...Designed by Krow Communications the posters are each made up of three images of different objects from the museum's collection, combined as one. They work really well in that each composite part of the image is intriguing enough to make you think about what it could be: is that really a carved shell making the body of the bird?  And what lifts them even further, particularly when installed alongside the more shouty posters on the tube network, are the colours – the tones of the backgrounds in the bird one, for example. Executed with less care and attention and they wouldn't work. As they are, they make great posters.'

design museum_branding

I think this design works really well, especially as its for the design museum, instantly you can see with this type of branding its representing something creative and aesthetic.  These pencil line style drawings were something I was thinking of trying for the Museum of Childhood as I think the imagery for this would work well in an illustrative style.

Founded in London in 1989 as the first museum of modern design, the Design Museum covers product, industrial, graphic, fashion and architectural design.  When commissioning this identity, Alice Rawsthorn, then the Design Museum’s new director, asked for something ‘more engaging, dramatic and provocative’ to reflect the institution’s own eclectic definition of design.  

GTF worked with illustrator Kam Tang, juxtaposing simple typography with an exuberant and flexible array of line illustrations, suggestive of the various disciplines, genres and ‘isms’ of design.  Since its inception in 2003, the annual Designer of the Year competition has used the Design Museum’s own identity.