Week 9: Feedback from Panel ReVIew

In Week 8 we had a panel review. I thought mine went well, despaite some technical hiccups! Here is what the panel said:

Mark Rudd

A great presentation and a subject which is bound to be interesting on many levels. I agree with what others said – this will be more interesting if it is aimed towards people who are not designers, more towards local people, with a view to encouraging dialogue and community. Also with a view to historical interest – again, interesting to local people, not just designers. 

It is great to think about this being a model for a project that could happen all over, nationally, maybe even internationally. With this in mind, it would be good to consider the name. Stowe Framework references Walthamstow… maybe there should be a parent brand name, like PlaceType, or CommunityType, or something much better than that! And then you would have Walthamstow, (or Hull, or Rome) underneath the parent brand name. Just a thought! 

Bryan Clark

  • Focusing on vernacular typography – to capture cultural identity place and time of Walthamstow – really great!
  • What else might it show, change in racial balance, political or faiths etc…
  • Good workshops about curating local identity – is it a period of time and how can reveal the unseen – I prefer the idea of working with residents as opposed to designers
  • Is a glyph workshop a long shot – good for designers but interested more in community response
  • Phil Baines and others work in this field – so what could you do that is new and will give them a run for their money.
  • Good to see feedback on the project at the end slide
  • Final question around how lettering and type gives a sense of home – more emotional connections, like lettering on railway bridges and a broader mosaic of visual connections

Anna Mankee- Williams

I like the project and it speaks to the connectivity of life,(and how disconnectedness with our environment can have huge impact. Arguably place and people cannot be separated (although we work hard to do just that!) Consider:

  • Understanding the culture and sub culture of a place through the lens of this project
  • Has Covid altered the sense of place (are people spending more time locally – has that had an impact)
  • What are the threats to the vernacular and will there be a pivot back to protection of the vernacular?
  • Where can this project impact most powerfully?

Rosanna Vitiello

Great borough to work in and work on hyper-local vernacular seems like it’s really missing I would find this very valuable in my line of work

How do human’s shape a sense of place
What are the stories behind the type?
What do we do with this new knowledge of vernacular once we have it?How are we codifying subcultures? And multiculturalism?

Look at England In Particular —
How can you involve community members in something as specific as type?
How can you bring them in? And what might they do differently as a result?


Great presentation and well handled with the technical issues! I really love the look and feel of your project, it already has a strong identity which is great. I’m interested to see how you market this and get people signing up to take part! Do you think this would be somewhat weather dependent and will this impact when you launch the workshops? 

I know one of your external collaborators mentioned their concerns about doing this during the pandemic, but I think there’s plenty you can do to make it work – it might not be exactly as you envisioned it pre-covid but the tweaks you have to make could end up improving it. Will there be any focus on the wellbeing benefits of taking part, a bit like Ella’s project? As it is again encouraging people to connect with their local area, giving people something different to focus on etc. 

– Have you thought of how you will adapt to the current covid crisis in terms of the workshops?
– How can you use social media and digital marketing to enhance the project.
– Will you promote the work produced in the workshops?
– Could you target other industries to attend workshops as group team building activities. How would those industries approach the workshops differently?

My thoughts

It might seem big-headed to evaluate my feedback, but I see it as a way of really honing in on what the panellists are saying and how I can progress with the project. I doubt I’ll be able to do everything that is suggested of me, so I am going to figure out what is the most useful and what falls outside the remit of what I can do.

The common theme is that although the panellists they were interested in local designers’ thoughts, they thought I should focus on the community’s responses. I really do intend to do that! Maybe they were just making sure that I do, or maybe my presentation didn’t emphasise my true intentions. Either way, that’s something that I need to highlight when I next show my project to someone.

Covid also pops up a lot, and it has been always on my mind. I’m trying to balance the possibility vs the reality of what I can do. My workshops are designed to be self-led, and so I need to be able to describe what I want well. For the glyph workshop I have toyed with the idea of making a video-led workshop that people can follow.

The feedback has also suggested I look into the world beyond this project: taking it outside Walthamstow. Mark Rudd suggested changing the name to make it less Walthamstow focussed. I did think of TypePlace and CommuniType as names, but ti seems they have already been taken. While I do see his point, I have shortened the name to its suffix that means ‘meeting place’ and I so like that the name has ties to its origins. Maybe I should explain this more. I do intend to bring in other industries to take workshops, but this is out of my budget right now to facilitate. It’s something for the next stage rather than now. I can use this stage to build and beta-test the project before expecting people to pay for it.



This week I …

  • had great conversations with local design practitioners, arts facilitators and design industry experts
  • presented my pitch to a panel, and it went well, despite the technical snafus!
  • have been put in touch with a lot more people, yay!
  • considered getting public liability insurance
  • considered how to get people involved in the project through local advertising.

It was a touch week because I came out of self-isolation and suddenly had a lot of social contact with people! I managed by preparing as much as I could and then going for it. Some people were easier to interview than others and lots of people were enthusiastic.

There’s lots of balls to keep in the air right now and I’m trying to keep organised with spreadsheets and Zotero etc.

Week 8: Literature Review

References thus far:

Blankenship, S., 2003. Cultural Considerations: Arabic Calligraphy and Latin Typography. Design Issues, 19(2), pp.60-63.

Bourdieu, P., 1996. Distinction: A Social Critique of the Judgment of Taste. USA: President and Fellows of Harvard College and Routledge & Kegan Paul Ltd.

Fieldworkfacility.com. n.d. Hoe Street. [online] Available at: <https://fieldworkfacility.com/projects/hoe-street&gt; [Accessed 10 November 2020].

Frostner, M. and Sollis, R., n.d. Station Road Harrow. [online] Europaeuropa.co.uk. Available at: <http://www.europaeuropa.co.uk/#id-station-road-harrow&gt; [Accessed 12 November 2020]. 

Gaydos, B., 2007. [Ethno]Graphic Design. Richmond, VA: Virginia Commonwealth University.

Gunn, W., Otto, T., Smith, R. C., 2013. Design Anthropology: Theory and Practice. London, UK: Bloomsbury.

Hall, S., Held, D., & McGrew, T., 1992. The Question of Cultural Identity. In Hall, S. (Ed.), Modernity and Its Futures. p. 274–280. Cambridge: Polity Press.

Hatherley, O., 2017. “London Streets Don’t Need To Look Like A 1940S That Never Happened”. [online] Dezeen. Available at: <https://www.dezeen.com/2017/11/07/owen-hatherley-opinion-walthamstow-high-street-london-shop-signs-sanitisation-mistake/&gt; [Accessed 10 November 2020].

Holland, C., 2009. Farrow And Ballification. [online] Fantastic Journal. Available at: <http://fantasticjournal.blogspot.com/2009/07/farrow-and-ballification.html&gt; [Accessed 10 November 2020]. 

Leeson, H., 2014. Classifying Signs. The Recorder, Issue 1, p. 19-26.

Mills, A., 2010. A Dictionary Of London Place Names. New York: Oxford University Press.

Snodgrass, N., 2018. Facilitating Diversity: The Designer’s Role In Supporting Cultural Representations Through Multi-Script Type Design And Research. Master of Fine Arts. Kent State University.

Villagomez, N., 2015. Culture + Typography. New York: F+W. 

Walthamforest.gov.uk. Regeneration | Waltham Forest Council. [online] Available at: <https://www.walthamforest.gov.uk/content/regeneration-st-james-street-improvements&gt; [Accessed 10 November 2020]. 

Walthamforest.gov.uk. Statistics About The Borough | Waltham Forest Council. [online] Available at: <https://www.walthamforest.gov.uk/content/statistics-about-borough&gt; [Accessed 31 October 2020]. 

Wforalhistory.org.uk. Waltham Forest Oral History Workshop. [online] Available at: <http://wforalhistory.org.uk/&gt; [Accessed 8 November 2020].

Week 8: Conversations

I had a lot of conversations with people this week, from Maria Geals …

… Alistair Hall …

… local practitioner Angry Dan …

… and local arts organisation Artillery Arts:

I thought my panel review went really well, too, and I made some notes at the time:

I grew my contacts list and I filled out what the research mthodology I was using so that I could be clear when I’m writing my Critical Report …

I also made sure to follow all these people on Instagram and to start posting with hashtags to start piquing people’s interest.

Chat with Tectonic

When I saw that Nana Parry was offering free one-to-one sessions to new businesses I signed up. Granted, I might have not have been who he was expecting when he set up his scheme, but nothing ventured nothing gained.

The advice I sought from him wasn’t to do with this presentation as it is too late in the schedule to change without impacting other submissions. Instead, I asked him for advice with how to carry this idea into the real world.

He liked that I had identified the three separate target users as a starting point and that now I can drill down more into their needs. Right now, the project is based on assumptions, which he said was fine, and now I need to validate those assumptions.

I need to step aside from the idea and. work out who needs it most and who needs it regularly and to go into as much depth as possible. He suggests speaking to users without showing them the project so that I don’t ;ed their answers and create a product that truly answers their needs.


One resource he suggested that I look at is CNVS.online which is a tool to develop Strategyzer-like business canvasses and a way to create a one page business plan.

Although they focus on different media, he suggested that I look at the company journey of Unsplash to see where they started and how they got there. Nana appreciated that what I am trying to do focuses directly on typography and agrees that could seem restrictive, but I should make that focus a strength of the platform.

Right now I’m a little too burnt out and concerned about focussing on the final week to action his points. I am so glad that I took a chance to make the connection and will work on the project. He said that he’d like to hear from me in the future, so that’s good, right?

Personal Branding

In my Businss Plan, my imagined business name is Studio Anna. I like the name because of its palindromic nature and that it can be stacked into a square and be read any which way.

I did come up with this logo, but think that it is too static even with some distortion:

I’ve been sketching and playing around with upper and lower case letter forms:

The others work and I can imagine animating them into transforming them from one to another to give a dynamic feel to the studio.

Work to progress…

Week 8: Critical Presentation and pitch reflection

pitch deck

Slide commentary

Slide 1 – Open

Hi everyone! Welcome to my pitch to present my digital tool to enable collaboration. Last week you saw my elevator pitch introducing filo’type and here I am going to go into further details.

Slide 2 – Contents

I will tell you about the project, the users I am aiming for, similar products and the opportunities for collaboration during development. Then I will take you through the potential feature modules before showing you my development plan. Let’s get going!

Slide 3 – About

The digital tool is aimed at people interested in typography to enable them to capture, catalogue and reference type examples for their future projects. It will build a collaborative library to expand horizons and save time in the research of projects.

Slide 4 – Users

I am focussing on three consumer segments, namely typophiles, which is anyone interested in type and its history, set designers who build fantastic worlds for audiences in films, theatre and TV; lastly, type designers who create new typefaces for clients. This is a summary that looks at the users.

Slide 5 – Users 2

Here is a more detailed look at the Consumer Segments and the jobs, pains and gains for each group. The information is based on assumptions at the moment. At the bottom, I have listed questions to which I want to find answers.

I need to do further work to validate the assumptions about the consumer segments I have already made. It may be that the project and features shift slightly to accommodate the feedback.

I plan to form focus groups to isolate the issues each group face and propose solutions.

Through the development stages, I plan to collaborate by continually testing and developing with the users to meet the goals of the project.

Slide 6 – Market Research

I have looked into other digital tools that have a feature overlap with my tool. Firstly, social media sites such as Pinterest and Instagram can act as discovery and archive tools. However, even with hashtags filtering content, they are not explicitly built for type and posts cannot be viewed geographically.

Type resources such as Fonts In Use have grown to be able to identify typefaces in other people’s work. It is a useful archive that enables the identification of fonts but doesn’t show examples you would see walking down the street and doesn’t present the context in which the work was created.

I want to incorporate Augmented Reality Technology into the digital tool, and Adobe Fontphoria is a brilliant example of using machine learning to extrapolate a whole typeface that the user can project into an AR space. Those features alone don’t match what I am trying to do, and no context is provided to the new typefaces made.

Slide 7 – Collaboration 1

When I look at the features that I want to include, there are opportunities to collaborate with others throughout the development process. I have mapped these opportunities onto the Double Diamond process on the next slide.

Slide 8 – Collaboration 2

At the Discover Stage, I want to validate my consumer segment values and draw further wisdom from my users and consult with a company like Metier Digital to build a solid structure for the tool.

At the Define stage, I need to consult with lawyers that specialise in copyright and intellectual property because features such as distributing others’ work might breach some laws. By considering this at an early stage, I can mould the exact features so that they do not contravene any laws before it gets to the development stage.

At the Development stage, I imagine including many more people. Some are to do with the actual construction of the tool: App and Augmented Reality designers and Search Engine Optimisers to build a flexible system of tagging. Before development gets too far, I’d like to include Type Historians and Archives to populate some sections for quality control and test the design with users at different points to create a strong project.

Lastly, I see the delivery stage as an ongoing process where testing, feedback and development continues as an iterative process.

Slide 8 – Features

I envision the tool as four different modules, called Catalogue, Archive, Explore and Augmented type. Let’s take a look.

Slide 9 – Catalogue 1

This is the core of the tool and aimed at all consumer segments. Here, users can upload their images into a shared catalogue that details the type features, usage and context and location. To help the user build a full description, I will include multi-choice tags and questions. The user can view posts in a feed or on a map to identify resources close to them.

Slide 10 – Catalogue 2

Users can build a profile and create collections for inspiration and gather references for projects. Users can set their privacy for these features.

Slide 11 – Archive

From the base of the Catalogue, the Archive module builds on the information to detail the further context. Users can message each other to share jobs, resources and knowledge that they can use to rebuild typefaces for the future. For example, fonts from ghost signs can be restored to create a background sign on a film set to add depth to the scene.  

Slide 12 – Explore

Typography reveals the history of an area and knowledge from the Archive module can build self-guided walking tours with information about chosen examples. There will be some built-in tours with the feature for users to craft their own.

Slide 13 – AR

Finally, Augmented Reality. It’s not enough to see what others have created – let’s create our own. Using typefaces designed in the Archive module, users can type their text to leave invisible messages for others or module a concept in Augmented Reality.

Slide 14 – Road Map

Going forward from this point, I have mapped out a rough route I can take to bring this tool to live. I begin with user research, consulting with experts before developing the tool. Then, the tool is tested and developed and improved up to launch, from when it will continue to this iterative process.

Slide 16 –

Thank you for paying such close attention to my pitch! I hope that you can see a place for this tool in your creative process. I can’t wait to see what you guys have come up with.

Slide 17 –

Do you have any questions?

Reflection 1 – Recalling my presentation

I like how this presentation went because I was much more prepared and together than in previous crits. I knew my stuff and was proud of my idea. That made a huge difference.

My slides were a little bit iffy thanks to Big Blue Button and optimisation and so the logo on the first page was missing. To me it was glaringly obvious and I pointed it out so that people would know it was the techs fault rather than my poor design. Sometimes I think that it helps to appear human rather than perfect in a presentation because everyone can relate to it.

The slide information and talking ratio was generally right, although on a couple I could have spoken rather than displaying the text too. This was deliberately set up for an in person pitch, and I wonder how best to translate the pitch to a format for a remote pitch instead.

I felt calm whilst doing it and measured out my pace when I thought I was going too fast. Writing out most of the script helped as I prepared the presentation so that I knew I was including everything I intended too. I might have come across as a little scripted and stilted but there were times I took the text more freely and ad libbed to include comments from Alex’s presentation before mine.

The trouble with bright pitch decks is that the app mockups came across as a little bland in comparison. The sage green didn’t give the impression wanted and I want to make it look cleaner,monochrome with one accent colour for the final presentation.

Week 8: Filo’type Copyright considerations

I need to think about how copyright will be addressed in this app, as it has legal and financial implications. First, I’m going to take a look at existing terms of use.


First impressions: It is very open and split into different categories. It also has the legalese followed by Plain English, so that people are able to understand what they are agreeing to.

Key quotes:

  • If you post your content on Pinterest, it still belongs to you.
  • If you post your content on Pinterest, we can show it to people and others can save it. Don’t post porn or spam or be rude to other people on Pinterest. 
  • Pinterest has adopted and implemented the Pinterest Copyright Policy in accordance with the Digital Millennium Copyright Act and other applicable copyright laws. For more information, please read our Copyright PolicyMore simply put We respect copyrights. You should too.
  • You will have to sue us here in Bay Area. In the EEA, this applies if you’re a merchant, but not if you’re a consumer. If you are a consumer in the EEA, you can sue us in your home courts.
  • To submit a DMCA notice, just fill out our copyright complaint form.
  • Pinterest respects the intellectual property rights of others and we expect people on Pinterest to do the same. It’s our policy—in appropriate circumstances and at our discretion—to disable or terminate the accounts of people who repeatedly infringe or are repeatedly charged with infringing copyrights or other intellectual property rights.
  • Our goal is to give you simple and meaningful choices regarding your information. If you have a Pinterest account, many of these controls are built directly into Pinterest or your settings.
  • Children under 13 are not allowed to use Pinterest. If you are based in the EEA, you may only use Pinterest if you are over the age at which you can provide consent to data processing under the laws of your country.
  • Pinterest isn’t a place for hateful content or the people and groups that promote hateful activities. We limit the distribution of or remove such content and accounts, including:
    • Slurs or negative stereotypes, caricatures and generalisations
    • Support for hate groups and people promoting hateful activities, prejudice and conspiracy theories
    • Condoning or trivialising violence because of a victim’s membership in a vulnerable or protected group
    • Support for white supremacy, limiting women’s rights and other discriminatory ideas (and it continues)
  • We don’t allow content that reveals personal or sensitive information.


Less immediately friendly than Instagram, but seems to be written in easy-to-understand language from the get-go.

Key quotes:

You must be at least 13 years old.

You can’t post private or confidential information or do anything that violates someone else’s rights, including intellectual property.

We do not claim ownership of your content, but you grant us a license to use it. Nothing is changing about your rights in your content. We do not claim ownership of your content that you post on or through the Service.

Fonts in Use

Arghhhhh legalese! Still, it’s not too long and I think I can cope. There’s a lot that I would need to put into my terms and conditions to protect myself and my users

Key Quotes:

  • Fonts In Use makes no claim to the trademarks or copyrights of third party’s works displayed on the Site.
  • This license does not include any resale or commercial use of this Site or its contents; any collection and use of any product listings, descriptions, images, prices; any derivative use of this Site or its contents; any downloading or copying of account information for the benefit of another vendor; or any use of data mining, robots, spiders or similar data gathering and extraction tools.
  • If you post content or submit material, and unless we indicate otherwise, you grant Fonts In Use a nonexclusive, royalty-free, perpetual, irrevocable, and fully sub-licensable right to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, and display such content throughout the world in any media. You grant Fonts In Use and sub-licensees the right to use the name that you submit in connection with such content, if they so choose. 

Filo-Type: Post-it map

I’ve been thinking of a tool for a couple of weeks now that would fit Brief 2: an app where you can take photos of typography you see out and about.

Why did I come up with this tool? My camera roll is constantly full of random photos of typography I have taken as reference or inspiration and they then proliferate all over the cloud in amongst selfies, cute pets etc. I want them somewhere separate, and ideally in a place I can tag them. If I know anything about people who like type, their camera folders are in a similar situation to mine, and this could be a tool where we share typographic inspiration.

So filo’type is born: a file of type, and it sounds like -phile, the Greek suffix to indicate someone who is very passionate about something. Typophile is taken by another typographic endeavour, so I have switched the words around. Filo’type does of course sound like philotype, which is a theoretical way of categorising yourself by philosophical school. It doesn’t seem widespread and in a different discipline, so I feel I can stand by the name.

Here’s my post-note wall of features:

This is the beginning of the process, so it’s a rough start…

Week 8: Progress

So to keep people up-to-date … I have gone through many changes with the content and I’ve settled on a multi-narrative of a run I did on Sunday morning with experiments on music beats and intersecting reality coming in. Here’s a Google doc to show where I’ve got to. I understand that in this form that it’s not very easy to ‘get’ but designing will help with this. In plain text form, it’s not clear which voices are which and why.

I must say that I owe a lot of dues to Annie and J who really helped me talk through my writing block in the Peer-to-Peer session on Sunday. I began writing not in this form, but with a pen on paper on the way to the race, a scribble on paper, and then on the run informed this narrative. I’ve been adding to it over the days, and used my running playlist to jog (ha!) my memory of thoughts that I might have forgotten at the time.

I carried on writing on scraps of paper, and as I’ve got bits typed up overwritten these in pure desperation of paper! Stuart’s notes from our Essay tutorial last night are also there, and I’ll type up here to solidify them in my brain.


The format came much quicker, and before the firm narrative. At first glance, it looks like a book.


and when you open it … a series of concertinas. This text is screenprinted in green over the top. I’d like the text to be more distorted and Wim Crouwel, so I’m working on it.


I’d like the text to be more distorted and Wim Crouwel, so I’m working on it.


Hidden behind those is the narrative (you can see the text boxes in red):



I’m now going to start laying out my text using feedback from Stuart and a strict 3pt baseline grid…


Not sure how I feel about the columns being so narrow as that means that the differentiation between left and right align isn’t so apparent. I also need to create more space.

To add interest, I need to design the subtitle that is the first thing you see as you open the booklet. I’ve done this in Illustrator so that I can place it in Indesign whilst slicing it and retaining the ability to edit it.


This will be split across the panels. A bit too bright, but this is just a low-res output.

I’ve also exported the map course to use as a background


Pulling it together… Some of the text is designed and some isn’t. I’ve rearranged it so that the booklet can be folded similarly to a map. This means I can save on print costs by folding it. The size of the piece of paper is 571.5 x 381mm so can be printed on A2 paper.


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Week 8: Production Processes

Analyse methods available to designers for self-publishing.

With the gentrification of Walthamstow post-Olympics, a number of industrial estates around Blackhorse Road that contained small printers have been sold to housing/foreign speculation developments, so that is out. However, there are craft businesses still open around me.

Paekakariki Press

This letterpress studio regularly holds workshops and takes commissions from for letterpress books. It uses a press that was the same model that William Morris used for his Kelmscott Press, so printing my project on this would draw on Walthamstow heritage.

However, the process will mean that I can only typeset, and I would really like to include images, so it would be a double process with another printer. I’d like the images and words to be more integrated than this. It would also be expensive to print a small number of copies.


Hato Press

Annie and I took a riso class here back in November, and this is a very possible technique for printing a piece. The bright colour printing and combination of colours make a punchy and eye-catching publication.


London Centre of Book Arts

To make a book, I could go to the London Centre for Book Arts to produce the book from scratch. It’s located very near the Olympic Park and is on an industrial state that survived the flattening of the land next to it. It might restrict me to a book (which is good in terms of giving myself boundaries) but that might not be the best format to produce this… I’m thinking.

New thought, it wouldn’t necessarily restrict me to a book. On sale in their shop was interesting formats including the A6 publishing, which has all its publications in A6 format: a simple but effective spec to keep the same to establish identity.


G.F. Smith

The obvious choice for paper! A few years ago they launched Extract, a paper made from recycling paper and coffee cups. A recycled paper would be the way to go. G.F.Smith has a digital booking service called Make Book, where your book can be made and printed in their factory in Hull to a high standard in small qualities.

Let’s think outside the box…

Exhibition space at The Mills

Now, Richard gave us some interesting ideas for what this project could be. It doesn’t have to be a book/magazine as such. So. There is a community centre in St James Street in the centre of Walthamstow that has an exhibition space. I could create the 3,000 words as part of exhibition displays – it wouldn’t be designed for a graphically literate audience though – it would be for people of Walthamstow.



As I reported for Week 1, neon has a huge part in the history of Walthamstow. As neon is supposed to draw attention to recreational places, so it is the perfect medium through which to display a piece about the Olympics.

Chalk Writing

I suspect the theme of my article will be that despite the billions poured into the area, the benefits to the local community were somewhat fleeting. The Olympic Park is full of vast paved areas that would have carried thousands of people a day, but are now barren years after. Once written, I could write the article on the paved areas in chalk and it would last as long as it didn’t rain.


To show the degree that the Lea Valley has been built over, I could create a map of the area and the facilities have been built. I would use mixed media in the form of wetlands paths to show how much the landscape has changed.

Week 8: Concept Development

Distill your research from the previous four weeks, to inspire the concept development of your project brief. Post initial thoughts onto the Ideas Wall for peer reflection.

Collaborate with peers and staff on the Ideas Wall and contact any relevant research groups or industry professionals to seek advice and feedback on the direction of your project brief. Elaborate your discussions in your blog.

Design and deliver a range of concept developments and post them onto the Ideas Wall. Elaborate and expand on any feedback in your blog.

Screenshot 2019-11-16 at 15.12.50

Idea One – Using the Augmented Reality scans to bring the archive to life

As the Science Museum is taking the time to digitally scan some items of its collection, I would like to use this to create a conversation between generations of people about what everyday life has been like, what it is like and what it could be like. The collection of 3D scanned items include an artificial arm, a contraceptive cap, a packet of cigarettes, a car part and a mosquito spray, all of which would be familiar to a UK audience.

The concept would be used out of the Science Museum, for people who cannot access the museum but have a curious mind about what is around them. The users would be able to log onto the system to find objects relating to everyday life and share a screen with their family to see the object in 3D reality. The system would prompt conversation topics such as how the items were used in their lives, what memories they have of them, what it meant for their lives when the item was invented.

The concept does focus on the generality of the object, as the people viewing them are not likely to have come into contact with the same object, but it can promote interesting discussions about life. The viewers can access the specificity of the objects using the metadata that the Science Museum has already built up.

There would be an opportunity for people to contribute their own memories and stories of the items to build up the Science Museum’s knowledge and for other people to view.


Idea Two – Game experience using objects

Using the objects to go on your own adventure! By building challenges to navigate from one linked object to another, whether by type of object, material, date of origination or other criteria, the user will build up a knowledge of the collection and how its objects are related in history.

Objects could include: navigate from a spoon to a religious icon, from a catalytic convertor to the baby weighing scales in fewer than six steps. By gameifying the experience, it presents a challenge to the viewer whilst subtly showing them the collection in its entireity.

Idea Three – Own exhibitions

Based on the idea of families and groups, this concept would allow communities to build their own exhibitions in a virtual collection using the objects from the archive. Imagined as a gallery in the Science Museum, the would-be-curators would be able to favourite objects from the archive and place them into a virtual space that could be navigated using AR or VR or on a display. Each object could have a caption about its relevance in the collection and the collections could be shared online on social media to draw more viewers to the website.

Ideas Wall

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