1. Name

In the search for a name for the institute, the word 'Ma' turned out to be suitable. In the ten most spoken languages in the world, the word for 'mother' is: māma, mama, mamá, ma, mama, mamã, maa, mama, haha and mamī. another way to see it: 3.35 billion people speak either Mandarin (Mãma), Hindi (māṃ), English (mama), or Arabic (māma). The sound “ma” is nearly universal among the Indo-European languages. The word stands for the embrace of all cultures and the fruitful work together. It is based on the philosophy that we humans are the greatest works of art on this earth.

2. Typeface

It was important for the Typeface to have a sovereign charisma that reflects the nature of the institute. It should look professional but at the same time it had to be free of charge because the branding of the institute should be accessible all over the world easily and without restrictions. After a careful selection, I decided on the Google Fonts "Lato", designed by the Polish type designer Łukasz Dziedzic in 2010 and Christian Robertson's "Roboto Slab" designed in 2011. The selection criteria were good legibility and a wide range of glyphs.

3. Colours

The colour 'Skyblue' reflects “familiarity” and the colour 'Medium-Violet-Red' the “strange and mysterious” in cultures . The colours 'Limegreen', 'Orange' and 'Yellow' function as secondary spot colours and reflect the “diversity” in and around the institute. Moreover a flip-flop or colour shift effect colour has been added. A 'effect paint' consisting of the previously mentioned primary colours and will be used to paint the containers. The colours change between “Skyblue” and “Medium-Violet-Red” depending on the incidence of light by changing the view perspective.

4. Illustrations

A versatile transferable picture world on print media as well as on architecture needed to be ensured. The Illustrations, however, fulfil far more functions. They will be created for each culture participating in the Ma project. This means that the list is constantly being expanded. It was important that the illustrations had an artistic and cultural background. Mystical animals, floral patterns, figures, clan symbols and gods (often illustrated by religion or culture itself) were particularly suitable.