Exhibition Boxes - Classic

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Tools

This Book is an explanation on how to create an exhibition. With using this book and the tools provided within the box will help you to create a great exhibition within any room. This box has taken all the default element to an exhibition and provided you with them. Follow the steps and use the tools provided as well as reference on the back page and you will be able to create a experience within your house or hall.

Below are the contents of the box and tools that you will need to provide your self. Have fun, be creative and enjoy the experience.

x5 x2 x1 x5 x8

x1Wall Chart used to hold up against the wall and use to place the pictures in there right positions.

x1 x1

Tools Needed

- Tape measure - Pencil - Friend/Family

This yellow box is shown throughout this book and this box explains what you will need to create that section of the exhibition.

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3

Average viewing height

Flush Line

5’-3”(1.6m)

6’-3”(1.9m)

Wall Plan

4

4’-0” (1.2m) C

omfortable vertical view

ing space

5’-3

” (1

.6m

) ave

rage

eye

-leve

lTools Needed

- Tape measure - Pencil - Friend/Family

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Floorplan of suggested approach to traffic flow

Floorplan of unstructured approach to traffic flow

Floorplan of directed approach to traffic flow

Directing the audience around your exhibition is important. If there are a number of images and 3D piece, Direction makes it easier for the audience to see everything. There are a number of different route that people can take. Work out what shape your room is and where fixtures are then you can direct people around by moving objects to create pathways.

Floor Direction

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Average viewing height

Flush Line

5’-3”(1.6m)

6’-3”(1.9m)

Floor Plan

This is a floor plan for a straight forward rectangle room. This is a basic standard size for a lounge. There isn’t much wall space due to the attached rooms. This is a great space for a 3-D exhibition. The use of the floor space would make it easier to walk around an admire the work.

Entrance

Exit

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Average viewing height

Flush Line

5’-3”(1.6m)

6’-3”(1.9m)

Entrance

Exit

This floor plan is an interesting shape with a number of different doors and entrances. This space can be used in a exciting way. The use of 3-D objects can break up the space. Using the space is very important, there are two walls that stick out into the room to dived the spaces, however a positive about this space is that there is more wall space for art work to be displayed on. This just shows that you can use any space. You just have to use the unique, quirky elements to make a great exhibition.

Mulitple directions

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This floor plan is a normal size room. There are a number of entrances and exits into and out of the room. These is a nice flat wall that would be excellent for displaying art onto the wall. There could be a centre 3-D piece in the middle of the room and then there can relating work around on the walls.

4’-0” (1.2m) C

omfortable vertical

viewing space

Average viewing height

Flush Line

5’-3”(1.6m)

6’-3”(1.9m)

Entrance Exit

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How do you lay out the art work?

Within this pack there is a wall chart. You should hold the chart up to the wall that you are planning on using for the exhibition. Stand the right distance away from the wall that the lines, line up with the edges of your wall. Get someone to help you and use the colour dots make marks for the pictures. Work out the centre of the picture and hit the nail in. This will give you a layout for your pictures that suits the theme you are trying to achieve.

Children’s exhibitions Modern Exhibitions Classic Exhibitions

Tools Needed

- Wall Chart- Nails- Pencil - Friend/Family

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Children’s exhibitions Modern Exhibitions

Classic Exhibitions

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Modern Exhibitions Children’s exhibitions

Classic Exhibitions

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This is where you would put the exhibition title. (Size 50pt)

Information about artist

Modern Exhibitions

Wall Text

Title Signs

Large panel size and imposing print.• Short, 1-10 words.• Attention grabbing.• Thematically oriented - information content is superficial.• Design over content. • Mood setting (comic, serious, controversial, elegant, etc.)•

Sub-titles (section headings) signs

Longer than titles - 10-20 words.•Large; easy to read from distance.•content more focused and informational.•Topic oriented.•Design and content about equal.•

Introductory text

Longer - 50-200 words divided into succinct, concise •paragraphys about 75 words in length. Usually located near the entry to the exhibition.•Explanatory - relates the rationals for the exhibition; a unifying •statement.Intriduces major concepts within the exhibition.•

Group texts

75-150 words in length.•Associated with groupings of objects or serve as section texts.•sometimes begin with a “kicker” or heading.•Unifies grouping conceptually.•Informative, interpretive.•

Tools Needed

- Text- Printed Vinal- Pencil- Friend/Family

The use of wall text is useful to inform the audience. This allows you to give details about the art and artist. The title signs give the group of images a link and the sub-title can give more information. Galleries also use captions next to the art to provide the audience with the artists name, name of image, how the image was createdand when.

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What text should you use?

Whitman OT

Whitman Black OT

Whitman Bold OT

Whitman Display OT

Whitman Display Compressed

Whitman Display Italic OT

For a Classic Art exhibition there are a number of typefaces that can be used such as Rochwell, Times New Roman, Helvetica. They are easier to access but this typeface, Whitman OT is a simple classic font.

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What colour should you use?

R:58G:150B: 170

R:122G:179B: 190

R:158G:203B: 208

R:202G:226B: 228

R:192G:217B: 229

R:72G:91B: 113

R:80G:116B: 147

R:120G:152B: 178

R:155 G:175B: 198

R:180 G:213B:229

R:61 G:56B:122

R:120 G:123B:168

R:150 G:154B:194

R:192 G:182B:207

R:212G:209B:233

R:140G:55B:84

R:158G:80B:110

R:192G:124B:148

R:225G:184B:203

R:235G:208B:228

R:149G:15B:67

R:167G:72B:96

R:168G:111B:122

R:203G:158B:162

R:251G:212B:209

R:197G:53B:27

R:220G:111B:90

R:224G:145B:127

R:228G:191B:176

R:252G:210B:193

R:203G:115B:23

R:206G:139B:79

R:227G:181B:156

R:229G:200B:181

R:239G:199B:175

R:251G:176B:52

R:254G:196B:101

R:255G:217B:143

R:254G:219B:180

R:255G:239B:207

R:212G:176B:4

R:234G:200B:0

R:234G:211B:99

R:244G:223B:142

R:255G:251B:203

R:121G:154B:40

R:165G:182 B:56

R:184G:191 B:96

R:201G:201 B:146

R:217G:216 B:178

R:57G:99 B:83

R:53G:145 B:131

R:115G:173 B:160

R:168G:192 B:177

R:189G:200 B:178

Colour’s choices for a Classic Exhibition

Colour is an important element to an exhibition. The use of white is mostly used within wall colour, mainly with modern exhibitions. Where as classic exhibitions use regal colours on the wall, these examples below are from the National Gallery in London. Colour is not only used for the walls but also within the publications for the exhibitions and advertising, so when you are producing your exhibtions think about the ways that you can us these colours.

Tools Needed

- Colour Chart

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Publications/Advertising

Place picture

Heading Heading

Place text

Place text

Place text

Place picture

Place picture Place text Place text

Heading

Place picture

Place picture

Place text Place text

Place text

Heading

Place picture Place picture Place text

Heading Heading

Publications are important tools within an exhibition. Creating a leaflet or guide for the exhibition will not only give the audience with background knowledge and images of the art work them selves but also provide them with something to take home and keep enjoying. The more information you provide the more intense the audience can be.

Here is a default layout for a leaflet. There are areas for text as well as images and this layout works no matter the content like the next diagram show.

Within this kit box there is a large printed out default leaflet. All you have to do is place your images and text within the boxes provided and scan or photocopy.

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Heading Headingsecond

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto dolorti ncilit, vel esectem venibh eu-guer se ex et

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto dolorti ncilit, vel esectem

Place text here...Tem nos niat

Headingsecond

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto dolorti ncilit, vel esectem

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto dolorti ncilit, vel esectem venibh eu-guer se ex et do do dolore

Heading

Place text here...Tem nos niat luptate dolor ad eugiat aute min

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto dolorti ncilit, vel esectem venibh eu-

Place text here...Tem nos niat

Place text here...Tem nos niat luptate dolor ad eugiat aute min esto do-lorti ncilit, vel esectem

Heading

Classic Exhibitions

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How to create a poster for a Classic exhibition.

Advertising your exhibition is vital to the success of it. There are many ways to do this and creating posters are one of them. For a Classic exhibition poster there is a certain difference from a Modern poster. A lot of the text is straight. The use of neutral colours and simple shapes.

The typefaces chosen are often modern such fonts as Rochwell, Times New Roman, Helvetica. Whitman OT is a type suggested for Classic posters and publications. All of these typefaces are used to create a certain look and entice a certain type of person to the exhibition, it is used to create a youth, hip look.

The choice of colours are interesting, bright, bold, strong colours are such as pastel colours, greys, pinks, blues yellow, black, white.

When creating your poster to advertise your exhibition think about the colours that you would like to continue through the exhibition something that can link the theme to the poster. The typeface chosen also represent your feel to the exhibition.

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Souvenirs

Within galleries and exhibitions there is always souvernirs that either the adults or children can take away. Within this box there is some tools to help you provide souvernirs for your visitors. There are pencils that you can use the white letrascech on and write the name of your exhibition or artists. There are rubbers that can also be writen on. A souvenir that is often forgotten about is the bag to hold these items in, so in your box there are a number of white small bags that you can be creative with and decorate anyway you feel fit.

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A Classic Exhibition

A Classic Exhibition

Exhibition

A Classic Exhibition

Classic

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Reference

This last page is a page of help for you, if all of this past pages haven’t told you enough then this page will provide you with more information. Here are a number of references that you can find in a library or on the internet. This references refer to exhibition design and then there is always real life exhibitions, go and visit exhibitions where ever you live, there is nothing better than gathering information and experience from a real life exhibition.

Alles, A. (1973) Exhibitions: Universal Marketing Tools, London: Associated Business Programmers Ltd

Auerbach, J. A. (1999) The Great Exhibitions of 1851: A Nation on Display, Hong Kong: World Print Ltd.

(Cassar. M (1998) The Architects’ journal, the home of British architecture. Museums, the client’s way), 19 February).

Dean, D. (2007) Museum Exhibition: Theory and Practice, London: Taylor & Francis.

Dernie, D. (2007) Exhibition Design, London: Laurence King Publishing Ltd.

Gibson, D. (2009) The Wayfinding Handbook: Information design for Public Places, New York: Princeton Architectural Press. Harding, A. (1997) Curating: The contemporary art museums and beyond (Art & Design Profile) Vol 12 , No ½ January – February. Mostaedi, A. (2006) Exhibition Design, Spain: Carles Broto.

Pegler, M.M. (2007) Visual Merchandising and display, Fairchild Publications, Inc. Rattenbury, A. (1971) Exhibition Design: Theory and Practice, London: Studio Vista Limited.

Read, B. Lingwood, J. & Nordgren, S. Phillpot, C. & Higgs, M. (2001) The producers: Contemporary Curators in Conversation (3), Baltic

Richardson, A. (2009) Guiding touch, Design Week, Vol 24, No. 25, 25th June, p19.

Schwarz Frey, B. (2006) Designing Exhibitions, Switzerland: Birkhauser Publishers for Architecture.

Serota, N. (2000) Experience or interpretation: The Dilemma of Museums of Modern Art, London: Thames & Hudson Ltd.

Staniszewski, M,A. (2001) The power of Display: A history of exhibition installations at the Museum of Modern art, Canada: The MIT Press.

Tucker, J. (2003) Retail Desire, Design, Display and Visual Merchandise, Switzerland: RotoVision SA.

Velarde, G. (1988) Designing Exhibitions, London: The Design Council.

Wade, G. (2001) Curating in the 21st Century, Walsall: New Art Gallery.