3. WHO WILL
DESIGN YOUR EXHIBIT?
Find a design firm:
• On the internet general search
• NAI Resources Page
• AZA .org (Find Commercial Members)
• MuseumsUSA.org (Find by state)
• Find an exhibit you like and ask who did
the design or fabrication
Or design it yourself!
Just make sure the designer knows
about interpretation!
11. THE BIG IDEA
The Big Idea is a statement that will
clarify, limit and focus the nature and
scope of an exhibition and provide a
well balanced goal against which to
rate its success.
12. THE BIG IDEA
It should not be vague or compound.
It should be one idea — not four.
It answers the question, “So what?”
It is not always visible to viewer.
Use this question for any topic or item being
considered for the exhibit, “ How does this fit
with the Big Idea.” If it doesn’t fit, eliminate the
topic or item.
13. THE BIG IDEA
VS. TOPICS
Sharks vs. Sharks are not
what you think.
Swamps vs. Healthy swamps provide
surprising benefits to humans.
14. WHAT MAKES
A GOOD EXHIBIT?
It captures the viewer’s attention
long enough to get them to
recognize the Big Idea.
If you include the Big Idea in your
title, you have a better chance of
people getting it.
16. THE VIEWER DOES NOT ALWAYS LOOK AT
THE EXHIBIT FROM START TO FINISH
Which visitor has a better chance
of getting the Big Idea?
17. THE INTERPRETIVE
PLAN IS YOUR ROAD MAP
After research is complete, assemble
stakeholders to conduct a design
charette.
Brainstorm on the Big Idea.
This is the beginning of your
Interpretive Plan.
18. WHAT IS INTERPRETATION?
Interpretation is more than presenting
information. It is more than encouraging
participation. It is communication
between a guide (or a story on a panel)
and an interested listener or viewer.
19. THE INTERPRETIVE
PLAN IS YOUR ROAD MAP
• Interpretive Plan will include:
• Mission and Vision of Institution
• Management Goals
• Interpretive Exhibit Mission
• Exhibition Goals and Objectives
• Visitor Walk-Aways
20. THE INTERPRETIVE
PLAN IS YOUR ROAD MAP
• Marketing to the Targe Audience
• Up to Five Subthemes and Storylines
• The Visitor Experience
• A Description of Each Panel
• The Site or Floor Plan
21. THE INTERPRETIVE
PLAN IS YOUR ROAD MAP
If you would like a sample
interpretive plan to use as
a guide, please email
kkelley7@comcast.net
Also, we will be happy to send
you a copy of this PowerPoint.
22. CREATE A HIERARCHY
OF INFORMATION
The title (I) states the theme.
Up to five subthemes (II) support the theme.
The main text follows with photos or
illustrations (III).
Captions or bullets add another level (IV).
Finally, you give readers a level to act on their
new knowledge (V).
23.
24. DID YOU KNOW?
The maximum average
attention span for a museum
45
visitor is just seconds.
For zoos, it is even less
25.
26. 3-30-3 RULE
Most visitors will look at a sign for
at least 3 seconds. You’ve got to
grab them quickly.
Some will read on for 30 seconds.
A few will read for 3 minutes.
More detailed information can be
in smaller type for this group.
27. HELP YOUR VISITORS
AVOID SIGN FATIGUE
No more than 50 words in a blurb,
•
18-20 words in a sentence
• Line length: less than 60 characters
• Avoid hyphenation
• Break text into several blurbs with subhead.
Add extra leading for breathing room.
People won’t read crowded text.
• Direct them to your web site for long explanations.
28. HELP YOUR VISITORS
AVOID SIGN FATIGUE
Keep text at sixth to eighth grade reading level.
•
Go to Spelling & Grammar in Word to test the
readability.
• Titles should be 72 point minimum.
Subtitles should be 48 to 40 point minimum.
Body text should be 24 point minimum.
Captions should be 18 point minimum.
• Use flush left, ragged right text.
Avoid justified text.
29. HELP YOUR
VISITORS
Say it visually. For
every blurb you
consider, ask yourself,
can a visual say it
better with maps,
photos, or illustrations
(of course, always get
copyright permission
and list proper credit).
30. TRY ONE THOUGHT SIGNS
• Clever headline. Text under 50 words.
• Text at least 24 point, captions at least 18 point.
• Large enough to be read by any age.
• Placed for wheelchair accessibility.
31. TRY ONE THOUGHT SIGNS
Six signs spaced evenly over long rail viewing
area increase readability.
47. UNITY: ELEMENT
Postcards were first used to spread the word about
Yellowstone so we used that element as a unifier for an exhibit
at the Memphis Zoo about the first national park.
50. INCREASE
READABILITY
Never use all caps
(like this sign) unless
for a short headline.
All caps reduces
comprehension
by 25 percent.
Condensed fonts,
justification, and
tight leading add to
the problem.
51. READABILITY:
FONT PERSONALITY
Avoid strong font personalities except in headlines.
Keep it conservative. Note different color on subheads.
Winterville Mounds, Greenville, MS
56. WHERE TO FIND PHOTOS
AND ILLUSTRATIONS
• istockphoto.com, dreamstime.com, shutterstock.com
• Library of Congress (free)
• Shorpy Digital Images historic images
• forestryimages.com (free)
• National Park Service, U.S. Fish and Wildlife (free)
• North Wind Picture Archives
• Flickr
• Google search for images
• Wikipedia
Illustrators
• Vicki Piebenga, vip4art@yahoo.com
• David Williams, NC www.winginitworks.com
• Chris Johnson, 1johnson@comcast.net
57. READABILITY:
HOW HIGH UP?
• No text should be lower than 24 inches
off the floor
• 84 inches off floor should be top range
for any text
• Titles should be 12 inches above
eye level (81”)
• Headers between 54” and 66”
59. READABILITY:
HOW HIGH UP?
If you need to put
text in a low
position, consider
a reader board at
a 45-degree
angle.
60. READABILITY:
BILINGUAL LABELS
• Will more than double your text space on sign
• Not recommended unless required by law
• Instead, try handing out laminated cards of labels
• Or only translate some labels for important items
• Or only part (ID info) and not whole label
• Consider audio tours where you can include several
languages
61. READABILITY:
AUDIO LABELS
Hand-held
• devices or the person’s
own SmartPhone
• Allow the visitor to keep their eyes
on the object while listening
• Available in multiple languages
• They can isolate visitors from interacting
• Malfunctions can be annoying
• They can cause traffic jams
62. READABILITY:
ITEM REMOVED
If an object has to be removed, for loan or
conservation purposes, and the caption is
still there, it is thoughtful to put up a
photograph of the piece that is missing
with a note about where it is.
63. READABILITY:
CREDIT PANELS
A credit panel should be
included in any exhibit.
They don’t have to be
bronze but it is good for
reference and morale to
see the names in print
of those who worked on
the exhibit.
64. HELP YOUR VISITORS
AVOID SIGN FATIGUE
Studies show there are 3 ways:
• Make the exhibits visual
• Make them three dimensional
• Make them interactive
67. 3D: MAKE EXHIBIT TACTILE
Add tiny bronze critters to rail of an exhibit. This was one
of several at Philadelphia Zoo that showed the diet of
the animal in the exhibit. Children were given a list and
were told to find the 8 critters hiding in the exhibit.
68. 3D: MAKE EXHIBIT TACTILE
Central High School site mounted a phone
to exhibit to provide emphasis.
69. 3D: MAKE EXHIBIT TACTILE
Heifer Intl. gives visitors opportunities to touch
the items that they tell stories about.