Exhibit Design Resources

The Starting Point: Ideas, Concepts and Design

Objects form the centerpiece of most museum exhibits. Because of that, and because the primary purpose of museums is educational, museum professionals often refer to their work as object-based learning. One of the most significant choices a museum exhibit design team makes, therefore, is the choice of objects to display. Choices are purposeful.

In the planning phase, the idea generator works with a team of content experts and educational specialists to devise a focus for a proposed exhibit. Then, the idea generator and idea implementer work together to develop the detailed plans for the exhibit, called the storyline. At the heart of a good museum exhibit is a good story.

There are three basic concepts involved in designing an exhibit.

 Concept A. Immersion. The first guiding concept is immersion. A museum exhibition should immerse visitors in its story. It physically places visitors in the environment of the people, places and objects that are the focal point of the exhibit.

Concept B. Themes. The second guiding concept is dividing complex topics into a limited number of key themes. Because topics for exhibitions are often broad and the number of facts presented is more than a visitor can process in the short time of a typical visit, designers try to identify a limited number of broad points on which to focus, and build exhibits around these key themes.  By limiting the number of themes, designers hope to increase the likelihood that visitors will better recall the insights from exhibits.

Concept C. Layering. The third guiding concept is that of layering content.  Visitors should not have to read all of the labels to learn about the topic of the exhibit. Instead, they should be able to explore in as much detail as they like and leave feeling as if they learned a complete topic.  Most exhibitions have 3 layers of information.

1. Introduction to the gallery. These labels provide the title of the gallery and an overview of the main theme(s). These labels are the largest, so visitors can easily identify them several feet away.
2. Theme labels. These labels introduce key themes in the exhibit. The labels consist of a heading, a limited amount of text and, occasionally, a drawing or reproduced photograph. The text on these labels is large enough to see a few feet away.
3. Object labels. These labels, the most numerous in the exhibition, describe characteristics of individual objects, such as their significance or the materials used to make them. The text on these labels is the longest, but rarely longer than 12 lines. The type on the labels is small; visitors must stand close to read it. Some of the object labels also have pictures to further amplify points.

More on Labeling and Text

Avoid the use of colloquial and complex English, jargon, foreign dialects and technical language in text panels unless such language is explained within the text or in supplementary handouts.

Sentence length should be no more than 25 words (15 is preferable). Label length should be a maximum of 75 to 100 words

• Use typefaces that are legible.
• Do not set text in all caps. Type set in caps is more difficult to read than C/LC.
•  Limit all caps to titles. Use all caps very sparingly.
• Avoid script and italic type for essential information
• Select type size appropriate for viewing distance

24 pts.	less than 3" avg.
48 pts.	less than 39" avg.
100 pts.	less than 78" avg.
148 pts.	less than 118" avg.

• Use constant letter spacing and word spacing
• Justify text on the left margin and keep a ragged right margin
• Provide at least a 70% contrast between text and background. Print only on a solid background. Do not print on a visually-textured background.
• Locate labels in a consistent location throughout the exhibit
• Avoid shadows on labels. Ensure that visitors can read labels without interruptions from case seams
• Define labels with color or a raised surface
• Exhibit elements (objects, graphics, reproductions) must be visually accessible to all visitors.
• Design simple backdrops that do not conflict with the display of an exhibit element
• Place small items in front of cases. Do not allow labels in cases to lie flat on case deck. Angle labels at 45 degrees.
• Provide 10 foot candles on exhibit elements unless restricted due to conservation issues
• Mount labels so that visitors can get very close to read them.
• Mount wall labels at a height that is comfortable for both those seated and standing.
  Wall labels mounted between  48 in and 67 in. are in a comfortable viewing location for both those seated and standing. Wall labels mounted with a centerline at 54 in. above the floor are at optimum height for everyone
• Locate labels and text panels in consistent locations throughout an exhibition

Physical Space

Exhibit designers are keenly aware that the physical location of objects within an exhibit has a significant impact on visitors' experiences and try to consciously use that space.  Considerations include linear exhibitions that can only be traversed in one direction (timelines).  Circular exhibitions allow visitors to view the exhibit in two different directions.  Open exhibit plans allow the visitor to view any part of the exhibit as they please with no attempt at direction.

Raising or lowering the level of light in a gallery also helps create the mood of an exhibit. Walls also become design elements. Fixed architectural elements also affect the design of the floor space.

The design of the physical environment creates an ambience through the size and distribution of cases, availability of public seating, size of pathways and lighting design. The design of the physical environment can provide intuitive ways of finding and creating a greater sense of place and comfort.

According to the American’s with Disabilities Act of 1990 that took affect July 26^th, 1992, ( http://www.usdoj.gov/crt/ada/ ) laws in some jurisdictions require that exhibits be accessible to all visitors, regardless of their physical disabilities. For example, to accommodate visitors in wheel chairs, exhibit designers typically add ramps to exhibits that have sunken or raised areas, make sure that visitors in wheelchairs have sufficient clearance between objects and that they can read labels from their sitting positions. Although not required by law, many exhibit designers also include seating areas in exhibits because older adults and young children need a place to rest in the middle of an exhibit. The design team at the urban history museum also tested its exhibit with people in wheelchairs to make sure that the accommodations met the needs of these visitors.

Mounting Objects

Almost every collection item put on display requires some kind of support that will hold it upright in a case, secure it to a wall, or keep it from moving in a drawer. In order not to put unnecessary stress on the item, it is supported in the most natural way possible, often with a custom-made mount. These mounts must fit the items closely to keep them safe.

The type of mount needed is decided by design and conservation requirements, the materials the item is made of, and its weight. Good mounts can help enhance our understanding of the item while remaining quite unnoticeable themselves. Mounts for culturally sensitive items require special consideration to ensure the mount design recognizes both the physical and cultural needs of the piece.

Depending on the collection item and where it will be exhibited, a mount can take anywhere from a few hours to several weeks to make. Most mounts are made from materials that won’t harm the collection items over time. These materials include acid free cardboard used for book mounts, foam inside cloak and body forms, black fabric covering forms, and plastic coating used for cushioning on parts of the metal mounts.

Place small items in the front portion of a case, with larger items behind.  Avoid shadows falling directly on items.

If displaying sensitive materials that require a maximum of 5 footcandles, then: 1)position the items to allow the visitor to approach them as closely as possible.2) light the environment with even light (i.e. do not spotlight the object and provide low-level ambient light in the gallery) provide the highest contrasting background to make objects stand out in the case