After graduating with a Bachelor of Design, I had every intention of becoming an editorial designer. I had secured a summer internship with a mid-sized communications company that specialized in custom magazines and nearing the end of my internship learned that they would not be keeping me on. It was then that a friend from university convinced me to apply for an environmental graphic design position at Reich&Petch. At the time, she was already working with the company and she believed that I would be a good fit. Despite my initial reservations about veering away from my goal of pursuing editorial, I accepted the position and have loved it ever since. My advice for those interested in getting into this, or other fields, is to value the connections you make and be open to their insights as others often see opportunities for your abilities that you do not.

 

Don Valley Brickworks Park Interpretive Signage

Photo by ©Kerun IP

 

 

Exhibit design combines everything that I love about editorial – analyzing and organizing complex information into accessible and engaging graphics, implementing my visual arts background in both process and application and learning about topics outside of my immediate field – while adding an extra layer of tools to engage my audience. Now, instead of a flat plane, information is conveyed through multiple planes, through multiple senses beyond the visual and with an ever-expanding array of new materials, technologies and techniques. 

 

 

Institutions typically have an existing exhibit standards manual. Similar to brand standards manuals or signage manuals, these outline the Museum’s requirements for text sizes and are often based on or reflect regional or industry standards, as well as accessibility requirements such as the AODA or ADA. When a client does not have existing standards in place, we begin with regional accessibility standards and work with the client through full-size sample prints to come to an agreement on sizing. This is sometimes done through visitor testing exercises.

 

 

 

 

Similar to print, all the same rules apply to ensuring accessible graphics for exhibits: easy-to-read font selections, 70% contrast, approachable language and supporting visuals. However, exhibits must also take into account physical challenges as well. This includes distance, heights and angles of displays and clearance between structures. To help ensure the exhibit is inclusive to its large audience pool, display heights are positioned to cater to both younger audiences and adults. Special consideration is paid to those using wheelchairs, ensuring displays are spaced appropriately for a wheelchair to navigate comfortably between them and that table displays allow wheelchairs to either roll under or alongside for users to be able to comfortably read information. Other complementary techniques such as audio programs and tactile surfaces are implemented as well so that exhibits do not rely only on our visual senses. These additions are not only useful for the visually-challenged but serve as another layer of engagement for other groups as well.

 

Joseph Brant Museum's Children Gallery

Photo by ©Reich&Petch

How do you address sustainability in your work?

 

Sustainability is addressed through specifying environmentally-friendly products, materials and processes in our printed graphics and structures. When these products aren’t viable, we opt for materials that have longevity and durability to avoid having pieces replaced – creating unnecessary waste. In addition, we try to avoid waste in other ways by designing panels that will maximize on typical material sizes and that can be updated in the future. Many of our projects are science-based and, as new discoveries are made, information panels for exhibits need to be changed. By designing our graphic carriers to allow for updates, only the graphic panel needs replaced while the millwork structure is re-used. This works when replacing damaged panels as well.

 

 

The goal of any exhibit is to educate visitors. A successful exhibit is one that understands that visitors have different learning styles – Visual, Auditory, Kinesthetic and Reflective. When an exhibit provides multiple opportunities to learn through these different styles, its visitors are more engaged with the content and the experiences more memorable.

 

During brainstorming of our initial concepts, we look for opportunities for visitor engagement that can hit all four major learning styles. For visual and auditory learners, we’ll often opt to make spaces more immersive using sound, graphics, props and specimens. We include hands-on experiences that cater to the kinesthetic learners through low- and high-tech activities. Lastly, we always have quiet spaces, seating and prompts that allow  visitors to reflect on their experiences.

 

Joseph Brant Museum's Costume Gallery

Photo by ©Reich&Petch