Component-I (A) – Personal details:

Purpose and Principles of Display & Exhibition

Prof. P. Bhaskar Reddy

Sri Venkateswara University, Tirupati.

Shri Supreo Chanda

Dept. of Museology, University of Calcutta.

Shri Supreo Chanda

Dept. of Museology, University of Calcutta.

Prof. P. Bhaskar Reddy

Sri Venkateswara University, Tirupati.

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Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Museology

Module Name/Title Purpose and Principles of Display & Exhibition

Module Id I C / MUS / 13

Pre requisites Knowledge of Museums, Exhibition, Principles of

Exhibition Design.

Objectives To build an idea on the purpose of museum

exhibition and the principles of exhibition
designing.

Keywords Objects, exhibits, exhibition, design elements,

human dimensions, exhibit arrangements.

E-text (Quadrant-I):

1. Introduction
Exhibitions are the means for bridging the gaps between the mission statements and the
audience, i.e., the visitors, of the museum. The displays and exhibitions are the museum’s
most important means of communication. Its potential and capacity for communication is
therefore the major issue to keep in mind when planning and designing an exhibition,
whatever the theme, mode or type. The aim throughout must be to motivate the visitor and
enhance curiosity. Educational psychology fundamentals have also been integrated to
exhibition design as well as didactics, semiotic concepts, graphic design principles and art
and aesthetics. Museum exhibition is essentially a form of visual communication, achieved
through the objects, aided by the use of graphics and written information in the form of text
panels, captions and individual object labels. The ultimate aim is to communicate the
message in a clear and precise visual and written language, easy to understand at whatever
level or levels of interpretation are intended. Museums usually have an ‘exhibition
committee’ comprising the Director, Curator, Designer/ Visualizer, Educator/ Interpreter and
the Security-in-Charge. There are definite exhibition policy followed by different museums
according to their specific needs conforming to the collection or the audience needs.

Anything that has a material existence can be an ‘object’ whereas it becomes an ‘exhibit’
when it is given a ‘meaning’ by adding some value into it by Visual/ Verbal aids, e.g., a label.
Similarly when the objects (or maybe exhibits) are arranged in a random fashion, without a

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conscious effort for interpretation is called a ‘Display.’ Exhibits arranged in a meaningful
sequence with conscious effort for interpretation maybe termed as ‘Exhibition.’ Interpretation
is the act or process of explaining or clarifying, translating, or presenting a personal
understanding about a subject or object. Exhibition can be of two major types:
 Object Oriented
 Concept Oriented

2. Exhibition Design
Exhibition design is the process of developing an exhibit – from a concept through to a
physical, three-dimensional exhibition. Exhibition designers use a wide range of technologies
and techniques to develop experiences that will resonate with diverse audiences – enabling
these targeted audiences to access the messages, stories and objects of an exhibit. The
exhibit design process builds on a conceptual or interpretive plan for an exhibit, determining
the most effective, engaging and appropriate methods of communicating a message or
telling a story. One of the major shifts in museum and exhibit design in the last decade has
been a focus on visitor experience. By identifying the types of visitors and their needs and
expectations, museums can design their exhibits to give a positive visitor experience.
Participatory activities are also becoming more popular. There are five broad stages in the
exhibition design process:
1. Planning
2. Research/ Interpretation
3. Design
4. Production
5. Installation
6. Evaluation

3. Elements of Design
Though there has been diversity of processes and techniques museum designers use for
exhibition development, and there has been no unanimity in opinion, the following six
elements serve most necessity of the exhibition designing:
Value:
Value is the quality of lightness or darkness. Black areas have lowest value; white areas
have highest value. Values are associated with visual weight characteristics. Darker values
are associated with heaviness; lighter shades with lightness. Values are important for
emphasis, orientation, and attraction/ repulsion. Value is controlled by pigment, surface
treatment and lighting.

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Colour:
There are three primary colours – red, yellow and blue. By mixing them all other colours are
produced. Pigment that mixes and reflects all wavelengths is white. Mixing all wavelengths
of light produces white. Total absorption of all wavelengths results black. Yellow to red of the
visible spectrum are considered warm; while rest of the colours towards blue are regarded
as cool. Different colours are associated with different meanings in different cultures.

Texture:
Texture is the visual roughness or smoothness of a surface. By varying the density of
pigments, quality of line, and strength or weakness of values, the surface of the 2-
dimensional images can be given toothiness. Texture may also result from the actual
treatment of a surface and have a tactile dimension as well.

Balance:
Balance is the quality of visual weight distribution. Objects may be balanced against objects;
objects (positive element) may be balanced against non-object (negative element – space).
Visual balance may be of two types:
 Symmetrical or formal: when images or objects are arranged symmetrically, i.e., items of
equal size and weight match across a mid-point.
 Asymmetrical or informal: when no such equivalents exist.

Visual balance may be achieved by:

 shifting the centre of balance
 use of negative space
 employing multiple versus single elements
 offsetting values and volumes

Line:
Line is the quality of linearity. Lines impart characteristics, add textural qualities, affect visual
weight, imply directionality (lead the eye suggesting direction), show containment, and
delineate space.

Shape:
Shape is the element of physical or spatial containment. It is the composite of all points
forming the internal or external surface of a composition. Broadly, shapes may be of two
types:

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 Geometrical: hard-edged, like squares, cubes, rectangles, triangles, circles, and
cylinders.
 Organic: softer, more curvilinear, as are living forms.

Contrasting, joining, overlapping, and mixing shapes add important visual interest to any
composition. The juxtaposition of organic and geometric shapes can accentuate the qualities
of both.

4. Exhibit Presentation
Presentation is the most important for the success of an exhibition. A good, scientifically
arranged presentation of exhibits can enhance the efficacy of the exhibition, augments the
interpretative value, and gives the visitors viewing comfort; on the other hand bad
presentation mars the entire effort. There are several factors for good presentation, like –

Human Dimensions:
Human beings are very important for consideration in presentation; after all exhibitions are
meant for the mankind. Human dimensions along with its variations, including special needs
(like users of wheelchair, crutches, stick, etc.), are needed to be considered during
presentation. Ergonomically designed exhibitions increase the utilisation factor.

Space:
Every person relates space in terms of measurements. People feel most comfortable in
spaces that allow freedom of movements without feeling overtly confined or exposed. Larger
and higher spaces invoke awe. The larger the space, the smaller the individual appears by
contrast. Being lost in a vast space carries the sensation of being less able to control the
environment. The less control a person has, the more impressive, awe-inspiring the space
becomes. An intimate exhibition requires less space. To determine and execute the
objective of an exhibition – impressive, grandiose or cosy, intimate – consideration of human
dimensions are absolutely necessary. Space is associated with human emotions also. A
small object in a large hall may appear insignificant. The same object in a more intimate
space becomes important and focal. This can be helpful in designing. For instance, to
promote the close viewing of small objects, a space that is smaller, more dimly lit, and in
which important objects are highlighted invites scrutiny and stimulates curiosity. In terms of
emotional responses aroused, space may be defined as:
 Formal or informal
 Cold or warm

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  Masculine or feminine
 Public or private
 Awesome or intimate
 Graceful or vulgar

Behavioural Tendencies:
Among human beings there are shared behavioural tendencies (may be varied in different
culture and societies). To create effects, move people, and attract attention it is wiser to play
upon natural tendencies, rather than oppose them. Some of these shared behaviours are:
a) Touching:
People have an invariable tendency to touch. If objects or surfaces are within reach,
they will be touched. Erecting barriers are not always desirable. If the objects are out of
reach, they are outside the touch behaviour.
b) Entry response:
People prefer largest opening, when entering a new and largely unknown space. Larger
and well-lit is better.
c) Sitting or leaning:
If anything is a suitable height, people will prop their feet on it or lean on it. These
actions are automatic and without thought, often in response to fatigue.
d) Turning to the left:
In India, it has been observed that people tend to turn left on entering the exhibition hall.
Though this is practically an observation, not backed by hard data, it should be given
serious consideration while designing an exhibition.
e) Following the left wall:
People tend to keep left while moving, leaving the objects placed on the right side
somewhat less noticed. This can be rectified by placing attractive exhibits on right to
force people to right.
f) Stopping at the first exhibit (on the left) rather than the last:
The first exhibits on the left get maximum attention and the last ones are less attended.
g) Exhibits closest to exits are least viewed:
The closer people are to the exit, the more they are drawn to it, and the less attention is
given to the exhibits.
h) Preference for visible exits:
People are reluctant to enter an area without visible exit. Perhaps this behaviour is a
result of subconscious desire to avoid traps.
i) Shortest route preference:

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 Exhibits along the shortest route to the exit receive the greatest attention. Placing
striking exhibits periodically throughout the gallery draws visitors through the galleries.
j) Reading from left to right, top to bottom:
Most of the Indian languages are read & written from left to right and from top to bottom.
This is a normal progression for viewing any object or graphic.
k) Larger type is read more:
The larger and bolder texts and graphics attract more attention. Use of headlining and
large type permits quick transfer of basic information.
l) Aversion to darkness:
Due to the inability to determine the contents and sizes in the dark, people avoid such
places. Fear of the unknown as survival reflex may be the cause of such behaviour.
m) Chromaphilic behaviour:
Bright colours are visually engaging. Although a person may not like very bright hues,
their eyes are drawn to the more brightly coloured object of area.
n) Photophilic behaviour:
Similarly, most people are attracted towards brighter illumination. Using colour and light
may entice visitors along a path of desired progression.
o) Megaphilic behaviour:
Similar to chromaphilia, largeness is visually stimulating. People react first to larger
objects when they enter a space.
p) Exhibit fatigue:
Mental and physical over-stimulation or over-exertion creates a common condition
called exhibit fatigue.
q) Thirty-minute limit:
The average maximum attention span of an adult audience is thirty minutes. See-
through panels, exhibit cases, and windows can be used to capture visitors’ attention,
draw visitors into the next area, heighten mystery, create openness, and promote
interest and movement.

Viewing height:
People are most comfortable and will spend more time looking and reading when printed
materials and objects are comfortably placed. They should be positioned so the centre of
material is at eye-level. For adults, average viewing height is about 5 ft. 3 in (1.6 m). The
field of vision forms a cone beginning at the eyes and extending 400 above and below the
horizontal axis. Distance from the object increases or decreases the comfortable viewing
area within the cone. Placing the objects or graphics outside the cone leads to difficulty in

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viewing and fatigue. The space outside the cone of vision can be used for large, bold
elements, but should be avoided for detailed ones.

Traffic flow approaches/ Visitor circulation:

This is the manner in which a visitor approaches the exhibition or circulates in the exhibition
space. There are three basic methods:
a) Suggested: This method uses colours, lighting, way finders, headlines, landmark
exhibits, and similar visuals to draw visitors along a pre-determined route without putting
physical barriers to restrict to a single path.
b) Unstructured/ random: Here the visitor has the fullest freedom of movement within the
exhibition arena, without any suggestion or direction of route to follow. It is not suitable
for storylines or directional presentation; most suitable for art galleries.
c) Directional: The exhibition is arranged along a fixed route through which the visitor is
allowed to move on. It is good for a very formal, didactic exhibition, but does not allow
visitor freedom of movement.

5. Planning a Visual Presentation:

Displays and presentations should be pleasing, attractive, colourful and capable of
communicating their intended messages. Success grows with knowledge of some very
simple fundamental principles and skills. Knowing how to plan a visual presentation is a first
step.
The Layout:
Successful displays, presentations, illustrations, diagrams, and exhibits usually start with
plans. A visualised plan is called a layout. Although prepared in rough form, with details
suggested rather than filled in, the layout provides a way to evaluate a finished product
before any time-consuming construction work is done. Further, development and
improvement of a layout can be a try-and-test process leading to simplification and
clarification of ideas for both content and presentation techniques. Practically every display,
exhibit, poster, picture, advertisement, and animation starts with a layout, and the ultimate
success of any display project can be attributed largely to the quality and thoroughness of
initial layout work. Layouts may be planned life-size or developed in a small-scale sketch of
the proposed final product. Such small layouts are called thumbnail sketches. In analysing a
layout to determine whether the final display will be effective, a number of fundamental
characteristics can be studied; each contributes some elements of appeal, some power of
communication:

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a) Harmony:
A good layout should first be harmonious. This means that the layout should be planned
in such a way that all of its elements go together.
b) Contrast:
In order that the main parts of the display may be understood, they must be seen. The
viewer will see a skilfully arranged exhibit because of contrast. Light should be
contrasted with dark and vice versa.
c) Balance:
Of the two main types of balance − formal and informal − the latter is usually much more
interesting to the viewer. Museums generally strive for casual, informal arrangement in
their displays.
d) Emphasis:
Through the proper use of different elements − colour, directional, light, line, lettering,
etc. − a good layout will emphasise a central idea that is to be stressed.
e) Shape:
A configuration pattern is usually found in effective displays, established by the
directional, developed to guide the viewer to see the details in proper sequence.
Whether the shape is subtle or obvious, it should be clearly evident in the original layout.
Four basic layout shapes or configuration patterns are there − I, S, T, Z.
Visual Characteristics:
Whatever the type of exhibits, they have some common intrinsic visual characteristics, which
needed to be considered for proper presentation.
a) Visual impact:
This is the characteristic of the object to arrest and hold attention. Design elements work
together to create the impact. Monochromatic groupings depend heavily upon value,
texture, visual mass and visual weight. Colour compositions add colour relationships to
these elements.
b) Visual weight:
It is the quality of weightiness (heaviness or lightness) of the object or composition.
Visual weight can be obtained by combining various design elements like value, texture,
colour, etc.
c) Visual direction:
This is the quality of directionality, i.e., characteristics of the object or composition in
leading the eyes of the viewer to a certain direction. Linear elements, colour sequences,
weight distribution and other design elements affect the directionality of an object or
composition. The basic aim is to use the directional qualities to keep the viewer’s eyes
back into the composition.

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d) Visual balance:
It is the feeling of being at rest or the sense of stability. Combination of visual weight,
colour and directionality impart this quality.
e) Visual mass:
This is the visual quality of solidity or opacity. Colour, texture, value and linearity create
this quality.

6. Exhibit Arrangement:
Arrangement for exhibits is very important for meaningful communication and interpretation.
A properly arranged exhibition can enhance the value of the exhibition, educationally and
culturally. Overall aesthetics improve too as a result of proper arrangements. There is a rule
of thumb to place the exhibits at a comfortable viewing height, i.e., 1.6 m (5 ft. 3 in), which
means placing the visual mass of the object in such a way that the viewing height coincides
with the vertical centre of the object, such as –
a) Centre line alignment:
Several flat objects are grouped in such a way that the centre line passes through the
middle of the total visual mass. This is a very effective visually balanced arrangement.
b) Flush alignment:
Here the objects are so arranged that all the top or bottom edges align, usually at the
viewing height. This is visually disturbing and is not effective.
c) Horizon line alignment:
This arrangement is done particularly for the paintings, as every painting has got a
horizon line or the part of the composition, which is the implied viewpoint or eye-level of
the viewer. Horizon lines differ from painting to painting, such as, high horizon, middle
horizon or low horizon. The objects are arranged according to their horizon lines.
d) Flanking arrangement:
This is actually balancing opposing elements along a horizontal line, usually at the
viewing height, forcing the eyes towards the centre of the grouping.
e) Spiralling arrangement:
A complex arrangement using directional qualities of the objects, creating a spiralling
pattern of the eye movement around the centre of the visual mass.
f) Balanced arrangement:
It is usually the desired result of the arrangement. The individual object is balanced to
the whole using positive elements and negative space.

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7. Obtaining emphasis:
Emphasis on a particular exhibit can be obtained by following ways:
a) Size: An element in exhibition can be emphasised by increasing its size.
b) Isolation: Exhibits can be placed apart from others or put into separate environments to
give them emphasis.
c) Colour: Emphasis can be obtained by colour or by colour contrasts, either in the objects
themselves or between different backgrounds or between each object and its
background.
d) Position: Objects can be placed in front of other objects, or higher, or lower, to indicate
relative importance.
e) Shape: Changes of shape can be used to give emphasis to parts of an exhibition.
f) Texture: Roughness or smoothness of the background of the exhibits can be used to
obtain emphasis.
g) Light: Light can be used to enhance form, texture and colour. Spotlights can be used to
emphasise a particular exhibit.
8. Summary
Grossly objects/ exhibits are of two types − two-dimensional & three-dimensional. Objects/
exhibits, which are principally oriented in two planes − length and breadth − are two-
dimensional. Paintings, photographs, prints, drawings, tapestry, textiles, carpets, upholstery,
etc. are examples of two-dimensional exhibits. Though they do have thickness, the broad
surfaces are more important visually. Sculptures, potteries, tools, implements, instruments,
machinery, furniture, natural history specimens, which have substantial thickness, are the
three-dimensional exhibits, i.e., having three planes − length, breadth and thickness. Two-
dimensional exhibits are mostly hung on vertical surfaces. Textiles, carpets, etc., are either
spread on a horizontal surface or placed on a slanted surface for better viewing. Three-
dimensional exhibits occupy more space and need more planning in arrangement. These
are the basic principles for two-dimensional as well as three-dimensional exhibits. Three-
dimensional objects have the added dimension of depth that makes very interesting, intricate
and challenging relationships between objects. Care is needed in grouping three-
dimensional objects to give equal importance to each item. Placement of objects in relation
to each other and to the visitors need special considerations as overlapping each other in
relation to horizontal plane is quite intricate.
There are other factors too for creating a good exhibition, like the choice of light – natural or
artificial – that depends upon the space (hall or the building) where the exhibition is held,
nature of the objects (sensitivity to the light is essential to consider), resources available
(including finance), opening hours, type – passive display, participatory or interactive and the
duration of the exhibition – permanent or temporary.

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Evaluation of an exhibition is another important factor. Layout might help the designer to
have the front-end evaluation and give a chance to revise based on the feedback. While the
exhibition is being installed, formative evaluation with the potential stakeholders can be
utilised to judge the intended outcome and to rectify the deviation if any. Summative
evaluation could be quite useful in future planning of an exhibition.
Currently several changes have taken place in the exhibition designing. Central placement of
the objects is being preferred over linear arrangement. Hi-tech gadgets give several options
to add dimensions to the traditional mode of displays. Passive display technique has
become obsolete to pave the way to participatory and then interactive display techniques
involving total experience – hands-on, minds-on and hearts-on. With the advancements of
technology, like haptic experience, virtual reality and augmented reality, museums nowadays
resort to immersive visualisation. There are immense possibilities to effectively complement
objects with the related stories aided by the technology that if used intelligently, might
accentuate the communicability of an exhibition immensely. Nevertheless, despite all
advancements, the basic principles described above remained same. So has been the
ultimate purpose for a museum exhibition – effective communication, ambient learning
experience and the visitors’ satisfaction – aesthetic or didactic. An effective museum
exhibition is a joint responsibility of all, the Director, Curator, Designer and the Interpreter.

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