Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Designing an exhibition is a vast undertaking. It begins with a story one wishes to tell, a lesson one hopes to demonstrate, a collection of objects or artifacts one must display. Exhibition design involves the process of finding appropriate form and authentic expression for any content. It requires the conscious arrangement of many parts, both stationary and moving, neces-sary in creating meaningful experiences for visitors in physical spaces. Ultimately, an exhibition is a living, three-dimensional composition to be experienced and absorbed....Typography as the transmitter must respect the meaning of the texts. Its fundamental responsi-bility is to convey content. Typography also adds hierarchical clarity to the texts, signaling impor-tance, voice, relationships, and meaning. It should entice and encourage, drawing the reader in, making museum visitors want to spend the time and energy to understand what is being presented.

... All exhibitions, regardless of topic, share the inherent dialectic between the intentions of the presenter and the experiences of the viewer. Who is displaying what and for whom? Exhibitions provide the bones for learning, exploring, and interacting. They take visitors on journeys near and far—making the inaccessible, accessible and the commonplace, extraordinary. Exhibits encompass broad catego-ries of history, natural history, science, technology, and zoology.

Project DescriptionChoose a significant historical, educational, scientific or cultural narrative, one that works well for an independent interpretive exhibition. Interpretive exhibitions are exhibitions that require more context to explain the items being displayed. This is generally true of exhibitions devoted to scientific and historical themes, where text, diora-mas, charts, maps and interactive displays may provide necessary explanation of background and concepts. Interpretive exhibitions generally require more text and more graphics than fine art exhibi-tions do. The topics of interpretive graphics cover a wide range including archaeology, anthropol-ogy, ethnology, history, science, technology and natural history.

+++Project Objectives

1. To continue to look at grid structure as devices for organizing information in 3D and UI

2. To look at basic exhibit and 3-D design strategies 3. To consider narrative and storytelling in 3-D space.

MethodologyIn a group or individually you will develop a mas-terplan proposal that includes interpretive goals, themes, storylines and diagrams. The team will dia-gram the envisioned visitor flow both for the exhibit space to include the overall storylines and themes. Then, individually each person will select one sto-ryline excerpt from your topic to design one wall that effectively visualizes the exhibition concept and visual identity to include grids, headings, sub-heads, texts and supporting imagery, interactives and artifacts as well as color, typography, 3-D forms, surfaces, texts, graphics and images. The formal considerations of grids used in print and on the screen apply to environmental graphics, except that scale becomes a factor. Consider the underlying grid structure, visual hierarchy, contrast, and compo-sitional balance. Also consider context of the wall/excerpt—its location, spatial circulation, qualities of light, materials, and structure.

Process1 In a group or individually, choose a significant his-

torical, educational, scientific or cultural narrative that is worthy of developing into a large interpretive exhibition (permanent). Use the workshop handout to help you develop the objectives. Establish pro-posed site location + audience

2. Establish theme, story, or narrative concept. Develop a story wireframe and floor plan that considers all of the stories to be told about this event. Consider the flow.

3. The exhibit space is 50 x 50’. Develop a rough space layout to scale. Finalize plan in illustrator or Google Sketchup. Consider ADA 48” min. access.

4 Choose an overall exhibit title, select an appropri-ate location/site/context and select the target audience.

4 From the overall narrative, individually choose one excerpt story to work with in this exhibit grid and visual identity. Be selective and make sure there is enough content to work with that includes heads, subheads and multiple texts to engage with hierarchically and expressively.

5 Select/edit/rewrite texts/labels (see Ekarv)6 Select/compile supporting imagery7 Consider the flow of the wall from left to right, the

various elevations, planes and surfaces. You may include pedestals, cabinets, and any other sur-face changes that accommodate artifacts and/or interactives. Include at least one digital inter-active and consider the content for this. Select

display techniques, colors and materials. Select final materials and fabrication techniques.

Your final exhibit wall elements should include: —exhibition wall title (head/subhead)—heads, subheads—narrative texts—supporting imagery—supporting texts—artifacts or objects (2 and 3 dimensional)

The exhibit wall is 32' width x 11' high x 2' deep. You may work further into the space if you want.Your final presentation will be at 1’ - 1” scale : 32" wide x 11" high x 2" depth. Design the final as a 3-D elevation/model with a floor context of approx. 6' wide (6") and include a presentation with a figure for scale. Choose one small but significant segment of the story and design an exhibition wall.

8. Choose one part of the exhibit narrative that might be useful to include an interactive application. Design 3-5 screens of the interactive app.

+++Final Deliverables1. Exhibit entry wall and primary exhibition iden-

tity/title, subtitle and short intro. paragraph. 8’ w x 11’h (final 8 w x 11”)

2. 32” wide x 11” high x 2” depth and a floor refer-ence of 6” (May be primarily digital but include some represented 3-D and ipad interactives). Present with scale reference (person). Flush mount.

3. Print to scale detail 11 x 11”. Flush mount.4. Floor Plan to scale on 11 x 11”5. Exhibition Brand Booklet to include sketch process

and research into 5.5 x 8.5 booklet.6. Ipad interactive (5 screens). Mounted.

Exhibit References

Clare Brown: https://vimeo.com/68256262

Rockport Publishing, Exhibition Design

Hunt, Wayne, Design and Planning Environmental Graphics 1994

Rattenbury, Arnold, Exhibition Design: Theory and Practice. 1971

Rob Carter et al Working with Type: Exhibitions, Rotovision 2000

Project 1 : Exhibitions + Interactive Learning

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

ScheduleT August 23Assign Project 1Discuss groups and research.Please visit:

1. Holocaust Museum Houston and/or2. Museum of Natural Science

TH August 25Work on Collaborative ProjectMeet briefly to discuss groups or themes.Identify theme outline, narrative excerpt, main exhibit title ideas, texts and imagery.Homework: Use the workshop handout to work on ideas for exhibit. Present.T August 30: Presentation of Exhibit Lecture: Presentation of Exhibit Theme/Concept (group or individual)

Organize into a pdf screen presentation:1. Theme/Story Concept/Objects/Audience2. Message (Main/Primary/Secondary)3. Visitor Experience4. Exhibit Title and 3 word marks 3 -11 x 11"5. Narrative Wireframe and 3-4 flow diagrams

TH Sept 1Due : Flow Diagrams (2 refined) Printed 8.5 x 11 Due : Final narrative excerpt Printed 8.5 x 11 Due : 2 refined main exhibit word marks 8.5 x 11 Assign: 3 sketches of wall identity and typographic selections. Further develop exhibit typography and exhibit identity. Indicate 1 or 2 typeface selections and hierarchy of these typefaces for use on all the exhibit graphics.T Sept 6Due 1 refined overall exhibit logo Due : 3 grid sketches 11 x 32” exhibit wall (B+W tiled and reduced scale color)— texts, images, forms, col-ors, surfaces and images of relevant objects Introduce Wall Building1 refined grid sketches 11 x 32” exhibit wall(B+W tiled and reduced scale color)Consider material, media, colorsTH Sept 81 refined grid sketches 11 x 32” exhibit wall(B+W tiled and reduced scale color)Discuss materials/buildingT Sept 13Review refined 11 x 32” exhibit wall (Color) Assign : Ipad Interactive UI Project

TH Sept 15Review : 1 refined 11 x 32” exhibit wall (Color) T Sept 20Review : 1 refined 11 x 32” exhibit wall (Color) Assign model buildingTH Sept 22*** Field Trip Thomas ReprographicsReview : AppT Sept 27Review : 1 refined 11 x 32” exhibit wall (3D) Review : AppTH Sept 29T Oct 4Review : 1 refined 11 x 32” exhibit wall (3D) Review : AppTH Oct 6*** Field Trip GraphtecT Oct 11Review : 11 x 32” exhibit wall (3D) Review : Exhibit Entry wallReview : Flow MapReview : AppTH Oct 13Due 11 x 32” exhibit wall 3D/Color) Due scale detail 11 x 11”Due Main Exhibit Wall 8 x 11” (Vertical)Due 5.5 x 8.5 booklet/Research/SketchesT Oct 25 Due ipad interactive (5 screens). Mounted.

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Exhibit Design Process(From TMDA Exhibit Workshop)

While all of the approaches to exhibit design described above can produce successful though dramatically different results, they can be helped or hindered by other areas of design: graphics, colors, sign layout, space layout, artifact/specimen mounting, and light-ing. Working these out constitutes the design develop-ment stage of the process.

Space Layout There is no golden rule for exhibit space layout. Variables to consider are: how many visitors do you expect to receive at any one time? What is the target age group? What sort of circulation or organization of exhibit elements will best develop the exhibit sto-rylines and support the exhibit theme and objectives? — The circulation route could be linear (or more likely,

curvilinear), room-byroom (though unstructured within any one room), centripetal, completely ran-dom, and so forth. It is easiest to build upon a story with a linear path, but that does not necessarily suit the space and the exhibit’s other logistical require-ments.

— Another thing to keep in mind are ADA (Americans with Disabilities Act) requirements, such as a 48” minimum passage at all times to allow wheel-chair access. ADA also defines maximum slopes of ramps and heights of handrails. The full set of ADA Guidelines for Buildings and Facilities (ADAAG) can be found at: http://www.accessboard. gov/adaag/html/adaag.htm.

— The building code, which for Texas is the IBC (International Building Code), specifies exit loca-tions, exit signs, sprinkler systems, etc.

— The floor plan may also need to accommodate places for ticket sales, ticket taking, and docent or guard surveillance of the exhibit. You may want to consider installing a camera system. These have become inex-pensive.

— When organizing the floor plan of the exhibit, try to project where people will be grouping (for example, around an interactive or a display case), and be sure to provide circulation space around these magnet spots in order to avoid bottlenecks.

Exhibition Planning and Design (adapted from David Dean, Museum Exhibition)

Human Factors in Design— Human dimensions = scale: we relate space to our-

selves as the fixed unit of measurement - response to space (cathedrals vs. homes vs. closets)

— Touching - innate predisposition for touching - sen-sory confirmation of what they see, memory rein-forcement (if they can reach it they will try to touch it - hence the need for barriers (variety of types)

— Entry response—all other things equal, people go in the larger, well-lit opening

— Viewing height - center at eye level is most com-fortable ave. adult eye level = 5’3”, with cone shape of the field of vision determined by distance from the object. Things outside the cone difficult to see.

— Sitting or leaning - if the surface is available, they will do it.

— Personal space - when violated the person will react - repel or move away.

— Exhibits are transactional spaces where people carry on varied activities in the presence of each other

— Distributional spaces: where people enter or exit lobbies, corridors

— Collecting spaces: meet or gather: classrooms, audi-toriums, exhibit halls

— Transitional spaces: spaces through which people move form one place to another: doorways, atria

Behavioral Tendencies— Turning to the right— Following the right wall— Stopping at the first exhibit on the right side— Exhibits closest to the exit are the least viewed— Preference for visible exits— Shortest route preference— Language dependent reading patterns— Aversion to darkness— Chromophalic behavior (attracted to brightness)— Megaphalic behavior (attracted to largeness—go to

biggest object in the room)— Photophalic behavior (attracted to brightest illu-

mination)— Exhibit fatigue (mental and physical over stimula-

tion or over-exertion)— Larger type is read more

Design Strategies— Left turning upon entry— See-through panes, case, and windows (to capture

attention and draw visitors to the next area, create openness, mystery, promote interest and movement)

— Pools of light and color— Landmark exhibits (place striking objects and dis-

plays periodically throughout gallery)— Use headlining and large type (quick transfer of

information- themes)— Use diagonals and curves (visually active, lead from

one exhibit to the next)— Transitional spaces - changes in ceiling height, color

scheme, lighting level, aisle width, and other manip-ulations of vision and physical space to shift atten-tion, change moods, evoke emotional response.

Traffic Flow Options— Unstructured— Directed— Combination/suggested— Object arrangement— Horizon lines— Directionality— Balance

Exhibit Text— Title signs: 1-10 words long. Identifying what exhibit

is about. Wayfinders. (large panel size, imposing print, attention grabbing, design over content, mood setting

— Sub-titles (section headings): 10=20 words, large and easy to read from a distance, more informa-tional than titles, topic oriented

— Introductory texts: 50-200 words divided into suc-cinct, concise paragraphs of about 75 words; near entry; explanatory -- relates rationale for exhibition, unifying statement, introduces major concepts

— Group texts: 75-150 words (broken into 75 word max. para.), associated with groupings of objects or a section; sometimes begin with a “kicker” or head-ing; unifies the grouping conceptually; informative, interpretive

Object Labels— Captions: 75 words max, interpretive, specific to

object or small group.— ID labels: contain basic facts, give objects a name.— Distributional materials: brochures, etc. optional,

portable, target to interested visitor; unlimited text length, information intensive.

Exhibit Design Process

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Key Design Elements

1. Value— associated with visual weight characteristics

(darker = heavy, lighter shades = lighter weight)— for design purposes important for emphasis,

orientation, attraction/repulsion = visual impact—controlled by pigment, surface treatment, lighting 2. Color— extensive subject—physics and psychology

(requires both light energy and the action of the human brain, perceived through the filter of per-ception and are ascribed meaning)

3. Texture— texture is the visual roughness or smoothness of

a surface— may be actual surface treatment with tactile dimen-

sion or may be just varying density of pigment, quality of line, etc. (ex. sponge painting, computer screen backgrounds)

4. Balance—quality of visual weight distribution—infinite variations— generally symmetry is formal composition and

asymmetry is informal 5. Line— the quality of linearity—a string of points with

little or no space between them to lead the eye and suggest direction.

— gives strong directional content to composition — can vary in strength, density, width, and other

qualities6. Shape— the element of physical or spatial containment—

the composite of all points forming the internal or external surface of a composition.

—two and three dimensional shapes— geometric = hard-edged (squares cubes, triangles,

circles)—organic = curvilinear, softer— contrast of organic and geometric creates visual

interest, variation.

Writing Text for ExhibtionsEkarv Text Guidelines

One idea expressed per lineLine breaks placed at natural pauses in a sentenceNo more than 3 lines per sentenceSimple sentence structures, no complex clausesUse active forms of the verb where possibleConversational rhythms, easily spoken out loudMaximum 52 characters per line (including spaces)Maximum 8 lines per paragraphMaximum 15 lines for labels, 22 lines for panels (including spaces)Text hierarchy for Streakers, Strollers, and Studiers

Design and Narrative Elements

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Typography as Transmitter // Barbara Fahs Charles

The basic building blocks of an exhibition are artifacts, words (concepts and interpretation), physical design, graphic design, and lighting. Many exhibitions, of course, have additional, often very significant components—au-dio, video, mechanical and computer interactives, live actors, etc.—but these primary five form the core palate of every exhibition. Of these, graphic design—often primarily typography—is the connecting tissue, the carrier, the transmitter. Through typography the words have a physical presence and through the words the concepts of the exhibition and the interpretation of the artifacts are expressed most basically. Text and typography are Siamese twins—the existence of each dependent on the other. At their zenith they are intertwined creative expressions that capture the imagination. At their nadir, they are unintelligible, il-legible wasted efforts that quickly destroy all visitor interest. Words are too often the silent partners in an ex-hibition. As designers, we typically discuss the objects, the setting, the “mood” and the special elements of the exhibition. The quality of the texts our basic way of understanding the goals of the exhibition—are paramount, but rarely offered the high regard they rightfully deserve. Visitors come to an exhibition, often like foreigners in a new land, not knowing what to expect. They have to learn the signs and symbols of the natives (i.e. the museum person-nel, a worthy anthropological study in itself). Words, conveyed through typography, are their tools and maps for understanding. The typography and the texts must be welcoming and illuminating, at the beginning and throughout the exhibition. Typography as the transmitter must respect the meaning of the texts. Its fundamental responsibility is to convey content. Typography also adds hierarchical clarity to the texts, signaling importance, voice, relationships, and meaning. It should entice and encourage, drawing the reader in, making museum visitors want to spend the time and energy to understand what is being presented. At the same time, typography has other roles, both intellectual and aesthetic. Typography signals a time, a place, a culture, a style, enhancing the theme of the exhibition with subtlety or “hit-them-on-the-head” directness. It can provide unity to disparate elements or express a diversity of viewpoints. Typography at its best is a leitmotif for an exhibition, setting a tone, adding visual meaning with wit, humor, solemnity, and elegance. Typography can also add texture and significant color. Before the computer revolution, type, in its original form as an inked element most often metal, sometimes wood—pressed into paper, had an expressiveness that could be exploited for exhibitions. The quality and textures of the paper and the pure color of the ink added a richness no longer easily available. Now, as digitized output is increasingly being used in exhibitions, we are both gaining and losing. The sophisticated integration of typography and imagery that computers make possible is positive; the uniformity of the final product disheartening. On the other hand, sophisticated computer-driven cutters have brought dimensional type—raised, etched, or cut from almost any material—within the range of often limited mu-seum budgets. A theatrical comparison is not inappropriate. No matter how wonderful the script, if the actors are inaudible, it they fail to capture our attention and draw us in, we will never comprehend the full message. In the theatre of exhibition, typography, of course, doesn’t act alone. The objects have the starring and primary support-ing roles. Typography might be best compared to the chorus. In a Greek tragedy or the ballet, the best choruses perform with clarity and synchronized precision. Good typography requires the same attention to connection and separation, to emphasis and underscoring, to line and alignment, to rhythm and form.

Top 10 Successful Exhibit Requirements

1. Motivate VisitorsTarget an audience — the general public and/or specific communities2. Focus Content:Filter content so visitors are not bombarded with information overload3. Immersion:Engage visitors within a “story”4. Modularity:Present smaller themes instead of one larger complex topic5. Skimmability:Information should be easy to take in because visitors are often standing and/or have different levels of education6. Patterns:Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements)7. Capture Curiosity:Use storytelling techniques to engage visitors8. Interaction:Give visitors a “fun” experience by tapping into their emotion9. Integrate Technology:Technology should enhance visitor’s experience, not detract from it10. Layer Content:Present information in a hierarchical manner

Carliner, Saul. Modeling Information for Three-Dimensional Space: Lessons Learned from Museum Exhibit Design. Models, Processes, and Techniques of Information Design

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Exhibition Interactive : UI Grid Systems : A Guide

Project Goals— To explore screen based grid systems, hierarchy

logic and flow.— To further develop a formal and conceptual analysis

of typography and style— To develop critical strategies and analysis for inter-

active app development

—To examine app user interface design concepts

Final Format— Mount with 5 - screen shots 2” black border— Present application as a pdf or html page

Project

Design a interactive app for your exhibition that informs or engages the museum visitor in a mean-ingful and unique way. The story for app may be the same or different than that of your exhibition wall. The navigation and interaction of the tablet device works differently than that of a web interaction in that we can swipe, rotate, pinch flip. In addition, consider other elements/interactive that would func-tion to enhance the story or usability—video, social media, contextual interactions and notifications.

Process1. Choose a specific topic of your choice based on

your exhibition research that you feel would lend itself to a unique tablet interaction. Choose con-tent that allows for multiple levels of engage-ment/learning. Gather as much data as possible and begin to analyze the layers of information related to the users.

2. Define your audience/users specifically3. Mind map all of the stories and develop a rough

navigation concept to include main and sub navigation

4. Sketch rough outlines of the ideas on paper Use 768×1024 Canvas size (scale down)

http://www.smashingmagazine.com/2010/08/27/free-wireframing-kits-ui-design-kits-pdfs-and-resources/

4. Wireframe a variety of UI screens5. Refine prototypes visually. 6. Present between up to 5 different screens.

Concept/form development methodologyCollect and research each of the following that would be useful to analyze the formal and conceptual attri-butes for the application. Gather as much content as possible that shows the levels and depth necessary for the interactive app.Having defined the story/func-tion, develop a series of typographic logo studies us-ing the title of the app. Use these typefaces to further develop the navigation and sub navigation. Present 2-3 typefaces that are representational of the group.Consider the overall grid structure (hierarchical) organization, and establish a textual system to include—main navigation, sub navigation, text and image areas Consider grid system(s), typographic style, hierarchy weight, size etc. Consider the basic app templates for use in the interaction (keyboard, etc.)

Schedule

T Sept 13Review refined 11 x 32” exhibit wall (Color) Assign : Ipad Interactive UI ProjectAssign: Readinghttps://developer.apple.com/library/ios/docu-mentation/UserExperience/Conceptual/MobileHIG/Discuss iPad/mobile device design strategiesTH Sept 15Review : 1 refined 11 x 32” exhibit wall (Color) T Sept 20Review : 1 refined 11 x 32” exhibit wall (Color) Assign model buildingTH Sept 22*** Field Trip Thomas ReprographicsReview : App/Wireframes T Sept 27Review : 1 refined 11 x 32” exhibit wall (3D) Review : AppPresent 3 visual interface concepts (project or print) to include 2-3 levelsTH Sept 29-T Oct 4Review : 1 refined 11 x 32” exhibit wall (3D) Review : AppPresent 1 refined visual user interface (UI) concept (project or print) to include 3-4 levelsTH Oct 6*** Field Trip GraphtecT Oct 11Review : 11 x 32” exhibit wall (3D) Review : Exhibit Entry wallReview : Flow MapReview : AppPresent 1 refined visual user interface (UI) concept (project or print) to include 3-4 levelsTH Oct 13Due 11 x 32” exhibit wall 3D/Color) Due scale detail 11 x 11”Due Main Exhibit Wall 8 x 11” (Vertical)Due 5.5 x 8.5 booklet/Research/SketchesT Oct 25 Due ipad interactive (5 screens). Mounted.

Final FormatMount each level on Black Board with 2” borders TBD

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

Art 4334Fall 2016Instructor Fiona McGettiganemail fmcgettigan@uh.eduweb design.uh.edu/mcgettigan/senior/

University of Houston Graphic Design

Senior 1

References

General UX & Experience Design Books

Don’t Make Me Think by Steve Krug

The Elements of User Experience by Jesse James Garrett

Information Design Handbook by Jenn Visocky O’Grady & Ken Visocky O’Grady

A Project Guide to UX Design by Russ Unger and Carolyn Chandler

Mental Models: Aligning Design Strategy with Human Behavior by Indi Young

Observing the User Experience: A Practitioner’s Guide to User Research by Elizabeth Goodman

Seductive Interface Design by Stephen Anderson

100 Things Every Designer Needs to Know About People by Susan Weinschenk

Content Strategy for the Web by Kristina Halvorson

Measuring The User Experience by Thomas Tullis and William Albert

Undercover User Experience Design

The Laws of Simplicity by John Maeda

Card Sorting by Donna Spencer

Emotional Design: Why We Love (or Hate) Everyday Things by Donald A. Norman

Sketching User Experiences: Getting the Design Right and the Right Design by Bill Buxton

Storytelling for User Experience by Whitney Quensenbery

Designing For The Social Web by Joshua Porter

Designing Interfaces by Jennifer Tidwell

Information Architecture: Blueprints for the Web by Christina Wodtke and Austin Govella

Communicating the User Experience: A Practical Guide for Creating Useful UX Documentation by

Richard Caddick

UX Blogs

Konigi - www.konigi.com Disambiguity - www.disambiguity.com Graphpaper - www.graphpaper.com LukeW - www.lukew.com inspireUX - www.inspireux.com Putting People First - www.experientia.com/blog UX Booth - www.uxbooth.com Boxes and Arrows - www.boxesandarrows.com UX Mag - www.uxmag.com 52 Weeks of UX - www.52weeksofux.com

Exhibit References

https://segd.org

Second Storyhttps://vimeo.com/93534030https://vimeo.com/83609311

Required Reading:https://developer.apple.com/library/ios/documentation/UserExperience/Conceptual/MobileHIG/

Museum/Exhibit Related Sourceshttp://mw2013.museumsandtheweb.com/paper/transforming-the-art-museum-experience-gal-lery-one-2/http://mashable.com/2013/08/06/best-museum-apps/http://appsineducation.blogspot.com/2011/10/12-museums-apps-from-around-world.htmlhttp://www.joanganzcooneycenter.org/2015/02/27/active-engaged-meaningful-and-interactive-putting-the-education-back-in-educational-apps/