Do’s and Don’ts for Trail Signs

Even if you don’t have responsibility for trail signage at your site you probably know the person who does. Even if you don’t have any trails at your interpretive place of work you probably visit places that do and could be enhanced by using some of the thoughts contained here.  We encourage you to share this blog with those sites and people who do.

Some of the following Do’s & Don’ts seem pretty basic, yet I encounter the DON’TS on a regular basis, so I felt it was worthwhile to go over them as reminders. Money and time is spent on trail signage, expecting it to do its job of informing and enriching a visitor’s experience.  You need to be on top of many things to ensure it accomplishes its job, because there usually isn’t money to do it over.

Be Involved in Sign Placement

Writing the sign, whether interpretive or informational, is just one element and just the beginning of the communication process. Don’t let your responsibility stop there. Do ensure visitor experience success by weighing in on where signs go and their positioning. Placement of signs is very important and can greatly impact the effectiveness of them, so never leave anything to chance.  

Don’t expect your installation crew to know where you want signage placed and at what angle. Do provide clear instructions with a diagram preferably showing the desired orientation and the rationale behind it. This may have prevented the following situation.

Trail kiosque Courtesy Bill Reynolds

In the image shown, there is the trailhead kiosque that consists of a double-sided panel, parallel to the trail entry point on the left. The intent was to have visitors flow on either side as one side was a clear welcome with a brief item explaining why this natural area is a special place. Also included was trail etiquette to set the stage called “we need your help” with silly graphics to entice reading. The opposite side had very colourful drawings and provided ideas for exploring the trails and things to look out for that varied by season. There were four seasonal panels where each one was designed to be changeable four times a year. Both panel sides instructed the reader to view the other side. Best laid plans, right?

Kiosque positioning and sign clutter Image Courtesy Bill Reynolds

Stay Involved

Well, it worked for a while until a bench and an accessory trail to an outhouse both on the right side were put in. Then the visitor flow tended to the right and the shrubbery started to encroach on the left making any walking around the sign difficult and not encouraging. Having the bench on the left  side would have balanced things and kept both sides of the kiosque in clear view. The maintenance crew would have known to keep both sides clear.  Did the installer know the original intent?  To prevent this assault on the visitor experience from happening, you need to be aware of any “front of house” changes that could potentially impact the site messaging.

Be Wary of Sign Clutter

Originally a double panel sign that already had a lot of information that the site was hoping to get across has quickly become information overload when additional notices get mounted in front of that panel. Someone determined that more visitor behaviour signage was necessary (and more important placement -wise?). As a result, people will have a harder time now to grasp it all and potentially don’t read or even comprehend anything because their visual space is too busy.

Do your best to limit multiple messages and avoid sign plastering.  Don’t increase visual competition for your visitors’ eyes.  

Be Budget Conscious While Being Effective

Someone decided that they might as well just use the existing kiosque infrastructure. Saving money can’t be the only determining factor when communication effectiveness comes into play.  Don’t expect a structure meant for one purpose to easily accomplish more outcomes, on top of the original intent, without impacting both. Do consider options when deciding where the best place to position your message could be, so it focuses the visitors’ attention.

Notice in the image the actual trailhead sign with the name of the trail. Considering cost and effectiveness would this have been a better place for at least one of these additional signs? Whether signs on their own are effective to accomplish behaviour change was addressed in another blogpost Pawsitive Partnerships Jun 19, 2025.

Trail etiquette Image courtesy Bill Reynolds

So now there are two in your face signs telling you what to do. Let’s take a look at the original how “you can help” wording with the zoom in images supplied. Originally, visitors were asked to remember to scoop it and use a leash to protect your pet, wildlife and other visitors. The wording is friendly and about benefits.

Generic sign Image courtesy Bill Reynolds

Presently, there is a statement and a command with a please. The new sign identifying the heavily used dog walking trail as on- leash was and is needed as the first line of awareness. This now familiar wording did not exist when the panel was initially installed. It is a well -recognized label and other areas have been set aside for off-leash so visitors are familiar with the terms. In this case, a generic image and text is reinforcing what is familiar and generally accepted.  In most cases, do try to be conversational, explanatory and welcoming in tone when dealing with established human behaviour. Don’t be demanding with rules that can set up defensive postures by the visitor.

Caution with bulleted lists type signage Image Bill Reynolds

Be Cautious of Relying on the Generic Approach

The Keep Wildlife Wild new sign states that feeding wild birds and animals can be harmful and can cause a bulleted list of possibilities. The image is a flock of waterfowl. However, there are no waterfowl feeding issues at this site and the key point revolves more around human dependency and the change of natural habits for small non-migratory birds, due to visitor feeding so only two of the eight are relevant.

Don’t put up a sign because you have a generic one handy covering a broad issue, that sort of covers your situation.  Do make sure your information addresses issues specific to your site.

Be Selective About Relevant Content

Don’t present a bulleted list on a sign especially when several of them involve lengthy follow-up explanatory descriptions.  Do consider that signage should be employed to get across clear messages quickly. Perhaps a QR code would be helpful here. Don’t offer one-word answers like pollution and overcrowding expecting to provide a clear convincing rationale for behaviour change on behalf of the visitor.

Be Vigilant & Visit Signs Regularly

As plants grow they block existing signage and it can no longer do its job. Faulty signage visibility is something I experience on occasion. This can leave a bad impression on the visitor and reflects on the site and its level of care. The quality of the visitor experience suffers and this is somewhat akin to not cleaning the table before your invited guests come to sit down. I took this image at a botanic garden no less where plants are on display and attention to visual arrangement & detail are emphasized. This implies that interpretation is not valued.

signage encroachment Image courtesy Bill Reynolds

DO check up on visitor signage periodically to determine whether it is still doing its job, it’s clearly visible and it’s still actually there. Don’t let yourself procrastinate and have a schedule of visitation so you are reminded to do your rounds.

Be Cognizant of Height Viewability

 If it is necessary to place reading material above six feet in height it better be large and bright. Try to keep material at eyelevel within the range for the average height of your intended reading audience. In other words, if children age 10 and under are your prime audience then placing signage no higher than 4 feet would be advised.

Sign clutter barely viewable recognition plaques image courtesy Bill Reynolds

Notice the height of the recognition plaques on the front of the information kiosque. This is a stretch even for a professional basketball team. This kiosque structure is being used for another purpose - that of recognizing trail supporters. Remember what we discussed near the beginning. Where is the best place for visibility, and for increased attention-getting to ensure the public can actually focus on and see the plaques?

Think contrasting colours

Do consult a graphic artist colour wheel when choosing foreground letter colour and background colour so that the message stands out. Don’t use the same colour for both.  Many times I see beautiful carved lettering in a wood background but without painting the letters white or yellow the readability is often poor. This applies also when you place something like blackish & brass recognition plaques on a dark brown wooden structural background. Do provide a dedicated space for recognition.

Beautify or Uglify -Your Choice

I just had to share this trail closure notice that I ran across the other day in a municipal river valley park. I have never seen one so attractive and one that had so much thought put toward it.  Usually it is simply an ugly gate with an ugly sign saying trail closure with minimal information.

Trail closure Image courtesy Bill Reynolds

In this case, not only is the date of closure clear (just over a year) and there is an aerial view of the closure area along with a brief paragraph about why the closure, there is also a QR code, email, and phone number for more information. How many of our sites do this as a minimum policy?

Somebody chose to go to the next level and must have asked how could they create a gate that enhanced this area beyond simply providing an effective barrier. They could have used inhouse graphic people but the small sign on the right that provides a background on the artist indicates most likely they hired an external artist.

Now that would be an advocacy role an interpretive staff member could play !!

Our challenge to you : have a coffee with the head of site visitor services and/ or your planning, engineering, maintenance or infrastructure person about an upcoming small scale project where brainstorming interpretive enhancements might be easily implemented. Let us know how it turned out.

Here is another image example to whet your appetite showing the benefits of pushing for an enrichment of the  trail “stage “ - a water outflow trail safety barrier to prevent trail users from accessing the water is not just a standard metal fence. Instead they employed a cattail motif. Can you spot the great blue heron?

Decorative trail edge water barrier image courtesy Bill Reynolds

Still wanting more on signage check out our post Appealing Approaches to Signage

August 28, 2024

Infotaining Visitor Prep

The other day, I was cleaning out files and ran across some “pre-visit information” brochures from the Australian Parks Service from many moons ago, and I noted some excellent approaches worthy of sharing. Setting the stage for the visitor before they arrive acts as a component of site orientation and as an early stage of information. The more prepared visitors are for what they will see and the more their curiosity is stimulated the better their experience. Building their anticipation while eliminating confusion and fear should be the objectives.

How often I have heard staff complain – if they (the visitor) were only better informed and prepared for their visit they would be able to have such a better and more rewarding time once here. Have you heard this or personally ever felt this way?

Pre-visit info cover Image courtesy Bill Reynolds

Do you provide people with pre-visit information before they arrive at your site? You most likely prepare something for booked groups, however this can also be very worthwhile for the independent visitor and they often get forgotten.

Interpretive – Marketing Connection

How important is providing pre-visit information for your site? The level of importance will vary, however a succinct pre-visit package that is engaging to look at and presented in a conversational tone is a key piece of exemplary experience-making for your visitor. This communication piece, whether digital or print, will make a first impression whether that is perceived as excellent or so-so. Ensure your objectives are well thought out. This is where interpretive and marketing skills go hand in hand.

How easy is it to find the information and is it fun to read? I am afraid to say I often find the presentation somewhat transactional /business like and certainly low on the scale of holding my attention, and enticing me to read on. Web sites have taken over this print role and have a tendency to be a straightforward “how to plan your visit?” page and/or a FAQ (frequently asked questions) section? The layout is formal, blocky, black and white, with maybe a photo or two. Is this doing the job? What did you determine the job was supposed to be?

This is why I wanted to share some observations from my brochure review as I found several jobs being done well, that frankly I don’t run into that often. The example employed is for a park setting but the lessons learned apply to historic heritage sites and urban heritage facilities as well like museums, zoos, aquaria and botanic gardens.

Capturing Sense of Place

Take another look at the cover page and what do you observe? A landscape drawing to capture the sense of place! Don’t underestimate the power of artistry.

Secondly, they incorporated a wildlife sighting that was emblematic and presumably would appeal to their prospective visitor. In the case of a museum for example, an emblematic artifact could be chosen. They have lots of white space and the image portrays a calm place to getaway and relax, presumably what their research determined about their visitor needs and expectations.

Note: as we go through this analysis, think about an exercise you can do. Check out your site’s approach and some approaches from the other competing/complementary “neighbourhood” attractions. Analyze the good, the bad, and the ugly elements and send us your observations about what you would keep and what you would change. Volunteer to be a case study that we can turn into a webinar for our blog readers to be invited to. We have done this in prior years with success.

Pre-visit portrait & feature map Image courtesy Bill Reynolds

Ok. What about this page that illustrates a site map showing access points, trails, road types, distances, facilities and parking. A linear park naturally lends itself to a portrait style format and what else has been done here?

Certainly not a blah engineering/architectural aerial site plan or floor plan sketch. A drawing again yet this time using colour. Is it worth the bigger expense?  You tell me. Artistic yet practical. Intriguing and invites your exploration. Does this possess memorability strength? You better believe it does. By utilizing wildlife and an historic site image it grabs and holds attention for different visitor types. It also is able to provide an introduction to key features inside the park and an explanation of the park name in bite-size chunks that move you around the page. It is so far removed from an institutional FAQ page.

Landscape format trail map info Image courtesy Bill Reynolds

Here is another look at a site location map with trail descriptive listings that takes a landscape versus portrait perspective in fitting with the lay of its land. The map holds interest because of the faunal images and fun facts associated with them. Check out the trail descriptors like “A Salty Kiss” where “salt laden winds scour plant tips…” Hiring a skilled writer goes a long way. I really like the way they have incorporated a plant-animal (Correa-Goanna) interaction image to hint at the concept of interrelationships. Often animals and plants are presented in unnatural isolation. They chose deliberately to present not just cute mammals and to highlight a few rather than provide a list.

Presenting Safety Guidelines

Pre-visit safety conversation Image courtesy Bill Reynolds

What about this page that deals with providing a regional site context map along with safety concerns around fire and wildlife encounters? Rather than setting this information up as text bullets listing regulatory items, that barely gets a nod, let alone a read, they have interspersed a colourful habitat drawing to lure you in. As a point of enhancement, I would BOLD the phrase: Beware, they sometimes scratch. It deserves to stand out and provide a reason for reading.

Promoting Sharp-eyed Visitors

Pre-visit skill building info Image courtesy Bill Reynolds

Back to the original black and white pamphlet, I have zoomed in on the top half of the back page, where they have included a natural history tidbit about what sharp -eyed visitors could notice. Normally the back page is reserved only for contact information and admission hours/fees type material but in this case they choose to mix an interpretation objective with information by placing that text on the bottom half only.

This device could be used for all types of heritage facilities in pre-visit information. This gets the ball rolling for wildlife -observation -skills and sets the seed of discovery by suggesting that dead tree branches are a good place to investigate for self-guided sightings. Little clues like this can be referenced when visitors arrive and can be built on by graphically suggesting other good types of places to investigate. Even with artifacts, one could show where to look in order to pick out hidden details on carvings or quilts, for example.

Interpretive Programming as a Must See

Pre-visit interpretive promotion Image courtesy Bill Reynolds

Mention of the park interpretation programmes is not forgotten and it is not treated simply by a line item but instead by a drawing that is really invitational by illustrating a friendly smile and showing an interpreter kneeling down speaking at the family level.

Interpretive programming has an opportunity to be presented as a must see experience so prospective visitors build these programmes seamlessly into their itinerary rather than finding out about them when they arrive and scheduling becomes difficult.

Should we not incorporate an artistic flair and should we not be trying to encourage a well-prepared visit? I repeat: this is where interpretive and marketing skills go hand in hand.

Whether you use print or digital format, there are still some fundamental things to consider in order to be effective that we have presented above.

Reflection time:

·        Do you have a pre-visit information strategy for prospective clients?

·        Do you depend on your web site? How is that working?

·        Are the significant site features highlighted?

·        Is the material presented in a light and engaging way?

·        Does it go beyond just the facts about hours, price of admission, facilities, accessibility, pets, and location map?

·        When discussing safety and regulations, are they done in a caring and concerned way?

·        Are you attracted to read and encouraged to read on with graphics?

·        Are you teased with interesting heritage samples, available on-site, to look out for?

·        Does this communication medium initiate observational skills?

Don’t forget your homework and we look forward to your observations. In the age of QR codes and youtube, how and when to distribute such infotaining visit - preparatory material is the subject for another day.

Cafe Collaboration

Never underestimate the time spent eating and drinking by our heritage visitors. These are wonderfully important moments for us to reinforce our messaging, show that we care and connect with our visitors in a light and friendly manner -perhaps even in a perspective-changing way. I hear lots of conversation about expanding extension or outreach work and having a presence in the community- well there is a community waiting for a connection right in your own foodservice area.

I try to capture moments of design delight whenever I can and for this post I will be focusing on several examples from cafes that illustrate the aforementioned philosophy. A visit to our local zoo’s cafe got this post kickstarted as they had instituted several mission reinforcing touches.

Friendly cafe chairs reinforcing site mission Image Courtesy Bill Reynolds

Right off the bat I noticed the happiness-inducing, colourful choice of chairs - not your standard industrial or uniform, neutral- coloured chairs.  Not only that but their chairbacks had labels which demanded a closer look. Simple, funny and mildly thought provoking as they referred to animals you could see or had seen in the zoo visit-anticipatory or reinforcing, depending on what point this is during the visitor journey. I could imagine kids and kids-at-heart reading the backs and deciding where to sit based on their animal affiliation (I chose the passionate about pandas chair).

This could work for any type of heritage attraction and we would love to brainstorm with you about possibilities. Drop us a line and we can “chair” the creative discussion.

Necessary signage does not need to be institutional, which is often chosen as an easy way out. Please advocate for friendly signage as a sort of attitude preparation for the visitor. Being a Canadian I do frequent a favourite national coffee shop called Tim Horton’s who are famous for their donuts-an important context.  Here are two examples from their establishment that set a light tone and get your attention.

Fun cafe “rule” signage Image courtesy Bill Reynolds

The rolling pin image in the centre of the universal slash red logo sign signifying “do not,” links to their baking function and grabs the eye plus adds a slight chuckle. They even incorporated a play on words with “donut” as something they are well known for. This might be considered a groaner in the humour category, yet it cements an image in the client’s mind while attempting levity.

Necessary signage linked to site theme Image courtesy Bill Reynolds

The second example uses a stick figure to hold a placard announcement. The core body of the stick figure is represented by an object synonymous with Tim Horton’s - that of a cooked round dough ball known affectionately as a Timbit. This type of attention- getting device is open for heritage business. I challenge you to have fun and propose a variation to necessary signs incorporating a heritage symbol or clever wordplay.

When the beverage or meal is presented, we are given the opportunity to link it with our heritage facility, so when this botanical garden floral heritage site added a petal array on the side of the coffee cup, I voiced a silent hooray.

Heritage site cafe detailed touches Image courtesy Bill Reynolds

Getting creative with your cutlery and place settings provide another potential linkage to your site heritage. Note the natural materials- made placemat in the image selected, as well as how a spoon is used to substitute for a head to complete the hand - crafted doll figure. My recollection is that the doll was shaped from a napkin, similar to how room service staff fold towels into animal or bird shapes on your bed to greet you as you enter your room.

Place setting heritage linkages Image courtesy Bill Reynolds

If you have table service payment, then presenting the bill provides an option for heritage linkage (and gift shop bonus connection), by providing a receptacle for the bill that has a heritage affiliation. Does this basket being held by a cheerful doll in indigenous clothing bring a smile to your face, remind you of a cultural performance and make paying for your bill any easier? Yes, yes, and perhaps.

Added touch in delivery of meal bill Image courtesy Bill Reynolds

Even if you do not alter how items are presented, you can still prepare a jovial imaginary menu for a table centrepiece or menu insert. The dinosaur soup entree description illustrated below would be fit for a Cro Magnon appetite of any visitor to a paleontology museum.

Menu link to heritage site Image courtesy Bill Reynolds

Do you think a light- hearted description like this would put a visitor in the right mood to explore your heritage site? Or top the visit off with a family reflective moment about how humankind did not co-exist with dinosaurs so dinosaur soup or brontosaurus burgers (with apologies to TV cartoon Fred Flintstone), would have never happened. On another level of discourse one could debate whether genetic engineering could possibly bring back a mammoth from extinction- even if not for consumption.

Wall hangings that speak to your collection or heritage focus are an obvious addition to your facility café as a conversation starter. Ensure you add mental value to the aesthetic value and include some text with the picture- in this case the fossil wall mount above the café chairs and table shown in the image.

Fossil wall mount Image courtesy Bill Reynolds

If the text accompaniment (label, if you will), tells you which gallery you may find associated display items, then we are talking anticipatory with a directional build on. If the label tells you how to find out more about the artifact, then we are talking about reinforcement, while you consume your beverage, and/or chat with your tablemates. This can be done via QR code or google search on your phone.

The partnering concept with a local café could mean loaning them a wall piece, as in the fossil mount example shown in the image, that would highlight an interesting aspect of your interpretive site -a form of extension that has mutual conversational and linger longer benefits.

A wall collage of artifacts presents many interpretive possibilities. Figuring out what function an odd selection of items were previously used for is one option.

Artifact wall collage Inage courtesy Bill Reynolds

This could be an informal interaction among food and beverage consumers or you could turn it into a formal game with prizes. This could be designed with a changeout potential so new selections would freshen up the wall display catering to repeat visitors. You should give some focused direction and structure to the visitor - artifact interaction by employing an instructive label and menu/placemat combination.

Last but not least from my grab bag of collected images, is the long table set for a group function, actually a pre-wedding get together, that has a book at one end with an obvious bookmark inserted. This got me thinking…

Relevant bookmarked readings on cafe tables Image courtesy Bill Reynolds

… what about sharing curated readings on topics germane to your heritage site at your café. Think dialogue starter. This would work for any size group sitting (even a couple or family). The books could be set out on each table or placed on shelves for browsing with an obvious invitation as you enter the cafe. Books would be chosen that relate to your site’s reason for being, and that lend themselves for quick reading snippets, like inspirational quotes or passages or poems. Perhaps an adult and a child book could be paired if set on a table. If you try this out let us know how it works. Note: there are more logistics involved but don’t fall prey to analysis paralysis!!

If you find this all too complex then start small with baby steps and at least attempt something simple that enhances the visitor experience in your cafe. Themed cookies in the shape of wildlife that you could encounter on a trail walk or on a drive through your park, adds so much more to one’s visit from a memorable standpoint.

Themed cookies Image courtesy Bill Reynolds

In addition, by adding a special touch you jettison the generic and improve the purchase chances. Something this simple if connected to a designated animal enclosure or exhibit could be a direct revenue generator and it also allows for the visitor to demonstrate a way to care for the site mission.

Fauna seems to lend itself readily to creating cute shapes -although you are eating them after all. Even if you don’t have an in -house bakery, working with a caterer or a docent with a knack for baking can make this happen. The wildlife biscuits in the image included were crafted by an art gallery volunteer.

I don’t recollect seeing any historical sites utilizing this theming approach. How about candlestick cookies, bowler biscuits, musket macaroons, or wagon wafers anyone? Please share any historical themed confections you have spotted.

Consider café collaboration as a step on your outreach path.  Take the time to engage with your café manager to “up” the visitor experience, if you have one in your facility. If you don’t, consider a local establishment as a potential marketing partner who could benefit from an affiliation with you and vice versa. Known as cross promotion, this strategy is vastly underutilized in the heritage sector and consideration for this would reap many benefits.

Animate the Narrative

As you read this blogpost, I hope you are enjoying the flavour and insights being shared. If you find yourself saying I wish these guys were on our team to bounce ideas around, then by all means connect with us so we can have a conversation. You will discover our approachable coaching style and the wide range of experience we bring to the table. Together, let’s ensure you design and provide for a visitor’s perfect day that will accomplish your facility’s vision for success.

We are constantly searching for interpretive excellence and providing critiques so we can share smart practices with you. This review of the Slovenian Alpine Museum from a visit last year is another case in point.

Slovenian Alpine Museum Courtesy Bill Reynolds

Design Reinforces Interpretive Topic

Marketing literature stated that this was the first gamified museum in the world as of 2010 when it opened. The gist of the concept was for the visitor, when they entered the museum, to choose one of three mountain ascents and then receive a corresponding plastic card (like a hotel room access card). This card allowed you to collect virtual stamps at exhibit stations as you wound your way up inside the building.  Each station at various points during the climb posed interactive tasks, or tests that you needed to finish before collecting the stamp. Once you had all the virtual stamps on your way to the top, you would receive a reward at the summit.

The permanent exhibition is based on a clear pathway with a series of steps through exhibitry that mimics the climbing of a mountain from ground level entry way to a second level in the building. Each exhibit area was designated by a traditional alpine route marker known as a Knalfec waymark – a solid white circle encircled in red. The climb through exhibits culminated in a 360 - degree spatial photography experience using VR eyeglasses. Their aim was to provide the visitor with a scenic view from the proverbial mountain top they have just “ascended.”

Each stop had a very clear, simple-to-follow and succinct title message. They listed them at the front desk as you started your path like the chapters in a story. They were there at the end as a refresher and nice summary. This is a classic communication philosophy - Tell’em what you are going to tell ‘em. tell’em, and tell’em what you told ‘em.  Does your site provide a learning framework for the visitor by clearly laying out the site experience messages available, then repeat them when the visitor leaves?

Climb the Mountain List of Story Stations Image Courtesy Bill Reynolds

The facility brochure had a clever layout that was unconventional and confusing at the start but I think I worked out what they were trying to get across.  Our numbered route is laid out in the unorthodox way of zigzagging across four pages of text-I only illustrate two so you can clearly see the numbers do not follow an up or down sequence. Sometimes when you are mountaineering you have to go across before you go up again and sometimes you have to drop down a tad before ascending again. You probably notice the top of the brochure was cut at the top to resemble a mountain range. Have you considered how your print material could reinforce the interpretive messaging and animate the narrative?

Clever unconventional brochure Image Courtesy Bill Reynolds

Activity Meets Story

A museum about mountaineering should be active oriented and chock full (pun intended) of visitors doing things. Each exhibit area had a mix of text, open displays, large format photographs, glass cases of artifacts, and often an activity. A “make a cairn” activity (like a sandbox) was a fun “doing” way to discuss the importance of navigating your way in open rocky environments by creating a pile of rocks or cairns as mini-beacons.

Cairn activity exhibit Image courtesy Bill Reynolds

One station was set up with a whole bunch of items you were to choose from that would be needed for a successful trip. You then had a packing station to weigh and gauge different weights of items. Another station had a climbing harness you fit yourself with along with a via ferrate kit for moving along a wire rope.

Via ferrata activity Image courtesy Slovenian Alpine Museum web site

A very low - profile activity that I thought had so much more potential was a little box of old postcards of mountain huts and mountain summits. There was no explanation or prodding supplied as to what you were supposed to do with them (at least not in English). Adult visitors are usually reticent about muddling about without clear directions. I read the ones written in English and they related emotions felt when having completed a peak experience of mountaineering. The power of story came forth and I thought more prominence could have been given to what was at the time a forlorn little spot in the children’s play area in the basement.

Postcard activity Image courtesy Bill Reynolds

To activate the narrative, I would recommend a form of card sharing where visitors are enticingly invited to read expressions of awe and Slovenian patriotism (presently immersed throughout the exhibits). There were great examples ranging from “the sneaky words of a simple shepherd to the subtly expressed feelings of the greatest artists” such as:

·        “we are guests of beautiful but sensitive nature, which should remain so after our visit,”

·        “a mountaineer is a person who is looking for problems and is happy to find them and overcome them,”  

·        “a cheerful mood is desirable at the hut, but this does not mean merriment that would disturb other visitors in the mountain station,” (Honorary Code of Slovenian Mountaineers)

There is an exhibit area where a visitor can listen to poetry, music, prose, and tales through individual headphones, but it is a solo activity and the former example would create more of a social interaction that many visitors crave.

Labelling Meets Story

Story and activity is a great marriage however conversational story on its own is also effective, and we need to look for opportunities to apply this. A really well written piece accompanied an artifact case which made it come alive. It is a conversation between a mother and a daughter about the use of wooden clogs and it is a brilliant piece of effective interpretation. We talk so much about the relevance of stories yet we don’t use them enough in labelling. We don’t have to employ personal interpreters to employ the magic of stories. Review your artifacts and see which ones would lend themselves to having a story printed beside them. This is a great way to engage a parent to read a story to their child making a dull object take on a life and stimulate imagination.

Story meets artifact label Image courtesy Bill Reynolds

Providing Best Reading Opportunities

Much of the text throughout the museum was thought provoking and I especially liked a line they used in the “I walk around the mountain world and get to know it” section focusing on endangered plants. “What has been so attractive that we want to pick flowers as trophies and take them from their (my italics) homes down to the valley and our homes.” This was followed up with explanatory text indicating that “due to the diversity of the surface and the location in a climatically very interesting area, where the cold and harsh continental (Alpine) climate meets the mild and warmer Mediterranean, our mountains are a real botanical Eldorado.” This is so much better than the admonition of “don’t pick the flowers” or “we need to protect our flowers” without any explanation why.

When effort is put into the text writing then providing the best opportunity for it to be read is paramount. I am always saddened when I see poor placement and poor sizing of text. Placing text should not be an afterthought and all locations in the display are NOT equal. Here are two poor examples to illustrate a point.

Starting a text at three feet off the floor then running it to the ground is only going to be read by toddlers so then it better be in large type, have colourful graphics and be written at a lower age level.

In addition, they have put three panels in one tight area trying to grab my attention along with two artifact cases with labels. You might be able to get away with this combination if the typeface is large and the amount of text is small. We have to be more vigilant when contracting sign production to stipulate readable text size along with editing down the text if necessary.

Poor label positioning Image courtesy Bill Reynolds

In this second example, I took the picture at the level of my eyes so you can see the strain I would encounter to read the labelling. This shows a decision to experiment with three different format types of labelling in the same exhibit - ALL of them were just above floor level. Don’t do a mixmatch. Experiment with different styles in different displays yes but not in the same one. Try out different positions adjusting the language level for the different age of viewer. Please review the best label positioning for your different visitors’ pleasure. I see this mistake so often and, in many cases, changes are relatively easy to do if we were just taking notice of visitor interaction or lack thereof.

Label height issue Image Courtesy Bill Reynolds

Plan for Contingency

By the way, I was not able to play the designed stamping game because there were technical difficulties and the several stations scattered during the gallery climb were not working. The VR glasses at the summit were also not working the day I visited.

Technology enhancements are great when they are working but from the visitor standpoint if they are not working, you feel like you should receive some compensation for a lesser quality experience. If this is a substantial diminishment or something integral to the whole experience, then a discount on the entry price would be expected. Especially if there has not been any contingency set up, it is hard to justify the regular entry fee. I have never encountered any discount at a heritage facility for this reason NOR have I ever found a contingency plan for when technology fails. Is this being customer oriented? When you set expectations and don’t deliver, you should be concerned and design some form of make-up. I am not suggesting this is done for a one-off occurrence but certainly when an element of the visitor experience is not available for an extended time period.

Do you have the possibility of this happening at your site? Have you thought about what you would do?

Interpretive design involves many aspects to ensure your visitor has a stellar experience. Today we dealt with integrating story and activity while being conscious of label placement. We introduced the issue of accounting for breakdown contingency. As I mentioned at the start of the article feel free to contact us for a creative jolt, some constructive feedback or a specific strategic review – we’ll help you engage the visitor’s Head, Heart, Hands, & Hunger. Get in touch if you need to re-imagine and enhance a trail, an exhibit, a front entrance, a farewell zone…

What? Right In My Backyard!

Yes, it’s true. There may be some innovative and interesting interpretive features lurking very nearby in places you have not considered visiting. That was certainly the case for me. I was delighted to find several innovative interpretive features installed at the Southern Arizona Heritage & Visitor Center (SAHVC) in Tucson, Arizona where I live, and in the Lexington, Kentucky Visitors Center -- the town where I grew up. This post will focus on the Tucson discoveries, and a later post will focus on the ones in Lexington.

Photo by Mike Mayer

Southern Arizona Heritage and Visitor Center

Located in the historic Pima County Courthouse building in downtown Tucson, this 6200+ sq. ft. (576 sq. m) site offers a wide array of information on Southern Arizona. Four interpretive experiences grabbed by attention: A Welcoming and Attractive Courtyard, an Interactive Relief Map of Southern Arizona, Plants and Animals of Southern Arizona, and a multi-faceted Video Introduction to Southern Arizona.

Photo by Mike Mayer

Welcoming and Attractive Courtyard Experiences

Photo by Mike Mayer

Photo by Mike Mayer

I am all about an attractive and welcoming approach to a site. When approaching the SAHVC from the street there are A-Frame signs announcing what is happening that day along with an attractive U-shaped courtyard with walkways down the middle and along the northern and southern edges. Filling in the space between the walkways is a grassy area where the fun is happening. There’s a video link at the end of the post highlighting some of the fun.

First, the architecture is pleasing and the courtyard is clean. There are portable A-frame signs to help direct the visitor to either the SAHVC, the University of Arizona’s Alfie Norville Gem and Mineral Museum or to announce the day’s event. Wednesdays and Friday’s music fills the courtyard, Tuesdays there are lawn games to play, and on Thursdays children’s activities are led by the Tucson Children’s Museum staff. The entire area is alive with the sounds of people enjoying themselves. Plus, it is energizing to hear and see the activity when you enter and leave.

Photo by Mike Mayer

I am especially reminded of the large and very quiet courtyard leading to the visitors’ center at Grand Tetons National Park in Wyoming. There were plenty of visitors going to the front door, but it all seemed rather dead and dull. Putting a bit of life into an entrance and exit gets visitors ready for a positive experience and helps them leave with tangible memories…IMO

Interactive Relief Map of Southern Arizona

Photo by Mike Mayer

What a wonderful surprise to find this relief map. Of course, it is hard to miss since it is near the entrance and measures 12 ft. x 6 ft. (3.6 m x 2 m) and about 3 feet (one meter) high. It covers an area from the Sea of Cortez in northern Mexico to California on the west, to New Mexico on the east, south into northern Sonora, Mexico, and just north of the Pima County line. It was all I could do to resist touching the map. Luckily, that impulse was considered in the design, because along the long edge on both sides of the map are a series of buttons you could push to light up special regional features. (Another link at the end shows me having some fun). Highlighted on the map are rivers, cities, Native American lands, mountain peaks, major roads, boundary lines and more. LED lights with different colors help differentiate the various topics.

The first time I interacted with the map I was on my own. As a local, the map tickled my curiosity to see what would be included or left out. As an interpretive planner I wanted to observe visitor interactions as well. On a second visit a docent was available to talk about the region. She engaged those standing around the map by asking individuals to push a specific topic button. This gave visitors a clear visual perspective on the topic as the docent provided a brief explanation.

At the four corners of this map are electronic screens that can help you plan your “adventures” in Southern Arizona while looking at the map. What a great idea!

Photo by Mike Mayer

Photo by Mike Mayer

How many relief maps have you stumbled upon at national, regional and state parks that are simply static visualizations of the surrounding area? By adding a bit of light, color and interaction to the map it came alive even for a local resident like me.

A Few Observations…

·      Would braille next to the topic buttons be useful for the visually impaired?

·      The addition of auditory sounds for the different topics on the map would add another dimension for all visitors.

Plants and Animals in Southern Arizona

Photo by Mike Mayer

While this 16 foot (5 m) long display did not contain every single plant and animal species in the Sonoran Desert, it did provide 29 of the most iconic plants and animals that you might encounter – or at least be curious about like a saguaro, rattlesnake, pack rat, ocotillo, roadrunner, spadefoot toad, coyote, etc.. (See link to a video of this exhibit at the end of the post)

Good planning provided several strong interpretive messages in this display.

1.        The muted lighting is a nice contrast to the bright lights that are highlighting the nearby Interactive Relief Map. It is also a reminder that in the desert the cooler nights are when a lot of activity takes place.

2.        Sound is built into this display. There is a looped recording that provides the sounds of coyotes, cicadas, rattlesnakes, toads and even the sound of a summer monsoon storm.

3.        Touch is not a problem. While I am not a big fan of plastic, the images painted on the individual plastic displays make it safe for anyone to reach out and touch the plant or animal. Most of the plants and animals are within easy reach of younger folks and adults may need to bend down a bit.

4.        By not labeling each of the individual displays the attention and curiosity of the visitor can focus on the plant or animal, not on a label. There is a key at either end of the display with a small picture of each plant and animal with its common name for those who need to know.

Photo by Mike Mayer

5.        Animals that make their homes underground are depicted beneath the “surface” and the aquatic species are depicted in “water.”

Photo by Mike Mayer

Photo by Mike Mayer

6.         This display is also a great example of a community cooperative exhibit. Students from the University of Arizona’s College of Fine Arts designed and painted the individual animal and plant displays.

A Few Observations…

·      There was no braille on the identification keys for the plants and animals.

·      By adding a textured outline to each of the plant and animal depictions, along with braille, it would add a new dimension of accessibility. Perhaps even a small piece of the animal fur or plant material attached to each individual item would be possible, or part of a separate display.

·      Providing some desert smells would be a fun addition – how the desert smells after a monsoon rain, creosote bush, musky javalina odor, smell of seasonal flowers, etc.

Video Introduction to Southern Arizona

In recent years there seems to be a trend away from the large, darkened room with an introductory movie to now using a smaller, more open space for viewing. In addition, presentations are moving away from the 15–20-minute story to a much shorter time frame (five minutes or less). This is certainly the case at SAHVC, and I personally like this change. It allows the visitor to come and go a bit more freely and comfortably.

I like the location of this screen. It is not near the entrance, so folks have time to move around a bit (the interactive map, the plants and animals of the desert, several other colorful displays, etc.) before they encounter the continuous information on Southern Arizona. The 44 topics on the video range from food to sports, Indigenous Lands to ranching, and historic, natural, other local attractions in the areas. Timing ranges from ten minutes on the Tohono O’odham Nation to one minute on saguaros, the town of Marana, and the Arizona-Sonora Desert Museum. The average presentation time is 3 minutes.

The only drawback to this 2 hour and 40-minute loop – the visitor cannot choose the topic to watch. Whatever is on the loop at the time is what you get.

A Few Observations…

·      Besides figuring out a way for visitors to choose a topic, adding sign language for the hearing impaired would provide greater accessibility.

Epilogue

The Southern Arizona Heritage and Visitor Center provided me with a comfortable and pleasing experience – I was greeted warmly and enthusiastically at each visit. Of course, there is more to the SAHVC then these four exhibits - colorful displays on Food, History, Nature, a gift shop, artifacts in cases, etc.). From an interpretive planning perspective there are a few things I would recomment, but overall it was wonderful to find some innovative interpretive and visitor centered experiences at a visitors’ center in my back yard!

A special thank you to Catherine Campbell, Deputy Director of Pima County Attractions & Tourism for taking the time to meet with me, provide special details, and allow me to offer some interpretive suggestions.

Photo by Mike Mayer

 Here are some links to videos that I recorded at the SAHVC…

Welcoming and Attractive Courtyard Entrance

Interactive Relief Map

Iconic Plants and Animals of Southern Arizona

Planning Adventures in Southern Arizona

Courtyard When Exiting the SAHVC

And here are website links to offerings at the Historic Pima County, Arizona Courthouse:

Southern Arizona Heritage and Visitor Center

University of Arizona’s Alfie Norville Gem & Mineral Museum

The Courtroom where FBI Public Enemy #1, John Dillinger, was tried after being arrested in Tucson in 1934

John Dillinger - General Information

Memorial to the January 8, 2011, mass shooting in Tucson, Arizona

Choose, Choose, Choose

When you travel in Europe, it is extremely difficult to not visit any cathedrals or churches because they are often the most dominant structure in town and because they offer an architecturally and artistically diverse experience - even if you are not a faith-based individual. Cathedrals especially provide a constant cavalcade of stun gun WOW experiences. The buildings possess a certain magnetism that draws you in, and they elicit a sense of curiosity where you wonder - what is behind that intricately designed façade with those massive imposing doors?  Each one is distinct, providing a different atmosphere and sense of reverence.

Como Church image courtesy Bill Reynolds

On occasion you can avail yourself of a guided group tour, but a significant visitor number choose to be on their own. These non- tour guided visitors often enter and exit after a few oohs and aahs and a few selfies.

As I watched visitors wander up one side of the pews and down the other snatching photos of what caught their fancy, I sensed a cathedral visit to a certain degree paralleled  a first time visit to an outdoor park setting (a masterpiece in its own right). Both are foreign to many people’s everyday life. Some look up, a few look down, even fewer take closer looks at the amazing detail that often abounds in hidden recesses. This cursory cathedral walk - around appears somewhat aimlessly similar …

Now people HAVE been primed to expect to see beautiful objects of artistic endeavour and craftsmanship. Glimpse is often all that is being accomplished not really a seeing/absorbing experience. I found myself regretfully thinking -but each one is more than glimpse worthy- and I say this only because of my observations of the way many people visit these places of refuge and worship. (If you are not a devout catholic) many enter, gawk, snap, whisper, read various requests for small offerings, leave. What was the point? Why did the church open their doors?

Especially for all those visitors who have a non-Christian or rudimentary view, or do not have a religious background or claim a late 20th -21st century orientation towards spirituality, how do they make “sense” of the oversaturated stimuli their senses are being bombarded with? How do they relate to biblical stories and people whom the layperson has little connection with?

Como church roof interior Image courtesy Bill Reynolds

Often bewildered or overwhelmed, one doesn’t know upon entry where to go and where or how to look. Even am I welcome here? Where do we venture first and what do we focus on? Are there options depending on my interest? Helping visitors feel comfortable and approach this foreign environment with a plan, and new observational skills, without resorting to a theologian curator approach, would I wager, be very appreciated. What is the missing ingredient? Interpretive enhancement, of course!

How to prolong the glimpse and boost the level of awareness, appreciation and understanding, of this cultural masterpiece? How do we get beyond just visiting the catacombs? Interpretive enhancement, of course!

The interpreter in me is shouting help-not too loudly- we are in a church after all):

Where is the orientation?  Where is the “map”?

What makes this place of worship special?

What could organize the wandering and connect the experience pieces visitors are gathering?

What could motivate a sense of exploration & discovery yet maintain reverence?

How do you help people take it all in? Do you even try?

If you live in Europe and know of any church communities who are considering improving their visitors’ experiences, let’s talk.

Como Church interior Image courtesy Bill Reynolds

Even before that practical approach we need to answer basic questions:

Who are we talking to?

What are we trying to communicate, reveal or inspire?

What do we want visitors to take away in their head and hearts-conceptual and emotional?

What kind of framework do visitors need to expand their awareness of this cultural wonder?

What are the key reference points we must supply in order to heighten appreciation for what they are seeing?

Is there a story we want the visitor to grasp and understand more fully?

Does a visit here connect our visitor to the human urge to make sense of one’s existence while trying to explain the unexplainable?

Could the use of self-guided approaches provide a helpful function?

Como church detail Image courtesy Bill Reynolds

Let’s explore one self-guided approach in the famous town of Como, Italy that swarms with tourists most of the year and churches are billed as attractions that visitors are encouraged to see. In the main Como cathedral were a series of 4 long, well-lit, well- illustrated, back- to - back panels, situated so the potential reader would walk along and around them. I was only able to photograph one front side in the image below, but it had a back side and there were 3 others. They were situated near the visitor entry point inside the cathedral and distributed about.

Overview of Como cathedral timeline: Each panel on their own had a good balance of text and graphic but by lining them up, side by side, they created a challenging reading environment. The judicious use of “white space” could have been employed better to eliminate the sense of busyness & clutter on the panel for easier comprehension.

Too much, too concentrated- all in one space with no break.

Getting people to read for any length of time standing up is always a challenge. When faced with a voluminous amount of potential information, interpretive choices are paramount and the partitioning/spacing of the MOST significant points is so important.

This specific timeline dealt with the history and details of many regional buildings in addition to the actual church people were standing in. If the content is NOT directly related to what they can see in front of them -in their immediate presence- the interest and holding power is vastly diminished.

Many items referred to beautification and canonization events of interest to the clergy primarily.

Como church timeline(partial) Image courtesy Bill Reynolds

The extensive “real estate” being offered here (there were 5 more) is not the best use of this space for a church with so much to offer itself in the here and now that visitors could be encouraged to engage with. A very condensed version could have been helpful to deliver certain select messages and could have provided a welcoming context for one’s visit.

Timelines have a place but they should tie in to a very clear purpose. I invite you to read our December post titled Comparative Timeline: A Lost Art for further discussion about the interpretive power potential of timelines.

Let’s dig in to review a select few timeline examples:

·        1191 text “Date carved on the sundial of the Cistercian Monastery of Aquafredda in Lenno (City Museums of Como)”

Como church timeline first close-up

Interpretive Observation: The images chosen above the timeline do not connect to the text about a sundial. Images should connect easily and reinforce what the chosen text refers to. They should pair well otherwise choose a different text if possible, or don’t include an image.  There is a reference to a museum in brackets. Should the reader assume that is where one needs to go to see this item? This needs to be clearer and can be a good technique to encourage visits to other interpretive sites.

Como church timeline 2nd close-up Image courtesy Bill Reynolds

·        1274 text “The passing of St. Pietro de Moronne through Como. He was elected Pope in 1298 with the name of Clestino V, after a while he resigned his post.”

Interpretive Observation: Who was this written for? Certainly not the general visitor. Perhaps this display was created for a different audience and was repurposed and placed here. In any case, again the image chosen above this text seems to have no relation to the Saint who is the focus of the message that was chosen for us to read. As interpreters, we need to consider our reader and assess all of the possible things to say about our subject then choose the most important item(s) that are relevant to the overall purpose of the communication.

Interpretive sites have a tendency to choose dates and names as what we think our readers would be most interested in (caution). It appears that the writer figured that the next most important detail about Clestino V was that “after awhile he resigned his post.” Either this item should have been left off or if this was significant, the reader needed a little bit more about the why, even if the intent was to have a dangling mystery of intrigue. Adding a source to find out more (in brackets) would have been an option, as was employed with the sundial.

Como Church timeline 3rd and fourth close-up

·        1492 text “Tommaso Rodari carved the Altar of the Passion according to the Renaissance style and the perspective style; the canon Parravicini and the lawyer Gian Parravicini were the clients of the work. They were uncle and nephew and their profiles were carved into the round of the altar step.”

Interpretive observation: Signage should inspire people to DO something. Style must be important because that was chosen to be highlighted in the text. Do we want visitors to be looking for characteristic elements of the Renaissance style and a perspective style? How would we help them to know what to be on the lookout for?

The custom of incorporating patrons into artwork was “a thing” during certain periods, so we are alerted to this yet there does not appear to be an image in the timeline with a small sidebar circle illustrating these profiles, as was done in the next example.

·        1507 text “The door of the Frog was dated and signed by Tommasa and Giacoma Ridari. “

Interpretive observation: This time the image shows the door being talked about (more like a gate-a translation issue). In addition, there is a wonderful close-up of the sculpted frog in a little circle up and to the left. However, without context the visitor has a difficult time figuring out why this is such a significant item in the history of the Como church. If this is a contemporary feature then wonderful, but we need to indicate this and where? This last weakness reinforces the key point of dealing with what the visitor can see right now as crucial to gathering and maintaining their interest.

Como church timeline 5th close-up

I was struck by many of the contemporary dates as they covered important restoration items which even with a visitor cursory timeline review, this would impress upon the reader that restoration was ongoing and important to the church. This I posit, could be a key message worth highlighting that could relate to an ongoing need of funding.

Opportunities to leave money behind for the upkeep of these incredible monuments of human creative ability needs a much higher profile. How often are we as visitors reminded that these artistic wonders need refurbishment and require resources to do that? Where does the money come from to maintain these cultural treasures? Where does the money come from to provide a more enlightened on- your - own visit?

When are you ever asked – did you feel better as a result of your visit today- did the level of artistic creativity and endurance speak to you today? What was that series of moments worth that took your breathe away?  

Be Aware: Time periods, and the names of architects, clergymen, artists, sculptors and woodworking craftsman, become the centrepiece of what has been chosen to be told. Think of your audience. Facts and figures, names and numbers abound, similar to what used to be the bread and butter of museology and historic sites. References are made to biblical stories and people whom the layperson has little connection to.

A future post will highlight some examples of focused interpretive signage being utilized in the interior of churches.

Bottom line folks:  If we want visitors to take notice, read and remember. Simplify, Simplify, Simplify. Choose, Choose, Choose.

Comparative Timeline -the Lost Art

In many locations where historical events are being described or where objects/specimens are being displayed that represent developments and changes over a long period of time they usually are ONLY dealing with a local person(s), industry, endeavour, culture, country or region.  This would often be portrayed as a timeline. That overall focus makes sense, however presenting a broader geographic view to provide context for local citizens as well as for the visiting tourists could be extremely enlightening. This is when you could employ a comparative timeline.

When I refer to a comparative timeline, this would conventionally display events that took place from oldest to most current, along a linear path, usually from left to right, comparing two or more distinct geographic areas.  The point is to makes dates come alive for visitors and connect to their mental concept map so they can go- “that was going on: at the same time as…or just before … or that happened later than … (the visitor has filled in an event they are familiar with that had been placed on the timeline in question…).

The familiar events that will form the link for your visitor, need to be chosen carefully by the interpreter and are the key to success. The choice of relevant, similar- timed events should consider having representation by radiating out in ever increasing geographic circles from the visitor centre’s origin point.  Once you have a handle on who your visitors are and it is decided whether you are taking a regional, national, continental or global perspective, then you can choose. With the present multicultural mix and abundance of world travellers, one would not be remiss to err on the side of globality.

Museo de la Biodiversidad Comparitive timeline Courtesy Bill Reynolds

So, let’s take a look at how the Museo de la Biodiversidad in Panama City employed this concept (a continuation of sorts from Blog post “You Scratch my Back…” and blogpost “The Power of Maps”).

In a subterranean plaza area, there were a series of colour coded columns and the column in the image chosen is somewhat of a keystone piece in order to understand the layout of the plaza that connects to all the separate gallery doorways.  There are four colours of columns and each one represents a time period that divide up 65,000 years ago then up to the present so roughly 15,000 year chunks. The panel in the image does a wonderfully graphic representation in somewhat cramped quarters showing a select few significant people/ items/events found not only in Panama through the time era but also found in the Americas and in the world so people could get a sense of what cultures existed at a similar time in history. Three timelines were shown one above the other, but they were scrunched into one column and by using this vertical format it forced the viewer to wind their gaze from up to down.

Far from ideal size and layout wise, I was reminded of the first time I ever ran into a comparative timeline back in the early 1980’s and I was “blown away.” This was at a museum in Hong Kong (Science and Industry perhaps -my mind is failing me on that specific).

I was able to match historical events that I was familiar with from the western view of history with events from the eastern point of view. Being exposed for the first time to all the “Far East” explorers and their exploits along with scientific discoveries and when they happened in relation to what was going on in the rest of the world was eye-opening to say the least. But that’s another story.

However, what was really impressive was the use of the comparative timeline. This timeline had a  juxtaposition of world discoveries reflected by geographic explorations and inventions placed together on a giant flat earth perspective showing all the different continents. My recollection was it covered the gallery wall so six feet high and 20 feet long perhaps.

Black Creek living history Village Innovative timeline Courtesy Bill Reynolds

The bookshelves in the image chosen from a gallery in a living history orientation centre chose a novel way of displaying a timeline and certainly caught many people’s attention.

I have been on the lookout ever since for effective comparative timelines that help the visitor to an unfamiliar place find context and relevance to their understanding of “local” history. The visitor had to work to compare dates by going back and forth between continents versus the Panamanian case where you compare on a linear chart.

Things to keep in mind when this IS done, timelines are often too small,and done mostly with words (no images) placed above the dates so you are not drawn to them. In my examples, I hope you extract the need for:

·        colourful images and close comparative proximation as in Panama case

·        large scale horizontal layout as in Hong Kong case

·        Experimentation (eg. using 3-D bookcase display concept) as in living historical village case

In my experience, the use of comparative timelines is an art undertaken too infrequently. Please share with us any comparative timeline displays you have witnessed in the comments section. I would like to know that they are being done with more regularity.

P.S. One of the few recurring examples that seems attractive to visitors, is a somewhat similar idea to a comparative timeline, is when large trees are cut down and one is viewing the tree rings going back hundreds of years. You can flag local, national and global events to the annual ring representing the age of the tree at a certain date to help ground people better than just using dates. Let’s aspire to go beyond tree ring 2.0.

Turning Exhibit Exasperation into Elation

It’s all about the visitor or it should be -stimulating their interest and enabling their comprehension.  When is it time to review your exhibits and check for effective communication, logical sequencing of information and appropriate choice of wording relevant to your target visitor?  Ideally before the exhibit gets mounted and arranged, however even afterwards it is helpful to review on a regular basis to ensure visitors “find their way.”

I was reminded of this recently while visiting an archeological museum in northern Italy. The collection was amazing, well displayed in the majority of cases and the objects shined, but the interpretation failed on several levels. When deciding how to set up a context for what visitors will experience along with what exhibits go where, we must always think about the entrance position, the size of the room, and where will people naturally go if given a choice. This is the case I am about to describe.

note entrance doorway and positioning of well lit cases both floor level and vertical wall capturing attention

Image courtesy Bill Reynolds

We have an entrance at the northwestern corner of a large open rectangular shaped room. As you enter you see the north wall and the top half of the exhibit area (not the west wall). People naturally gravitate to where their eyes catch something they are drawn to, in relation to what is within their vision -so, within either of these two sections. This is where you should introduce a framework and help the visitor get oriented to what they will be exposed to.

Instead, both of these areas are artifact- rich, bits and pieces that launch the visitor into random grave goods, using wording familiar to academics, but not to an “average” visitor. There is no introduction to pertinent and specialized vocabulary (necropolis, fibulae, tesserae, to name a few) thereby alienating the visitor right off the bat. Watch your references and wording early on.

If certain words are important for display learning objectives, then introduce and explain them to the visitor. How about a cheat sheet to the wonderful world of words related to archaic human ornamentation, available to all?

Image courtesy Bill Reynolds

The stage had NOT been set, the visitor had NOT been provided with any mental construct to connect & to hold these pieces together. WHY had this been ignored? Well, it hadn’t been. That needed context had been placed on the western wall -around the corner so to speak. Wrong placement !

In the previous image the two women are discussing the maps in front of them on the west wall.

This series of maps delineates the Longabord cultural territory changes over time in relation to other cultures in Europe. This was extremely helpful for context as the arrival of the Longabords in this region as demonstrated by archeological remains was the main topic.

west wall panels Image courtesy Bill Reynolds

A second image shows another west wall section being a set of explanatory panels that also provided the necessary background to understand the display meaning about excavations, and certain archeological elements like the concept of a necropolis, grave goods, chronology, and burial ceremonies. The visitor does not come naturally with this mindset and needs to be introduced to the world of archeological excavation.

Interpretation potential missed its mark because of bad placement. As I went clockwise around the room (like most visitors did), once I got to this point -being the last element visited in the main room, I experienced many moments of clarity, along with confusion resolution finally, because I could understand how everything being presented hung together, as opposed to the material being previously disjointed.

However, if you look closely at the panel images, you will find the panels in question somewhat text dense. In isolation they would be fine as they are well balanced with images. Combined with being lined up vertically side by side in close proximity, they do not present themselves in a reader approachable, welcoming manner.

Now everyone knows what a fibula is so previously written exhibit labels make sense Image courtesy Bill Reynolds

When I explored any of the side rooms off the main area, I discovered some wonderful examples of short, easily read texts above the cases, with large lettering at a level requiring I look up rather than bend over and squint. None of these interfered with the viewing of the artifacts. In addition, another great feature were the backlit silhouettes of a person clearly showing where the artifact would have been located on the body or how it would have been used.

If you are ever wondering about placement and sequencing of your interpretive elements and want to benefit from our expertise, then drop us a line. This makes a difference from a customer satisfaction point of view and from the interpretive mission point of view.

Heritage Visitor FOMO

The following editorial article about museum fatigue comes from August 7 Monocle Minute e-newsletter (Aside: they provide a refreshing worldly perspective on news with a cultural bent and avoid giving a mouthpiece to bombastic political leaders).

The core point deals with the compulsive nature of human beings to “get their money’s worth,” or “to see everything,“ or in today’s lingo -avoid the curse of FOMO=Fear of Missing Out. As a result you can’t avoid suffering from museum fatigue. Author Tom Vanderbilt discusses a large art museum but perspectives are relevant for any heritage site or centre that contains so many potential interactions that single visits become exhausting & mind numbing (so many trails, so many must see objects, so many animal exhibits, so many rooms, so many garden landscapes…).

Do you feel overwhelmed-compelled to take it all in -can you focus and select? or move on?

Image courtesy Bill Reynolds

It got me thinking about interpretive and pricing options to better allow a positive experience that can counter this mindset. I will give you a chance to read the article first. I will share some of my thoughts after. Enjoy!

Got a case of museum fatigue? Here’s how to experience art properly By Tom Vanderbilt

Art critic Kenneth Clark once admitted that he could enjoy a “pure aesthetic sensation” no longer than he could the scent of an orange – less than two minutes. Now picture one of the world’s big art museums, an almost unending succession of aesthetic pleasures. That’s a lot of oranges.
     
It’s little wonder, then, that researchers have been studying “museum fatigue” since the early 20th century. Looking at paintings is pleasurable but it’s also hard physical and cognitive work. Imagine a visitor on a once-in-a-lifetime trip to the Louvre, wanting to “take it all in”. Faced with such abundance, most people act like contestants on the old game show Supermarket Sweep, grabbing as much as they can in what little time they have. A curator at New York’s Metropolitan Museum of Art found that people looked at individual paintings for 17 seconds each on average. Researcher Stephen Bitgood notes that we ruthlessly try to “maximise utility” in museums; people, for instance, won’t walk back to an area that they’ve already seen.

Play to the gallery: Try enjoying a game on your next museum visit

A recent spell touring several artistic treasure houses in Europe had me thinking about how to experience museums in the most engaging and pleasurable way. The first step is to admit that you won’t see anything remotely approaching the full collection – nor should you try. In his book All the Beauty in the World, former museum guard Patrick Bringley notes, “If you think of The Met’s Old Master wing as a village, it has almost 9,000 painted inhabitants.” Why would you think that you could get to know more than the tiniest fraction in a day?

Rather than a one-and-done “bucket-list” experience, museums should be treated like gyms for the mind and body, more than the soul – places that you regularly return to for upkeep. When I lived in Madrid, I would duck into the Museo del Prado (then free to enter) between appointments to look at two or three paintings (often Velázquez’s bewitching masterwork, “Las Meninas”), then return to the outside world, my mind at once activated and stilled.
 
But if you find your attention or spirit flagging, there are games to play. I tend to enter a room and sit. As museum expert Kenneth Hudson once asked, “Don’t we generally take things in better sitting down?” I will glance around the room, choosing one painting that calls to me. Without looking at the wall text, I’ll try to understand as much as I can about it – who painted it, the period, what the title might be. Then I’ll compare my guesswork with the curator’s information. Alternatively, economist Tyler Cowen has another strategy. “When you go through each room, ask yourself which picture you would take home (if you could take just one) and why,” he says. “This forces you to keep thinking critically about what you are seeing.”
 
More important than what to see is what not to see. Rather than grimly trying to absorb everything in a slog of appreciation, allow yourself the freedom to bypass works, even entire collections, until your level of interest has risen. Always leave yourself wanting more orange.

From August 7 Monocle Minute e-newsletter.

Image courtesy Bill Reynolds Which exhibit wall do you choose to wander down?

Quandary: How do we give people permission to slow down and feel it is ok to see highlights pertinent to them, and provide opportunities to return (not only physically).  If museums were free to visit this compulsion to see it all at one time would be alleviated. If you bought a multiday/ weekly pass at a reasonable price that would curtail the urge to time splurge all in one day too, perhaps. Visitor type plays in here because if you are not a resident you do not have the option to easily return.

It seems to me that your visit time should relate to the price paid. If you want a short gallery hit or want to see something specific then a full day admission should be discounted. How about a timed ticket upon entry and you pay on the way out based on when you leave? Any bluesky ideas out there you want to share?

In addition, interpreters should provide more self-guided, time-viable options for visitors to choose from, based on various adventurous ways to link artwork across genres, countries, and chronologies. Pathways would be mapped out for visitors that they could follow, and if they get sidetracked so be it, but they are starting with a framework of their choosing.

One organizing way could be a range of artists’ response to certain emotions or states of mind or life situations. How about a riff on “A rose is a rose is a rose…” is it if seen through various different eyes? Substitute rose for a variety of other items. How about artistic perspectives on motherhood or fatherhood  or …?

“I scratch your back-You scratch mine”

Do you like being a voyeur into a mini-mystery world? Well that is what one of the galleries at the Museo de la Biodiversidad in Panama City invited you to be. They decided to abandon the normal static/stand alone display of specimens but decided to expose the visitor to a dynamic presentation. How? By designing plant-animal interactions that visitors would walk around & among.

The use of highly crafted and colourful magnified versions of flora and fauna above and below the visitor created an immersive surroundscape. This gave you the sense of being a spy into some inner natural worlds common to the Panamanian forest, a la “Honey I Shrunk the Kids” movie perspective. This Panamanian portrayal went another level and so far beyond a traditional laying out of specimens based on habitat or classification.

Image courtesy Bill Reynolds Do you see the hummingbird mega model?

A typical diorama approach to the visitor is mildly engaging, if the scenography has been well designed and there is some fun associated with finding the various specimens. However this static approach could attain so much more than superficial, enjoyment -level outcomes. Museo Biodiversidad decided to present natural interactions among living beings, allowing them to accomplish so much more.

Each of the dramatic scenes chosen demonstrated the intimate interrelationships between creatures and how they are dependent on each other for mutual benefit (my title scratch concept). Life has many examples of partnerships and collaboration -it is not all one big competition and survival at someone else’s expense. Not a bad underlying lesson for all exhibits going forward.

Each scene was a story in 3 dimensions- a great model to emulate. Because of that design choice the scenes pulled you in to the unfolding natural drama and you wanted to read the labels to discover what was going on in these action- oriented scenes.

One example of the many symbiotic dependencies dealt with the giant model fig tree fruits and combined with a circular display on the floor it succinctly explained how hummingbirds, bats, wasps and snakes all interacted with these fruits in amazingly different ways.

Image courtesy Bill Reynolds Cut away view of fig tree fruit nursery for wasps

image courtesy Bill Reynolds Giant floor “label” explaining the overhead fig fruit cutaway

Mega-models of termite mounds and their parrakeet partners, along with supersized bromeliad nurseries for dragonfly larvae and frog tadpoles, both illustrated similar principles of interdependency. These were enhanced by audio clips that extended the catchy titles they used to summarize the species interplay. The next image illustrates the ant wasp collaborative interaction titled “Neighbourhood Watch.”

In the hall about prehistoric animals and the land bridge created by the geological formation of Panama there was a conscious decision again about immersion among specimens to break down the barriers of the visitor spectating in a removed and separated way. A monumental arch effect using the beasts of the past, created the concept of land bridge.

Image courtesy Bill Reynolds Predator prey immersion while visitor is IN the display

This is not to say that you need colossal effects (they sure can help), to impact the visitor experience. However, a magnified introduction into the fascinating mini-worlds of one’s immediate environment that illustrates interactions can. The added bonus is to demonstrate collaboration and mutually beneficial relationships as an underlying positive message.

Exposing visitors to new perspectives in an up close and personal way, can grab attention. This can work inside an exhibit hall and outside on the trail.

In another hall, they chose to physically divide the two sides into Pacific habitat and Atlantic habitat to mimic the land effect of Panama and it was a very effective way to organize the information. The representative aquaria tanks demonstrated clearly the key differences between them, especially when paired with the text highlights.

The accompanying large, colourful visual screen graphics about ocean life had short and sweet, intriguing, levelled messages. The master panel had five Big Message choices (see buttons at top left of first image) which you chose to learn more about. In my example here, coral reef diversity breaks down further into 3 buttons to choose on the screen (e.g. small tides). This states a very clear fact. The head outcomes are very clear for this exhibit.

There is a similar approach to the Pacific side -almost a counterbalance of facts- evident as you can see with the next master screen representing the Pacific. Both sides organized their data messaging in a mirror format. The first master choice I have shown for the Pacific is from a physical feature perspective (note “large tides”), in counterpoint to the Caribbean example, and the second image following for the Pacific shows a fish biological feature contrasting perspective (e.g. fewer colours). The Caribbean contrast screen would indicate “abundance of colours.”

Image courtesy Bill Reynolds Physical features for Pacific

Image Courtesy Bill Reynolds Fish biological features

They always ended each message cascade with present environmental issue alert combined with relevant action you could do at home to protect biodiversity and conserve habitat. They had a natural flow to them and never sounded preachy, just practical. They were also summarized on a large text panel (see image).

Image courtesy Bill Reynolds

Image courtesy Bill Reynolds Get Worried Get Busy Get Together

The choice of colours (lack of), no interesting images and text blocks all work to not draw you in. For those who do read this it would have been more effective to have a donation box close by tied to what the Museo is doing to actively protect the reefs. The image attached shows the donation box in the outdoor plaza albeit with a semi-catchy phrase.

Image courtesy Bill Reynolds Donation box

Bonus: Upon entering the café there was an extra biodiversity reinforcement. They had consciously used a surface that has high visual traffic to do a intense animal wrap on their fridge doors acting as a backdrop to the order counter.

We, at EID, love to see these design enhancements that subtly remind you about the institutional mission. In previous blog posts we have covered quite an array from bathroom walls to stairs to benches to floors to elevator doors but refrigerator doors is a first.

Drop us a line if you would be interested in a webinar on this topic -we have a wealth of examples to stimulate your creative juices.

On the whole Museo de la Biodivsersidad was a very impressive attraction and extremely well attended on the day we were there with a notably higher proportion of young adolescents than I have found to be normal museum fare. The appeal factor was highly evident demonstrating extended engagement.

Image Courtesy Bill Reynolds Museo de la Biodiversidad- designed by starchitect Frank Gehry

Pawsitive Partnerships

Just happened to be going through some pre-Covid articles in the National Association of Interpretation’s Legacy magazine and I ran across one titled Sit, Stay, Conserve - helping dogs and their humans protect natural areas. Immediately I was intrigued!

I had just come back from walking in a favourite local natural area where I had encountered many “dog walkers.” I have never “owned” a dog but really like them and have dogsat for friends. On this occasion, there were several instances of dogs on leash and not on leash and they were all well -behaved, which is not always the case.

Courtesy Bill Reynolds

I have been accosted before, as in suffering an unwelcome and intrusive approach, by large dogs unleashed and by leashed large dogs, not under control by their owner. I have had to deal with loud and aggressive barking on the trail aimed in my direction. Even cute overexuberant dogs excited to jam their nose into my crotch has been experienced.

You may or may not have had to deal with similar situations, but we need to minimize these types of occurrences for everyone’s benefit. There are even many people on the dislike dog side of the spectrum who have a low tolerance for dog interactions. I have overheard them mention- “why don’t they go to the dog park.”

That’s why I was so interested to read about how they were attempting to attain all visitors with and without dogs enjoying together a “space of solace.” That’s one way the public engagement authors AJ Chlebnik and Charlotte Norville described an outcome. Full credit to them for some clever sub- headings like the one that follows and the one “pawsitive partnerships” I pilfered for the blog title.

It was the caring attitude approach versus enforcement techniques that caught my eye in the sub-heading: Who Helps the Dogs Out? {who-who-who-who}.

It is not just human -dog interactions but also stressful dog-dog negative interactions and dog-wildlife interactions, that we need to be concerned about and manage. Right? It is about reducing the impact dogs are having on the visitor experience, as well as on wildlife, and on ecosystem health! At the same time, it is about how we improve the nature experience for these ever - expanding number of visitors with dogs?

To a certain degree the existing approach has been dominated by a no dogs policy which amounts to banning these visitors, or a leash policy that is just waiting to be violated.

Courtesy Bill Reynolds Conversational rule awareness

What I have noticed over the last few years has been a significant increase in people visiting natural areas with their dogs. It appears that if you don’t have a dog, you don’t have a reason to go outside and reconnect with the natural cycles of life.

Dogs are the motivating influence we need to capitalize on. This article spoke to me about setting all visitors (even canine ones) on the proper path to issue resolution. What stood apart was this park’s understanding of behaviour training requirements and the proactive undertaking of its implementation.

They decided to embrace this visitor type. I am often surprised when I see a lone individual or “couple” or family WITHOUT a dog these days-they are the minority.

That is why the Legacy article leaped out at me, like a hyped-up, hormone-infused male dog. It was going to talk about co-existing with, not banishing dogs and their owners. Several times when I have talked to dog walkers, I am hearing people say that they would not be outside nearly as often if it was not because of their dog. This appears to be a growing phenomenon and if we want people to enjoy natural areas more and to want to protect them, then we better make their experience with fido and for others they meet, a good one.

The article by Public Engagement Specialists, AJ Chlebnik and Charlotte Norville working for Fort Collins, Colorado Natural Areas Department, explained about two programmes they implemented -one to reach visitors before they came to the park and one to reach them on the trail.

courtesy Bill Reynolds The stats & scare approach

Dog-related regulation offences are one of the most frequently ticketed offenses in their natural areas. They created four videos that can be accessed from the trailhead on a mobile device or from a home computer. Each video was created with a different purpose, and each was designed to avoid “leashed resistance.”

#1 Introduction to Natural Areas with your Dog: why your dog is welcome and the benefits for you both.

#2 Dog Regulations: what are they and why are they good for your dog and the Natural Area?

#3 Trail Tips: dog behaviours for a successful trail buddy.

#4 Trail Hazards: how to prepare for and avoid harmful situations

This Trail Savvy Dog series was produced by a local dog trainer with the purpose of aiding owners and their dogs to have better outdoor adventures together.

The second approach, inspired by the National Park Service, was titled the BARK ranger communication campaign where BARK stood for:

Bag & carry pet waste

Always wear a leash

Respect wildlife

Know where you can go

Bark rangers are trained and certified volunteers who with their dogs serve as ambassadors promoting stewardship ethics and act as good dog behaviour role models on the trails. Extra leashes, poop bags and Bark pledge stickers are carried and supplemented by periodic materials being available at trailhead tables.

Courtesy Bill Reynolds Dogbone dreams

The benefits of this pawsitive programme need to be extolled far and wide as these dog- based interactions I am convinced are only going to increase. A little awareness of the benefits of behaviour training using an accessible format can open the dog door for natural area stewardship and expanded interpretive opportunities.

Analog “Doing” Secret Sauce

The Latest Exhibitricks blog post acts as a stimulator of ideas and as a reminder of excellent interpretive design strategies. Some of the highlights that I kept from two of last year’s posts are the instigators behind this present piece. Paul Orselli is the writer of the aforementioned blog and he has an exhibit design company that is proud to create engaging, educational & fun exhibits. Plus, he has a wealth of you tube podcasts, where he interviews leaders and innovators in the museum field. Check out his web site at POW! -short for Paul Orselli Workshop.

#1 Visitor Analog Decision Points

Paul unabashedly proclaims himself to be a big fan of the "old school" analog approach – when it comes to providing experiential choices for museum visitors. He likes to incorporate the devices used in board games (dice, spinners, flippers, carnival wheels, etc.). Why? With the rush to digital and AI, Paul reminds us to never forget that spinners or dice don't need to be plugged in. We probably don’t need to be reminded that low-tech items can be very durable while being easily maintained or replaced (biggest rationale!).

Accessibility needs to be on everyone’s mind and Paul states that users with low or no vision can still participate with "old school" game devices.” In addition, familiarity is a bonus as many of your visitors will already have a good sense of how a spinner or set of dice work.

His examples are exhibit related however the interactive concepts can be used in many a situation especially in an outreach context. I have provided my own examples in this regard.

courtesy google images

Paul mentions that watching a spinning carnival wheel to make a choice in an exhibition is inherently a more social experience than one person hunching over a touch screen. So true! I have used said carnival wheel in both an outdoor and indoor setting when we wanted to attract attention to our park information booth. Outside in a park picnic setting and in a display hall, it worked extremely well due to the highly visual, highly aural, and perpetual circular motion that happens. Our colour coded wheel had natural history, cultural history, and recreational topics as the wheel “of fortune” choices, which we adapted into a trivia game, where visitors spun the wheel.

Paul pointed out that having several people throw dice as part of an exhibit choice has a similar social effect plus there is a scalability advantage as such game elements that can also be used in a much larger scale to add fun. I was involved in a collaborative design project that employed this very concept, while encouraging multiple people to participate in playing a giant game.

We were challenged to create an interactive way to expand residents’ and park users’ knowledge about their existing and future trail system linkage that wound its way through a string of river valley parks connected by pedestrian bridges. The approach that had been taken up to then was talking to passers- by, while operating an outreach booth at events pointing to a mounted map and distributing map brochures.

We wanted all adult participants to feel they had:

·         fun learning something about the river valley that they didn’t know before

·         a better idea of the extent of the river valley park/trail system

·         increased their awareness of the River Valley Alliance and the municipal partnership involved

·         become more excited about future RVA connector projects

We enhanced this approach by creating a portable roll-up “game board” resembling a 40 x4 foot durable vinyl carpet with a graphically printed river valley park system on it. We invited people to be the game board pieces to play the River Valley Trivia Game and we used giant dice that they could roll (if they answered the questions correctly) and then they moved ahead by pacing out steps on the linear vinyl carpet.

We designed in special gamespots that involved winning prizes and lots of hoopla celebrations to draw in the crowd. All trivia questions were carefully chosen to allow for engaging awareness-building discussion. If you are interested in this concept, drop us an email as there were many operational lessons learned as well as some key map design details that were needed to be matched to well thought out objectives.

A great website boardgamegeek.com is referenced by Paul as it has this handy webpage that provides an alphabetical listing of online outlets that sell game pieces and related materials. 

#2 The Secret Sauce of Children’s Museums: Less Reading, More Doing

“The magic of Children's Museums isn't just about bright colors or simpler content—it's about active engagement.” “Children's Museums have mastered the art of making learning an immersive, hands-on adventure that visitors actually *want* to experience.“  Paul provides a few points on how to channel the Children’s Museum mojo:

·         Bring natural history dioramas to life by creating "science detective” stations where visitors use scientific tools to solve ecological mysteries tied to the actual locations featured in the dioramas.

Courtesy Bill Reynolds

The Royal Provincial Museum in Edmonton brought life to supplement the stuffed taxidermy specimens by incorporating a basket of grouse tail props you could tie around your waist. Visitors could then role play the mating dance. There was a video that helped one through the strutting dance motions and the arm movements to simulate the demonstrative process. I don’t think they had any props to replicate the inflated colour throat patches- that would have been a neat touch. A good idea none-the-less.

I often thought that if the role of habitat dioramas were to bring awareness to visitors about these special places and we want visitors to do something with what they have just experienced, then why not extend this awareness by providing visitors with directions to nearby locations, where they can experience this type of habitat in real life. Perhaps even run tours for visitors or make visitors aware of companies and associations that run field trips. If any of these habitats are dwindling and in need of conservation help, then bringing awareness of this and the groups that need funding for their stewardship work there, would be very beneficial.

·         Let visitors to historical sites “step into the story” by creating "decision points" where visitors face the same choices as historical figures.

Courtesy Bill Reynolds

Courtesy Bill Reynolds

I experienced this technique while walking through a travelling exhibit on the smallpox epidemic and it was very engaging where I read a personal story about a character, then when presented with certain life choices, I (the visitor) was given multiple choice options to pick from as to what I would have done in the character’s situation. Different choices led to different stories and further decision points.

Another example of providing opportunities for visitors to mentally engage and share their perspective i witnessed at The Canadian Human Rights Museum in Winnipeg. They had as part of their exhibit area, a sound proof booth where you could record your story if you so chose to do so.

Courtesy Bill Reynolds (apologies for flash glare)

·         Visitors to art galleries should be given chances to “create not just contemplate” by creating "inspiration stations" near notable works where visitors can try artistic techniques.

I have encountered this on occasion and it works only for uninhibited children, primarily because the stations have been left very open ended. To get older visitors involved, we must be better at inviting them in with more guided discovery to get started. I have an inkling that the takeaway objectives for such a “station” have never clearly been defined beyond an ambiguous “have visitor get beyond passive to active involvement.”

If we want to introduce techniques used in the painting being observed -now we are getting somewhere. I remember trying out sumi brush strokes in a workshop once (not in a gallery space - but why not?)  I now have a much greater appreciation for this technique -it would have been more impressive being done among the works themselves. Any ideas you have employed- please share?

In addition, these work areas need to be monitored regularly as too frequently I find “put together projects” finished so people pass by -they feel uncertain about taking them apart and starting over.

The image shows an example of a large format, complete wall designed to be interactive at the Mola Museum in Panama City. A wonderfully stimulating place where in this display, about design elements employed in the mola fabric making, it illustrates the issue being discussed. There were very few pieces left in the trays to try out on own. It appeared that visitors were not clear what to do and reluctant to move/remove items.

Participatory Display Monitors need to be vigilant or participatory elements will become underutilized.

A great idea trying to give visitors a chance to create cultural motifs by creating juxtaposing jigjag and parallel lines. They even included guided discovery notes on the side of the exhibit (abit too concentrated space wise, affecting its approachability).  If the wall had been partitioned in smaller work areas rather than one big space it could have been less overwhelming for an individual or couple to play around with. Was it designed for groups not drop-in visitors perhaps? They will still get in each other’s way. Do we need videos of acceptable behaviour modelling on how to approach and interact with the exhibit?

Thoughts, anyone? Do you have any situations like these that could use our input during a brainstorming exercise? We offer a one-time free introductory advisory service. Drop us a line.   

Visitor Experience Planning – From Cocktail Napkin to Community Engagement to Evaluation

(This second post by Marcella Wells for the EID Blog focuses on a planning tool developed by Marcella and her colleagues over the course of 12 years. At EID we like to emphasize Visitor Outcomes in the planning process and the model and tools presented in the book, Interpretive Planning For Museums, fit nicely with EID planning ideas. If you have questions for Marcella her contact information is at the end of this post.)

As with many intellectual endeavors, it started on a cocktail napkin while Barbara Butler and I were attending an annual meeting of the American Association for Botanical Garden and Arboreta (AABGA), now the American Public Gardens Association (APGA). After sessions ended one afternoon we sat at a table and scribbled down an entire word-salad of ideas including concepts such as benefits, visitors, outcomes, outputs, demand, impacts, learning, attitudes, market analysis, change, data, motivations, demographics, psychographics, experiences, etc. Soon thereafter, and for the next decade, this word-salad began to take shape as triangle. Hierarchical in nature, the model rapidly evolved. As we field-tested our ideas and talked with museum and visitor studies specialists, we adjusted the visual until it became the Outcomes Hierarchy as presented in our book entitled Interpretive Planning for Museums (Wells, Butler, Koke, 201: p55).

However, several things were the catalyst for this evolution, not the least of which was Stephen Weil’s piece entitled “Transformed from a Cemetery of Bric-a-Brac” published in the book Perspectives on Outcome Based Evaluation for Libraries and Museums (IMLS, 2000). Notably, at the turn of the 21st century, museums were increasingly transforming themselves from “Closets of Curiosity” into institutions of “Social Enterprise.” Now many museums recognize and embrace the notion that education is central to the purpose of museums, and the visitors, as primary audiences, should be the focus of careful planning, research and best practices.

A Few Modern Trends

Several other trends also helped steer the development and transformation of our Outcomes Hierarchy in its final form including:

·      GPRA:  The passage of the Government Performance and Results Act which refocused the attention of federal funding agencies (such as National Science Foundation, Institute of Museums and Library Services, National Association for the Arts, and others) toward enhanced accountability and learner/participant outcomes. 

·      Diversified Learning Landscape:  The paradigm of national education continued to change over time. STEM Learning, Teaching for 21st Century Skills, and KnowledgeWorks Institute all began to forecast what the future of education might look like. The learning landscape broadened to include all-age learning, as well as formal, non-formal and informal learning venues, and a spectrum of learning progressions. 

·      Leisure Choices:  Gradual increases in public discretionary time at the end of the 20th century began to change leisure choices in the 21st century. Extra leisure time stimulated public interest in museums alongside other leisure choices such as sporting events, outdoor recreation, and travel. 

·      Accountability:  Shrinking dollars and budgets left some museums vulnerable to spending cuts and political shifts. These shifts forced efficiency measures across institutions and cast bright light on the importance of demonstrated impact of museums. Arbitrary decision making was gradually cast aside in deference to intentional and deliberate planning and management. 

Therefore, our book is anchored in this era of reframing, where Museums transitioned from repositories of objects to institutions of public access, engagement, and learning. The Outcomes Hierarchy was developed to aid museums in their transformation toward learner-centric planning and evaluation.

Ways to Use the Outcomes Hierarchy

Over the years, the Outcomes Hierarchy has proven useful in a variety of ways, such as: 

·      As a Planning Tool for (a) building a shared vocabulary about visitor experiences, (b) demonstrating how visitor perspectives can be conceptualized throughout the planning process, and (c) anticipating how visitor studies might be employed.   

For example, a Visitor Experience Master Planning effort (2008-09) with the Royal British Columbia Museum of British Columbia, Canada, aimed at “renewing its relationship with visitors.” We worked with the Museum to complete a thorough current, hindsight, and future analysis of Tier 1 of the Outcomes Hierarchy (Audience Data & Information) so that subsequent planning efforts might strategically align with eventual programming. 

·      As a Communication Framework it can help integrate ideas from staff, visitors, and others and present desired outcomes to stakeholders and community leaders.   

For example, in a project with the Adirondack Museum in Blue Mountain Lake, New York, the staff sought to (a) explore visitor awareness of a new branding and identity program, and (b) better understand visitor use and satisfaction with new orientation and way-showing initiatives. Tier 2 of the Outcomes Hierarchy (Outputs) was useful in defining and differentiating types of visitor engagements and Tier 3 provided discussions around desired outcomes that might be reasonably expected for visitor experiences. A variety of tools were subsequently used throughout the project, and the Outcomes Hierarchy served as a touchstone for keeping the project focused and results deliberately integrated into subsequent visitor experience planning. 

·      As a Funding Tool for organizing data and information related to investments in a project and desired impacts on the community, the discipline(s), and the institution. 

·      As a Research Tool for anticipating visitor experiences and guiding evaluation activities.

·      As a Data/Information Tool for training staff and others about evaluation strategies and techniques, as well as recording and discussing collective evidence about outcomes and impacts over time.

For example, in developing a 2015-16 Communication and Interpretive Plan for the Rocky Mountain Biological Lab (RMBL) in Gothic, Colorado, the goal was to enhance outreach to multiple audiences by strategically creating diverse learning opportunities for better engagements with the RMBL. The Outcomes Hierarchy became an important tool in the process of (a) using Tier 1 (Audience Data & Information) to better understand and discuss the variety of visitor information collected by RMBL over time, (b) deliberately establishing desirable outcomes for the various types of visitor engagements with RMBL using Tier 3 and 4 (Outcomes & Impacts), and (c) determining what visitor monitoring and feedback strategies might be best moving forward. 

Overall, the Outcomes Hierarchy is most useful as a touchstone for intentionally, and proactively, thinking about, discussing, and planning successful and meaningful visitor experiences. Furthermore, institutional attention to outcomes can provide evidence that demonstrates overall impact of museum experiences. 

More Important Than Ever – Museums and Community Engagement

More and more free-choice learning institutions are seeking concrete ways to illustrate how they contribute in a meaningful way to community and societal vitality and viability. A Carol Scott (2009: 70) quote from our book suggests, “The most important impacts of museums are the “intangibles”– the personal learning in a visual, hands-on, free-choice environment, the (personal) development perspective and insight, and the important experience of linking with the past. This is the language of impact and value emerging from the ‘heart and purpose’ of museums and the experience(s) they create.”

Considering visitor outcomes as part of integrating visitor perspectives in museum planning goes a long way toward demonstrating the overall value of museums. Borrowing again from Scott’s work (Scott 2009, 201-3), our book includes mention of her multiple Indicators of Museum Value including Use Value, Institutional Value, and Instrumental Value. In light of recent efforts by the Trump administration to defund many of America’s cultural institution (e.g. IMLS, NSF, NEA), concrete measures related to citizen learning, as well as museum’s contribution to local economies and societal sustainability, become even more important tasks for us to focus on.  

 (Marcella started professional life as a ballet dancer and ended as an evaluator. In between she worked as a travel agent, dance teacher and choreographer, environmental educator, interpretive planner, college professor, librarian, and polymer clay artist. Her 30-year career in visitor studies, interpretive planning, and as a college professor took her to 20+ states and three foreign countries for dozens of projects. Since 2015, Marcella has volunteered at the Avenir Museum of Design and Merchandising in Ft. Collins, Colorado working in the collection, guest-curating exhibits, and the Avenir Museum’s library. Her favorite spaces are libraries, thrifts stores, cemeteries, and Ponderosa pine forests. You can contact Marcella at marcellawells@comcast.net and her book is available from Taylor & Francis Group at www.taylorandfrancis.com or call 561-994-0555.)

Who's who- reaching the visitor

Who are the recipients of your site’s messages? How do you characterize those recipients? Does your present descriptive method assist you, so your interpretation is targeted and lands effectively on fertile ground?

The previous post “Ensuring Visits are meaningful” pointed out that who, what , and where are necessary dimensions to consider. We discussed the importance of deliberating on “where” one’s site message is best delivered to be meaningful. This post will touch on getting a better grasp on the “who,” in order to come closer to hitting the proverbial bulls eye of visitor meaningfulness. I have heard the “who” determination bandied about in many ways, but it often never gets beyond demographics, as in young adult couple, or family with 2 children under 10. Yet it is more important to grasp the various mindsets that visitors arrive with and understand the “language” they respond to.

courtesy Bill Reynolds Family Happiness

There are proven methods of capturing the interest of people and touching their minds and hearts, that have been researched and perfected over many decades. Many studies have defined the learning modalities, learning styles and learning types that people exhibit. They cut across gender, age, family dynamic, culture- all the traditional ways we are presented with to divide up our market or visitor. Consider the following as more helpful in order to communicate with (not market to) visitors:

Learning modalities are the ways in which our brain-mind systems are best stimulated. Learning styles are the way we best perceive experience or information, and our way of acting upon that. Styles are influenced by modalities. Learning types are separated based on what kind of information they perceive as reality. Here is a quick breakdown.

Labels vary, but there are 4 major modalities:

• visual,

• auditory,

• kinesthetic, and

• symbolic.

Understanding these shortcuts to stimulation helps you to categorize “the whos” based on how they receive information, learn and express themselves. Exciting the different mind- brain systems is key to ensuring visits will be meaningful.

Visuals need spatial perspectives, drawing, graphics, sculptures, mapping, etc.

Auditories need rhythmic patterns, speech, music, & song.

Kinesthetics need patterned movement, posturing, gesturing, dance, and physical action.

Symbolics need abstract connections like reading, writing, and arithmetic.

Visitors are usually a mix but also have a dominant style. Bottom line: we need to employ a range of communication approaches to capture all the “whos” out there.

Courtesy Anacostia Museum web site

People also show a brain hemisphere dominance -either left brain or right brain. Logical, linear, sequential thought is the left brain area whereas the right brain focuses on visual/spatial and emotional thoughts. Effective interpretation employs techniques aiming at stimulating both hemispheres. There is still too much emphasis on left brain stimulation especially in non-personal interpretation.

This is especially critical when you consider learning types. There are 4 basic types (again labels vary) :

• analytical

• innovative

• practical

• dynamic

Analytical types comprehend reality as based on facts and data, books and experts.

Innovative types perceive reality through personal life experiences and how “stuff” relates to them.

Practical types perceive reality as whatever works in real situations.

Dynamic types grasp reality based on what is experienced in the here and now, often employing creative intuition.

As interpreters we need to design for and speak these “languages” or we will never appeal to wide groups of visitors. The latter three types really emphasize the rationale for designing more interpretation that incorporates “doing” as part of the communication process. Frankly, that’s a strong reason why we, at EID, enjoy the book Interpretive Design the Dance of Experience by Steve Van Matre so much.

Courtesy Bill Reynolds Boardwalk buddies

The point of visitor engagement by stimulating action by the visitor is hammered home over and over and speaks to diverse learning styles. So, how can you be meaningful - by connecting with a range of modalities, styles and types.

Reaching a large percentage of your visitors means you need to use a diversity of techniques. In my experience, one of the best examples of incorporating a wide range of approaches like this is an experience designed by the Institute for Earth Education named an Earthwalk. For a great overview of this participatory way of sharing nature using sensory and visceral explorations, check out our April 2020 blog titled Earthwalks where the book is reviewed.

We know that visitors display a mix of brain-mind systems and EarthWalks an alternative nature experience book provides extensive guidelines on how to design and structure participation aimed at the wholistic ”who.”

Here are just a few hints to spark your creativity when trying to involve those non left brain visitors who traditionally avoid interpretive offerings :

• visual mode- get your visitor to look at familiar things in new ways (hands & knees, looking up, introduce a third eye)

• auditory mode - close eyes and focus listening

• kinesthetic mode - empathic movement, tactile comparisons

• symbolic mode - make up a story or song as a group

• right brain - fantasy and metaphor are gateways in

• left brain - do what we have always done

• innovative - sharing and social interaction

• analytic - seek out experts

• practical - try out and do things

• dynamic - express themselves and apply learnings

Courtesy Institute for Earth Education

Earthwalks employ structured fun and visitor interactions are designed for various reasons keeping in mind diverse brain-body needs. To design for different visitors’ perceptual preferences, the provision of props like “scent catchers” to enhance a visitor’s sense of smell or miniature artists’ palettes to aid them with discovering and sharing hidden colours, can help immensely. The use of blindfolds and bare feet for example, are not flippantly employed, but both are chosen explicitly for a purposeful sensory awareness focus. On a more mental engagement level, Earthwalks also aim to develop feelings of reverence, where time for contemplation and a chance to express thoughts with other visitors is designed in.

Many more points could be shared around this concept but I will leave you with the technique of role-playing as an example of addressing a mix of modes and styles. Animate objects are a natural however don’t ignore inanimate objects. While a visitor is actively looking and touching a glacial erratic boulder, an interpretive catalyst could pose, “I wonder how it would feel to be a rock at the bottom of a glacier?” If needed, one may have to have some follow up guiding comments or graphic actions to spur participants.

People think and sense from a comprehension, a meaning, a solutions or a possibilities standpoint. We need to design our communication to reflect the above 10 visitor brain dimensions and aim for more than only comprehension !

Courtesy Bill Reynolds how many modalities and styles ?

Inspect your trail signage, walk around your visitor centre or read your exhibit texts, then review what you are saying & showing ! Are you consciously reaching a range of visitor modalities, styles, and types? WHO are you talking to?

Engage us here at EID to do the above review. Start off by contacting us on an experimental basis - send us a video or a series of images and we’ll provide you with feedback on ways to connect with a wider range of visitors. It may just be the start of a beautiful relationship.

What have you got to lose?

A New Paradigm for Creating and Evaluating Interpretive Programs

(“Evaluate” is the final Dance Step in Van Matre’s book Interpretive Desgin and the Dance of Experience. It is important because we need some way of knowing if the experiences designed are achieving what they were designed to do. Nathan Taxel attended the EID webinar on a survey tool developed by our colleague Lars Wohlers, Visitor Track ‘N Time, and soon after we began a conversation about his passion for evaluation. What follows is how Nathan accomplished an evaluation at the Orange County, California Parks. We think this post is important because experiential evaluations is not the norm in the field of interpretation or environmental educations. Thanks Nathan…)

Photo Credit: Nathan Taxel

Since my career in interpretation began in the galleries of the Cleveland Museum of Natural History in the late aughts, I have been deeply curious about measuring the effectiveness of programs, activities, and exhibits.

And like many of us, that is not where I started. As a teen and young adult my focus was on activism and the undefined intent to turn environmental advocacy into a career. During an environmental education class towards the end of my undergraduate studies I had one of those classic “lightbulb” moments just weeks into the term. I instantly saw that meaningful educational experiences were the most effective way to make changes in the world without compromising my ideals.

In short, influencing behavior and changing attitudes is the main reason I entered the interpretive field in the first place. I also genuinely believe that effective interpretation of our communal history and landscape can play a role in healing the calcified and resentful sense of tribalism which grips much of my country, and the planet, today. I feel compelled to investigate what experiences make interpretation effective or ineffective.

Finding the Right Evaluation Tool

In pursuit of that goal, in 2022, I discovered the work of Dr. Myles Richardson and the Nature Connectedness Research Group (NCRG) at the University of Derby in the United Kingdom (UK). Their aim is “to understand people’s sense of their own relationship with the natural world” and “create everyday interventions in order to improve this relationship for the wellbeing of humans and nature.” In this paradigm Nature Connectedness is “a measurable psychological construct that moves beyond contact with nature to an individual’s sense of their relationship with the natural world.”

Using analytical psychology and quantitative population studies the NCRG has developed a methodology called “Nature Connection Science” which could revolutionize the design and evaluation of interpretive experiences. The field of interpretation has for some time understood the value of making connections between people and important heritage sites. What makes the Nature Connection Science model ground-breaking is that it can be a measurement tool for both large-scale population studies and small-scale evaluations of specific activities and experiences. It is a tool to measure the impact of our programs, activities, exhibits and media in real time.

The lofty goals of helping people and the Earth are accomplished by engaging with the NCRG’s “Five Pathway’s to Nature Connection.”  These include the following:

·      exploring and experiencing nature through all the senses (Senses),

·      seeking and appreciating the beauty of the natural world (Beauty),

·      noticing and welcoming the feelings nature inspires (Emotion),

·      celebrating and sharing nature’s events and stories (Meaning), and

·      caring for nature (Compassion).

The data the research group has gathered from large scale studies in the UK, as well as from dozens of additional studies by independent research groups around the world, indicates “there is clear evidence that contact and engagement with nature can increase nature connectedness, and that engaging in nature connection practices on a regular, daily, or weekly basis can lead to sustained increases in nature connection.”

Getting Started

The evidence the NCRG has gathered and the methodology they developed in the United Kingdom gives us a road map to determining how to effectively execute our missions and goals in a tangible AND measurable way, not to mention improve the quality of life for individuals and communities. Using the NCRG insights and methods plus a pre and post survey, we decided to measure the short term effectiveness of the “Restorative Bird Watching” experience offered by the Orange County (OC) Parks (California) to measure this activity’s impact on participant’s moods and self-identified connection to nature.

Photo Credit: Nathan Taxel

We chose bird watching as our entry point into nature connectedness because it is a very popular activity in the communities OC Parks serves and, more importantly, there is evidence that birds hold a particular space in our collective consciousness and provoke emotional responses in people even when they are not actively observing them. 

Photo Credit: Orange County Parks, California

The experience was a 2-hour guided walk held at a remote historic home and garden in rural Orange County, California. The site we chose, Arden: Helena Modjeska Historic House and Gardens, is on the national register of historic places and provides about 200 yards of flat well-groomed trails, manicured Victorian style gardens, shade, plenty of places to sit, a babbling brook, and an abundance of avian life. The setting was ideal for the atmosphere we were trying to create and likely a major contributor to the positive results from the pre and post surveys.

It was advertised as a slow paced and accessible walk which will offer practices to emphasize the positive mental health benefits of bird watching, connecting to nature through guided observation, sharing stories and community building, creativity, and practicing mindfulness. The program was offered once a month, in May, June, July, August, and September of 2023 and a total of 53 members of the public participated in the 5 sessions. The sessions were advertised online through program websites, monthly newsletters, social media (Facebook, X, and Instagram) and added to an event calendar managed by the Mindful Birding Network. Our big picture takeaway from the data was that negative emotions decreased and positive emotions increased after involvement in the experience.

Participant Details

Photo Credit: Nathan Taxel

Photo Credit: Nathan Taxel

After registering for “Restorative Bird Watching” online, participants were notified via email that data would be collected via pre and post program surveys. No details were provided about the survey questions. Upon arrival participants received a 2-sided document which included two different measurement tools. The first was the Positive and Negative Affect Schedule (PANAS) developed by Watson, Clark, and Tellegen in 1988 to measure mood changes. It is widely used in psychological research.

The reverse side of the sheet included an illustrated version of the Inclusion of Nature in Self (INS) Scale which was developed in 2021. The participants received a second copy of the same form at the end of the experience in order to measure any changes in mood or self-identified connection to nature. Our goal was to generate data which would corroborate or conflict with the results of other studies under similar conditions and to see if this experience activated a measurable change in attitude or mood in the participants.

The experience began with an OC Parks staff facilitator introducing the activity with statements of intent, gratitude, and a reading of the poem “Peace of the Wild Things” by Wendell Berry to set the mood. In a circle, everyone shared their “spark bird” – the bird that inspired a person to get more interested in birds and bird watching. The goal was to break the ice and have participants feel more comfortable sharing. Next the facilitator led a guided mindfulness exercise encouraging participants to connect with their surroundings and progressively focus on their body, senses, and the natural community around them.

Nathan Taxel “Spark” Bird; Photo Credit: Nathan Taxel

Participants slowly moved through the space observing birds, guided by prompts designed to inspire curiosity and reflection rather than identification. They explored bird behavior, sounds, and appearance, connecting their observations to personal memories and questions. This transitioned into a silent listening session to explore bird songs, followed by a reflective group discussion. Later, participants engaged in independent mindful observation, recording sensory details before interacting with nature.

Photo Credit: Nathan Taxel

The final exercise involved tracking a single bird, observing its behavior, and sharing insights about its beauty, actions, and needs. Small, organically formed group discussions fostered trust, community, and a deeper connection to both birds and each other. Observing these final interactions between participants reinforced our belief in the power of interpretive activities to build bonds and inspire shared learning.

The program concluded with a closing circle where participants were given a final opportunity to share stories, observations, and reactions to the activities they participated in. Statements of gratitude for the participants, the place, and the birds we observed were offered to end the experience.

Survey Results

The results of our pre and post program show small, but not insignificant, increases in positive emotions (12%) and decreases in negative emotions (18%) on the PANAS scale and a trend toward higher levels of nature connection on the illustrated INS metric. These results corroborate those of the international studies analyzed by the NCRG in their 2022 meta-analysis published in the journal Sustainability entitled “Improving Nature Connectedness in Adults: A Meta-Analysis, Review and Agenda.” By using the principles of nature connectedness to create an interpretive experience, we were able to successfully improve the mood and self-identified nature connectedness of most of our participants. This activity can serve as proof-of-concept for interpretive programs designed specifically to influence attitudes and behavior.

An experience like “Restorative Bird Watching” helps offer participants new techniques for exploring their relationships with nature, provides social validation of their interests, and has the potential to produce an important emotional impact on its participants. By teaching the skills of mindful birdwatching and doing so expressly with the intent of improving mood and mental health, participants are empowered to examine their emotions and connections to the Earth independently. We can all reap the benefits of more time spent outdoors in easily accessible and conventional outdoor settings such as backyards and local parks and by incorporating these mindfulness activities.

Social validation and community building are another reason that group activities like this can have longer term impacts than one might expect from a short-term intervention. The group learning experience validates the interests of the participants and gives them the opportunity to meet like-minded peers. Whether or not those peer connections extend beyond the activity, the impact of spending time in a space with like-minded individuals building care and empathy for the natural world is invaluable and may contribute to extending the benefit beyond the temporal limits.

As I mentioned in the beginning, knowing the effectiveness of our interpretive offerings is key to making a change in our participants and their relationship to the natural world and other heritage sites. Finding the right tool to measure whether your activity is doing the intended job is important. Gathering more information from evaluations and sharing them with others will help all of us in the field determine if interpretive programming is working or not. Further investigation will give us a better understanding of how activities like this can impact our communities and help organizations and agencies achieve their goals.

When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.

Copyright (c) 2012 by Wendell Berry

(Nathan Taxel is the Interpretive Programs Curator for OC Parks in Orange County, California, where he oversees the interpretive program for a 60,000-acre regional and wilderness park system. He is also an associate faculty member in the Environmental Studies Department at Saddleback College in Mission Viejo, CA and was recently elected to National Association for Interpretation's Board of Directors. He earned a master’s degree in Parks and Natural Resource Management and a bachelor’s degree in Political Science and Environmental Studies. Nathan lives in Irvine, Ca with his wife and two small children and is an avid amateur photographer and bird watcher. If you would like a more information on the survey questions and results please contact Nathan at nathan.taxel@ocparks.com/ 657-322-3680.

Consuming with our Eyes Open or Closed

“My species has the audacity to wage war against a biosphere that offers us life.”

“We cannot care for ecosystems without recognizing that we will always rely on them and we will always tax them… that human life will always come at a cost. We cannot choose if we will impact ecosystems, if we will impact people across the earth, if we will impact the lives of future generations. We can only choose what that impact will be.”

“The world is being degraded by those who do too much and those who do nothing.”

Some hard hitting material from author Ethan Tapper - a new breed of forester. It has been quite awhile since we focused and presented a quick survey of a book that is worthy of a read. How to Love a Forest by Ethan Tapper was one of my Christmas reads and it warranted a shoutout. Even if forests are not part of your interpretive heritage job, you owe it to yourself and the planet to read this book. And if forests are part of your bailiwick then it is a must read.

The basis of the book is proposing a new radical and responsible, relationship- based, land ethic -“a vision of freedom and power, resilience and humility, legacy, beauty and change.” People have the power and freedom to choose what that relationship and responsibility looks like. The visitors to our heritage sites, that we connect with, need to be exposed to (perhaps reminded of) many of the well expressed points that Ethan Tapper presents.

I especially found the chapter on humility powerful. Ethan mentions how it takes humility to admit that we are dependent on so many things that our incredible technology cannot replace or control. “Even as we infiltrate and alter every natural community on earth, we remain reliant on ecosystems for the air we breathe , the water we drink, the food we eat and the delicate climate we inhabit. We remain tethered to ecosystems.”

Humility is: understanding that grasping the entirety of ecosystems is still beyond our knowledge base. The author expresses it beautifully when contemplating an eroding cliff face that is becoming “something new, one thing becoming two, becoming many. (One) … could parse the biological communities woven around the cliff, all the organisms to whom the cliff is habitat, all the creatures whose breath, in winter, forms delicate ice crystals in the gaps of the rocks. Still the unearthing of every secret, and full expression of the cliff would elude us.”

One of many excellent pieces of prose is the following one that I suggest should handed out or be “placed” in some prominent position (over the visitor entrance door or desk) to ensure every visitor reads or hears it, in every park setting and every natural history museum, and botanic garden.

“…like this tree, I am a wild thing- a product of the biosphere, the thin veneer of life that surrounds this planet. Like every living thing I cannot exist without forests, without carbon pulled from the atmosphere by green leaves giving my body the ability to breathe and to move, without water, without soil, without oxygen exhaled by plants. … oxygen is a gift given freely by the green life of the biosphere, a vital and invaluable resource produced by ecosystems that ask nothing more than to be allowed to exist.”

His perspective on forestry especially is very enlightening. Loggers are not evil for taking trees from the forest but, “they were wrong for the way they took them: for failing to honour the value and the beauty of the forest, for failing to take the responsibility for the legacies that they left in their wake.” As a forester, he now sees himself not as a caretaker of trees but caretaker of the forest community.

“Beneath the legacies of human negligence and ignorance and greed , I caught glimpses of a world of promise.”

The author is quite clear that loving deer and hunting deer, loving trees and felling trees—can be radical expressions of a bigger picture community compassion. You need to delve into his writing to discover why he says, for example, that the cutting of a tree could be “an expression of compassion and humility, an act of healing, an act of love, that management could be restorative and regenerative.” He has realized that the management of a forest along the commodity path or “leave it alone” path are not the only options.

He expresses the benefit of leaving naturally decaying trees in place very effectively. The following is just one snippet: “As a tree’s biological life fades, its ecological life persists-a feast for other creatures. Countless lives will be born from her. As the tree decays, it will be decentralized, becoming a cooperative of millions of tiny things, the foundation of a complex and precious living community.”

I learned a new word from Ethan -necrosphere- he introduced me to a new ecological term for “the midwives of mortality responsible for the profound and beautiful process of tree death- the bacteria, the fungi, the boring and defoliating insect community of death - guide trees toward the end of their lives.” Ethan shares life lessons through the lens of observing natural processes: “thousands of tiny creatures are hard at work turning these scaffolds of cellulose and lignin into soil that will nourish the forest of the future. Today a community of living things is building something beautiful for whomever/whatever will follow.”

Forests are more than timber and fibre and a crop to be quickly and efficiently harvested without regard for the future. To remove the messy necrosphere and complex dynamic diversity,  forest engineers unknowingly undermined (and many still are undermining) the forests’ resilience, vibrancy and health.

The author stresses that forest benefits are not luxuries but necessities providing renewable resources that are key to ecological, cultural and socio-economic human foundations as well as providing fundamental freedoms of existence. These benefits belong to all living things and to generations of future children.

With individual freedom one could “develop “ a forest- fragment it with houses, driveways, and lawns, mine its gravel and overexploit its timber as a source of wealth and power for one family for generations. Destroying a forest – means an ecosystem that had and could have enriched and sustained the lives of thousands of people and trillions of organisms for centuries - no longer can. These kind of choices “undermine the resilience, the self-reliance and the freedom of countless others.” **

Ecosystems have coevolved over millenia having formed elaborate physical, chemical and behavioural traits, helping them to coexist in dynamic equilibrium. At the same time this makes them unique, and vulnerable to invasive species, especially when challenged by human disruption that has fragmented, altered and climate change impacted their communities. If you are dealing with the problem of invasives at your site, you need to read his perspective.

At this moment in time when many espouse their desire to attain freedom of choice, Ethan also brings forward the necessary concept of responsibility that goes with that. His legacy chapter, about the US Vermont state where he lives, lays it out plainly: “Like the first people, the new people of the valley sustained themselves on the riches of the ecosystems. Unlike the first peoples, the new people viewed the ecosystems of the valley as things to be conquered and subjugated, mined for personal wealth.

Unlike the first people, they cleared the ancient forests, drained the wetlands, straightened the rivers, hunted the wildlife to extinction. Breathing earth’s air and drinking earth’s water, they farmed the rich soils, their crops pollinated by wild insects, sustained by the soil organism communities, and watered by the clouds seeded by trees. They built a complex society over the land, where development creep with ecosystem exploitation and destruction produced remnants of ecosystems, lying like carcasses by the sides of the road. People cannot choose the legacies they inherit only what they would make of them.”

He states clearly that everywhere, people continue to use their power to exploit ecosystems and to seek their own freedom at the expense of their children’s. Their actions are shrinking the biosphere, effecting the functioning of those ecosystems as well as the living conditions of other people in the world. Our lives will always come at a cost = we will always need energy, food and shelter. We have the free choice to consume with our eyes open or closed. Our job is to open more eyes.

The author talks about the present issue with people who see freedom as something to be taken away rather than something to be shared. I believe this is a concept worth discussing with visitors. “They (people) have been told that the only measures of their success are the riches they take for themselves: the wealth and power, the happiness and the freedom they can mine from this living world. Each believes they are independent racing against the others, grasping for individual freedom.” The author discusses the connections that have been forgotten.

“Each person holds a tiny piece of power: the freedom to destroy ecosystems or protect them, to destroy or protect each other” Just like trees, our roots are intertwined.  Interpretive centres could initiate discussions around the concept of freedom, and interrelationships including their meaning and impact on all forms of “communities”.

Ethan pleads with the reader that we can either allow this biosphere - our home - to sink further into dysfunction and disarray or we can make (and assist others to make) the radical and bittersweet decisions necessary to choose a different path. The inconvenient and the uncomfortable decisions need to be wrestled with at our interpretive centres.

I will leave you with two of his thoughts:

“I believe that this forest, its creatures, its patterns and processes, its relationships and connection, has intrinsic value - the right to exist.”

 “I see a better world as one where humans are actors, not bystanders, where we are brave and humble and imbued with responsibility.”

** ( Ethan unravels a biting analogy that I could not resist sharing)

“Like invasive plants by the highway, the chain and box stores rise from the asphalt to outcompete local businesses, extracting profits that enrich distant executives and shareholders, dominating the landscape-smothering its uniqueness, replacing diversity, and complexity with instable, sterile monoculture.” (but don’t forget they provide “low-paying jobs for local people stocking shelves with cheap products subsidized by the suffering of people, species and ecosystems somewhere far away where less stringent environmental regulations, human rights laws and labour laws exist).

Notes on Interpretive Planning for a Museum Exhibit

(We decided to end 2024 with some insightful thoughts on museum planning from Marcella Wells. Marcella’s book, Interpretive Planning for Museums, came highly recommended from our colleague Lars Wohlers. Mike read it and was impressed with its directness, its insights, and its focus on implementatin as well as planning. This is the first of two posts Marcella will be writing for us. A very happy holidays to everyone and a joyous 2025 from Bill, Mike and Lars.)

For many, Interpretive Planning is equivalent to doing math homework - easy to put off, but difficult when it’s time to take the test. 

Photo Credit: Marcella Wells

 In our book Interpretive Planning for Museums (Wells, Butler, and Koke. 2013), we offer a rather academic definition of interpretive planning as “a deliberate and systematic process for thinking about, deciding on, and recording in a written format or plan, education and interpretive initiatives for the purpose of facilitating meaningful and effective experiences for visitors, learning institutions, and communities.” 

In plain language, the most important parts of this definition are:

·      Is it written down? … think about a tangible working document

·      Why are we doing this project? … think overall institutional mission and goals

·      Who is it for? … think audience segments and desired experiences

·      What is it about? … think objects (for museums) as well as concepts and stories

·      What should we care about… think desired visitor outcomes

·      How do we get there? … think logistics, fabrication, installation

·      How will we know it worked?... think visitor studies

In general, there are basically two types of interpretive planning,

1.     Exhibit or Program Planning which is focused and project-specific

2.     Interpretive Master Planning which is broader and institution-specific

This post focuses on the former type and features a recent exhibition at the Avenir Museum of Design and Merchandising in Fort Collins, Colorado, part of Colorado State University (CSU), that exemplifies some of the features of exhibit planning. This is not meant as an exhaustive discussion of interpretive planning but rather one example of how to think about the process of interpretive planning.

Photo Credit: Website - Avenir Museum of Design & Merchandising, Front Entrance, Colorado State University, Ft. Collins, Colorado

Is it written down? (tangible working reference document)

A great deal of interpretive planning is done on the fly, jotted down on the back of a cocktail napkin, or accomplished in the lunchroom while talking with colleagues. Sometimes those intentions get translated to paper; other times perhaps not. A written plan, however, serves several purposes. First, it captures in one place the ‘group think’ about a project so there is less confusion about what has been agreed upon. Second, it records the sequencing of a project over time as ideas are added, removed, or reframed. Finally, it serves as a tangible ‘note for the record’ giving the institution an historical record of accomplishments…and serving as an administrative (and even legal) record for later reference and accountability.  

Why are we doing this project? (mission and goals)

For informal learning organizations and institutions (museums, parks, nature centers, zoos, etc.) interpretive planning includes nesting the project within the mission and ensuring that it is consistent with broad institutional goals. For the Avenir, their mission is to: “tell stories of dress and textiles that inspire respectful curiosity and connection across people, places and cultures”. The Museum has three galleries and a collection of nearly 20,000 objects. Rotating exhibitions are developed throughout the year in all three galleries. In 2024, Curator Paula Alaszkiewicz, set forth an exhibit goal for the main gallery: to demonstrate the depth and breadth of the Museum’s collection of tie dye objects across techniques, places, and time. Tie dyeing is also referred to as ‘resist dyeing’ for the artistic process of using wax to resist the absorption of dyes in fiber and textile pieces. 

Who is it for? (audience)

Being a university museum, the Avenir’s primary visitors are the scholars and students at CSU, but the Museum actively welcomes community and regional visitors who come as individuals, couples, and groups. Visitors are of all ages, races, genders, and affinity groups. Desired experiences for the Museum are as diverse as these audience segments. For example, college students seek opportunities to explore more about their chosen vocation and/or show others (friends, family members, guests) the unique aspects of a nationally recognized university museum. Families seek opportunities to show their children beautiful, rare, historic, and unusual fashion and textile objects. Regional visitors are often interested in a new and unique tourist adventure. The exhibit experience highlighted in this post provided all of the above and along with other objects to view, narratives to read, questions to answer, and ancillary program experiences based on the exhibit content (e.g., hands-on experience of tie dyeing, learning how to wrap a sari, and so forth).   

What is it about? (objects, concepts, stories)

A number of items from the diverse collection of tie dye and resist objects in the collection were selected to meet the teaching, research, and service goals of the Museum. The exhibit was eventually titled: Resist: Tie Dye Practices from Around the World. Objects were selected to best feature stories about (a) diverse tie dye techniques (e.g. Indian Bandhani, Japanese Shibori, Uzbekistan Abr, Yoruba Adire, and Euro-American DYI), (b) tie dye as both a global endeavor and an historic record, and (c) exemplary examples of diverse artistry, creativity and construction. 

What should we care about? (desired visitor outcomes)

Describing visitor outcomes during the planning process is highly desirable but all too often neglected. Outcomes state what visitors might do, think, or feel as a result of their experience in the exhibit. Several of the anticipated outcomes for the Resist Exhibit included: 

·      Visitors will express amazement at the incredible global diversity of tie-dye techniques throughout history. 

·      Visitors will spend time viewing the tie-dye/resist techniques used to create unusual patterns.

·      Visitors will connect some personal relevance to today’s modern tie dye.

·      Visitors will appreciate the complexity of Ikat as a specific unique form of Resist dyeing.

·      Visitors will share their enthusiasm for the exhibit content and displays with others.

Developing visitor outcomes during planning is important for guiding decisions about visitor experiences, and later, for evaluating the impact, reach, and success of the exhibition.     

How do we get there? (logistics)

In addressing this practical planning question, the Avenir staff tested a variety of formats and flow options using a scale model of the large open-plan gallery. This flexible model allowed staff several options for re-arranging walls and cases, and to consider a variety of display methods (slant boards, pedestals, hangings, etc.). Ultimately, a layout was selected which maximized visual appeal while also providing several paths for visitor explorations within the exhibit space.

Map Photo Credit: Avenir Museum of Design and Merchandising

For example, the curator positioned a world map at the entry of the exhibit to help visitors grasp the geographic scope of the exhibit content.

Open Gallery Exhibit Design Photo Credit: Avenir Museum of Design and Merchandising

The curator also positioned the walls and cases such that visitors would not have an “all-at-once” view of the exhibit. Rather, the overall configuration encouraged visitors to explore the space more deliberately based on personal interest. Questions posed in the introduction panel were used to intellectually pull visitors through the various zones or sections of the exhibition.

Icon Photo Credit: Avenir Museum of Design and Merchandising

As well, iconic pieces were placed strategically around the gallery so visitors might experience powerful ‘discovery’ moments. Throughout the exhibition multiple levels of interpretation were planned so that visitors could self-select their preferred method of inquiry for each of the exhibit areas. These included panel text at each major zone, in-depth text guides (printed or QR Code access), and individual object labels. 

Printed Sari Photo Credit: Avenir Museum of Design and Merchandising

Finally, the curator incorporated a number of ‘bridge elements’ to link the various exhibit zones together. For example, objects in the exhibit included both dyed and printed fabric. In order to bridge these concepts, iconic objects such as the ‘printed’ Sari shown above was used to bridge from a ‘dyed’ Japanese kimono below. This strategy aimed to help the visitors make the intellectual transition from objects that were resist-dyed to those which were printed to simply resemble resist-dyed techniques.

Japanese Dyed Kimono - Shibori Technique Photo Credit: Avenir Museum of Design and Merchandising

How do we know it worked? (evaluation)

The wonderful thing about planning is that if you intentionally record your process as you go, then capturing information about impact and success is much easier. The Visitor Studies toolbox is wide and deep and so the lean staff of six worked diligently to integrate some level of visitor studies into their interpretive planning efforts. Depending on the size and scope of other exhibits, this Museum sometimes employs Timing & Tracking, simple surveys, and Post-it evaluations in the gallery.

For this exhibition, the Museum used visitor counts and recorded staff observations including frequently asked questions and average time spent in the exhibition. In the final analysis, these data indicated that visitors were “awed” at the intricacies of the bandhani and shibori dyeing techniques, they were “surprised” at the deep history and broad geography of resist dyeing techniques, and they “appreciated” the novel topic of the exhibition. 

Takeaway

Planning is essential for successful, impactful, and enduring visitor experiences. Today’s museums are but one venue in the vast learning landscape and leisure time opportunities of our communities and country. If we are to be effective storytellers for the 21st century, interpretive planning at all sites should be intentional, visitor-centric, and documented (written down and preserved for future reference). I invite you to visit the diagrams, examples, and tips in our book for more ideas about integrating visitor perspectives in your decision-making. And if you are ever in Ft. Colins, please take some time to view the beautiful fabrics on display at the Avenir Museum.

(Marcella started professional life as a ballet dancer and ended as an evaluator. In between she worked as a travel agent, dance teacher and choreographer, environmental educator, interpretive planner, college professor, librarian, and polymer clay artist. Her 30-year career in visitor studies, interpretive planning, and as a college professor took her to 20+ states and three foreign countries for dozens of projects. Since 2015, Marcella has volunteered at the Avenir Museum of Design and Merchandising working in collections, guest-curating exhibits, and the Avenir Museum’s library. Her favorite spaces are libraries, thrifts stores, cemeteries, and Ponderosa pine forests. You can contact Marcella at marcellawells@comcast.net and her book is available from Taylor & Francis Group in Florida, or call 561-994-0555.)

A Game and A Collectible

Playing games is a fairly universal pastime as a way to learn, enjoy leisure time, engage in social interaction, dabble in challenge and risk, and fulfill a competitive urge or support collaborative tendencies. Wow, what a checklist for a successful interpretive offering.

I have used the term playing games and not gaming as it has a connection to the technological animated video age, which I am not going to address. A recent visit to Palm Springs Art Museum sparked the initiation for this post.  I was invited to play BINGO while wandering the gallery and this piqued my interest. Well, actually, I don’t quite remember if I was invited or if I begged to have a card because they were being preferentially targeted at families and not solo adults. I was just indulging my childlike curiosity and enthusiasm for games.  I don’t as a habit go to bingo parlours waiting passively for cascading balls to singly emerge, then have the inscribed contents of their numerical surfaces bellowed out to me, so I can stamp a corresponding numbered space on a card.

This bingo card was different and had a visually active component more like the school bus game that is given to students on their way to your site, that combines the classic I Spy game of yore. The use of trigger words in spaces on a card is an attempt to encourage participants to look at their surroundings and record affirmatively whether they have spotted certain objects in their environment. If done well as a collaborative exercise, this could be a collective building of anticipation to visiting any centre. I have often thought this game technique could have many uses and that the choices of what are being asked to look for could be less random and more strategically related to site mission or exhibit outcomes.

Image courtesy Bill Reynolds

How did the Palm Springs Art Museum utilize this classic game? Obviously, they used pictures of artworks on display instead of numbers or words in the card spaces.  Minimally, I assumed that the objective was to encourage exploration and expose the visitor to a wide range of objects by having them search for specific items as part of a task completion. I did not ask what the desired visitor outcomes were – I wanted to play the game.

However, I could not help conjuring up some questions related to why they chose, what they chose, for the images on the bingo card;

·         Was it to encourage visits to all levels and each gallery space? The images would have had been chosen from all the floors.

·         Was it to demonstrate a wide breadth of subject matter? The images would have been chosen to show portraits, sculptures, mixed media, pottery, etc.

·         Was it to illustrate different surface textures? The images would have been chosen to represent metal, wooden, glass, ceramic, etc. 

·         Was it to stimulate interest in certain pieces so the visitor could ask specifically about any item they were very intrigued with and wanted to know its location? The images would have been chosen to represent iconic must see works.

image courtesy Bill Reynolds

·         Was it to stimulate close-up investigations of pieces? The images would be showing only small portions and intriguing details of artworks - not complete views.

I experienced all of these when I analyzed the images-see what you think. Go back to the card of images. Endless possibilities depending on visitor outcomes!

Of course, this approach is not limited to art objects -yet again the sky is the limit when it comes to subject matter. I would weigh in that the benefit will come when the outcome is more observationally skill targeted and not just generically “visitors explore the whole site” or “visitors lengthen stay.” Fun and challenge are used not for their sake alone but are simply catalysts not the endgame.

Ah! But what was the actual process they used to play. The objective was to find enough art works to create one of the following: a diagonal, horizontal or vertical line. So, every time you found an item you “x”ed the image on the card. Honour system? They incorporated the use of the back of the card to get you to write down the title and artist beside its corresponding square. If you wanted to, you could return your completed card for a prize and staff would validate the back of the card. The extension to what could be written down beyond title and artist as observational practice opens up many options again -depending on desired visitor outcomes.

Scavenger hunt games have probably come to mind as you read this account and they continue to hold fascination for all ages, especially in groups where there is social interaction involved. The use of these techniques for the young adult crowd as part of an evening visit has potential. They would work in teams to solve something based on deep viewing of different artworks, where discovering onward clues would move them from one piece to the next.

The Lure of Collectibles

In addition, Palm Springs Art Museum had a collectible of sorts, called Artwork of the Month (see image). It was a large bookmark style card with the card front focused on an artist and a photographic image of one piece being displayed, along with, on the cardback, the artist bio and an open area for the visitor to use to connect to the piece on display

Image courtesy Bill Reynolds

In this case, a symbolic drawing was being encouraged to reflect maternal protection and creativity that was the emotional focus the artwork in question was embodying. This “card” was perforated so that the top third could be separated into a business card size, with the artist name and bio being saved. Every month another card would be produced.

Immediately, I was nostalgically brought back in time to late primary age and early elementary age when I looked forward to collecting little cards about flowers, mammals and birds that came in Red Rose tea boxes. Similarly, as I aged I collected sport personality cards and this created a trading frenzy. This card collecting urge has not changed over time -just the subject matter -witness the present Pokemon craze.

So, I thought they may be onto something here. However, it is the colourful image that holds the allure plus a mini- bio so that is what should be on the smaller perforated collectible section. Maybe even a space for a one liner memento of how you felt when first seeing this artwork would have value. Having something only available for a short time -as in a monthly release- opens up return visit promotions for one. I am going to let you take this for an imaginative ride and see how your site (and partners) could cash in on this concept.

All in all, during this December -January holiday season, when game playing gets a sense of rejuvenation, this is a great opportunity to be more cognizant, especially, of recurring styles of games that have endured the test of time and explore how you can adapt their essence play qualities to your heritage appreciation objectives.

The Art of the Invitation

Earlier this month I was speaking at the Australian Wildlife Tourism conference about smart practices when designing interpretive visitor experiences where I introduced several strategies and some cautionary items to think about. Sadly of course, I presented via zoom, as escaping to an Australian spring would have been really nice but not in the cards.

The art of the invitation was one visitor receptiveness strategy I touched on, in order to build an earth relationship and connect with a sense of place.

In this conference context of inviting visitors to engage first hand (using all senses) with the heritage site, I pointed out the need for adapting one’s messaging so that adventure opportunities are voiced as invitations. Visitor uptake is improved by this format reimagining.  Visitors often prefer to remain aloof and don’t naturally gravitate towards interaction with nature -they need nudging and guiding within an atmosphere of relaxed comfortableness. Many times, we don’t set the stage properly or we are too subtle with our suggestions without clear assistance and practice. Result: visitors don’t engage because we have not made it mildly enticing and easy. Let’s look at an example.

image courtesy Bill Reynolds

Here is a sign at a park entrance that was titled, “What do you want to do today?” It has eight sub- titles as in “Learn about Plant Diversity and “Have an Adventure” (see image). Having a sign like this is a positive first step because it answers, “what is there to do here?” – a question that often lurks in the visitor’s minds. Secondly, it is not just a big list but the ideas are grouped into categories with mini-bulleted lists to help and not overwhelm the reader.

Image courtesy Bill Reynolds

So far so good. When you drill down the “Have an Adventure” section more, you will find generic expressions as in “Look into an underwater mini-world on the boardwalk.” There is an image associated with this one bulleted opportunity that suggests “looking” means changing your normal upright posture ie. getting down on your belly. Getting visitors to alter their perception in different ways that will heighten their nature awareness is a key strategy that heritage sites need to facilitate more.

However, people don’t generally jump into different situations they are not used to or employ their senses in new and novel way without assistance and some carefully designed coercion- this is where the art of the invitation comes in.

Remember I said mildly enticing. The above “look” expression is more of a command than an invitation. An invitation would be more along the lines of “don’t miss the dragonflies breaking their back as they begin their life of aerial acrobatics.”  The idea is to spark curiosity about something as in this case -why do dragonflies break their back in order to begin flying?  This is not the time to use words like nymphs and incomplete metamorphosis(although I am sure I did that in my early years fresh out of university biological science).

Image courtesy Bill Reynolds

Of course, such an invitation is timely and this would require being aware of seasonality and changing visitor messages throughout the year. This just might be an outcome your site interpretive plan delineated.

Letting your visitors know what is “naturally” happening this day, this week, this season as rationale to go exploring to encounter something different can also be very inviting. This would also encourage frequent visitors to check out “What’s happening today” because why else would you if the message never changes. Adding a personal touch also increases the invitational draw, as in “Meet Joan at the boardwalk at 2pm to see a whirlygig up-close.”  By saying whirlygig but not saying whirlygig beetle you also maintain the mystery.

Imagine if you entered a clothing store and they had a sign that said “try a hat on” or it said “express yourself this winter by sporting a rainbow- coloured hat from the popular, newly arrived collection. Francois is here to help you.” Which would be more effective in engaging your visitor? It is time to re-read the suggestions you provide for visitors to test their level of invitation and start ramping up their effectiveness.  We have delved into this art of the invitation in previous blog posts and an excellent backgrounder is offered here:  Interpretive Invitations — EID Coaching

So what about that seasonality thing? We need to think about it way more than we do. Remember my reference to having shared cautionary items. Here is one: Beware of the invite that is no longer there. I run into this so often when I am invited by a sign to do something out-of season or I am reading a description of a living thing that is only appropriate for a few weeks- maybe a month, in a year. Don’t fall into the seasonality trap. Review your signage.

This following sign is another good first shot at presenting to the visitor, at least, the diversity of life that could be encountered at different times of the year(so it’s worth coming back) during the circular year. It is all a bit of a jumble: fun for those who have a good natural history knowledge already and can pair words and images together like solving a puzzle, but confusing for those with little background.

EID always wants signage to encourage visitors to do something to increase their earth relationship. Was the intent to have visitors search for certain seasonal flagship species? Would it have been easier to provide helpful hints like directing visitors to certain locales to increase their spotting chances? Would it have been mildly enticing to create a game like having bingo cards available with different images in each square (instead of alphanumeric symbols) using the images on the seasonal chart sign? People/families could hand them in for discount prizes on field guides for example.

Yet is it clear that these fellow passengers on planet earth appear at different times and in different forms? Knowing what the exhibit outcomes were that they wanted to achieve would be intriguing in order to assess success. Why were these specific species chosen to represent their season? Was it easier to find these denizens here at this site because of a certain soil- atmosphere- water regime-habitat assemblage? What’s the story here?

Image courtesy Bill Reynolds

In the above example of boardwalk looking, we are told we can look into the underwater mini-world. Well that only pertains to two thirds of the year (not bad, and certainly better than reading all year about flowers that bloom for only a few weeks of the year). You still have no idea of what you might look for & when or how. We can set our visitors’ expectations better, can’t we?

Remember I mentioned making engagement easy. That does not happen by telling our visitor to look into the water under the boardwalk and then showing a picture of people lying on their stomachs and peering down. Setting expectations and nudging them along would require:

• clear directions of how to get to the boardwalk,

• clever ways to get visitors to lower themselves from their normal comfortable bipedal position,

• observational aids like facemasks and magnifiers,

• collecting apparati like dip nets and trays,

• laminated critter sheets showing the weird and wonderful underwater adaptations they have.

• awareness of where all the aids are available (as in a borrowable backpack from the visitor centre or bookable at what times at the boardwalk “invitation station?”)

  We describe this concept more fully in our blog post Interpretive Invitations — EID Coaching  Assuming you have potentially whet their appetite for adventure, you need to follow through with the next steps that get the visitor interaction ball rolling. Don’t leave it to chance.

I recently encountered a self-guided sign that not only addressed seasonality but also talked about next steps. Take the time to read this well written text in this next image.

Image courtesy Bill Reynolds

As the sign is read year- round the interpreters tackled the seasonality issue by discussing them all at once. The image though shows only the summer and fall portions. Not only is it relevant for when the visitor is there but it also provides a hint at changes that you could be noticing at different times of the year. The way it is written is not command-style either as in a Stop Look and Listen approach. Rather it is like an observant author sharing their thoughts providing for the visitor a confirmation as in “I noticed that too” or a future challenge, “I need to be on the look-out for that.”  There is even a clear section on the sign that says “Next Steps.”

Helping the visitor engage with nature is facilitated by making a “doing” interaction easy and enticing. The expansion of the invitational station concept with observational aids plus practice with participatory activities needs to take place.  I visualize these places as micro- visitor centres situated in key places that aim at assisting the visitor with sensory alertness and perception-changing. Self-guided signage can play a reinforcing role in tandem with these stations where interactions with the earth, and time spent in touch with nature, embraces seasonality and ongoing change. Let Mike and I know through contact@eidcoaching.com if we can help you conceptualize what this kind of station might look like at your site. There is no better time than the present.