Exhibition designer

An Exhibition Designer is a professional who creates fixtures and display stands for events such as large public exhibitions, conferences, trade shows and temporary displays for business, museums, libraries and galleries.

Duties

An exhibition designer's work can include:

presenting their ideas as sketches, scale plans, computer-generated visuals and models
discussing their ideas with clients
producing final specifications
in smaller companies, overseeing the construction of the components (usually in workshops) and assembly and installation at the exhibition venue
handling orders for supplies
liaising with technical specialists such as lighting staff
understanding and interpreting the correct materials and costs involved in constructing the design
creating large format artwork for backdrops and stand components
designing vector based artwork for portable displays such as popup stands

Employment

An exhibition designer might be employed as part of a team by an independent studio. Other employers include national and local government, and large organisations such as museums with their own design departments. There is a steady demand for the services of talented and experienced professionals. The work is studio or office based, but will usually also involve visiting clients or exhibition sites and in some cases may also involve being outside (i.e. outdoor zoos, parades).

Education and Training

Exhibition Designers may come from many different backgrounds such as industrial design/product design, architecture, interior design or graphic design. As with any reasonably specialised role there is a lot of on the job training (not necessarily formalised) required. As with most of these disciplines there is a large requirement upon the following skill sets:

Conceptual design
Computer Aided Design (CAD) and 3D visualisation
Knowledge of safety, regulations and applicable standards
Knowledge of current build methods
Expertise in Mathematics
Model making skills
Programming of CNC devices

Many different companies will have their own multi-purpose system that may be used for the construction of smaller Exhibition stands, there are several different systems available and training into the specifics of each is usually conducted on a case by case basis. For larger stands such as double or triple deckers, a good knowledge of architectural build methods is useful. An exhibition designer will usually work in conjunction with a [structural engineer] to ensure the safe implementation of structural columns and beams. When designing larger stands the designer will take into account all local safety regulations, budget constraints, logistics, design aesthetics and any requirements for electrical and water supply.

Conservation-restoration of cultural heritage

Collection care and management	Collecting Collection (artwork) Collections care Collection catalog Collections maintenance Collections management (museum) Collection Management Policy Collections Management System Cultural heritage management Cultural resources management Deaccessioning (museum) Digital repository audit method based on risk assessment Display case Documentation of cultural property Emergency response (museum) Exhibition of cultural heritage objects Found in collection Inherent vice Inventory (museum) Museum integrated pest management Preservation metadata Preservation Metadata: Implementation Strategies Preservation of meaning Preservation survey Provenance Repatriation Restoration (cultural heritage) Storage of cultural heritage objects

Expertise	Art handler Collection manager Conservator-restorer Conservation scientist Conservation technician Curator Exhibition designer Mount maker Objects conservator Paintings conservator Photograph conservator Preservationist Registrar (museum) Textile conservator

Area specialities	Antiques restoration Archaeology Bioarchaeology Building restoration Conservation science Digital photograph restoration Digital preservation Database preservation Film preservation Frame conservation Heritage science Historic preservation Media preservation Object conservation Optical media preservation Painting conservation Preservation (library and archival science) Restoration Sustainable preservation Web archiving

Techniques	Aging (artwork) Anastylosis Arrested decay Archaeological sites Architecture Automobiles Bone, horn, and antler objects Books, manuscripts, documents and ephemera Ceramic objects Clocks Copper-based objects Feathers Flags and banners Frescos Fur objects Glass objects Historic gardens Human remains Illuminated manuscripts Iron and steel objects Ivory objects Lacquerware Leather objects Lighthouses Metals Musical instruments Neon objects New media art Outdoor artworks Outdoor bronze objects Outdoor murals Paintings Painting frames Parchment Photographs Plastic objects Shipwreck artifacts Silver objects Stained glass Textiles Tibetan thangkas Time-based media art Totem poles Vehicles Vinyl discs Woodblock prints Wooden furniture Cradling (paintings) Detachment of wall paintings Desmet method Fabric restoration Historic paint analysis Inpainting Kintsugi Leafcasting Lining of paintings Mass deacidification Mold control and prevention in libraries Mold prevention Overpainting Paper splitting Radiography of cultural objects Reconstruction (architecture) Textile stabilization Transfer of panel paintings UVC-based preservation

Notable projects	Conservation issues of Pompeii and Herculaneum Conservation-restoration of Ecce Homo by Elías García Martínez Conservation-restoration of Leonardo da Vinci's The Last Supper Conservation-restoration of the Shroud of Turin Conservation-restoration of the Sistine Chapel frescoes Conservation-restoration of the Statue of Liberty

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