Using different materials for different types of signs is a design decision.  It can be
very useful in helping identify which labels are general overviews, which are specific
to a given display, which are interactive instructions, etc.  However, such
considerations must not drive development.  Using different styles in different labels
creates a disjointed exhibit.  Serrell specifically argues against this approach (pp.
75-82).

On the other hand, asking questions that are the visitors' questions is indeed an
example of fine label-writing technique!

-- Eugene Dillenburg
Science Museum of Minnesota

On Tue, 12 Mar 2002 12:19:57 -0500, Annette Adele Wilson <[log in to unmask]>
wrote:

>I haven't been following the full thread of this discussion,however, I'll
>jump in.
>
>It seems to me that a museum (or zoo or aquarium) might fruitfully use
>different types of labels and signage within the same exhibit area.  Some
>of these would be more "formal" and avoid the use of contractions, while
>others of these might be more provisional or "informal" and include less
>formal usage such as contractions.  The overall effect is not one of
>unevenness or inconsistency, but of variety and multiple levels of
>interactive possiblity.
>
>The example I have in mind is signage at the Arizona-Sonora Desert Museum
>(which is one of my favorites whether museum or zoo). I have never noticed
>if they use contractions or not in any of their signage, but I have
>noticed that they have a very compelling layering or hierarchy of
>signage. (I'll try a description below, but probably will get some details
>wrong: forgive me I'm only an infrequent visitor there...)
>
>There are the very formal signs: fairly large, made of permanent
>materials like wood or metal, with many colors, pictures, and informative
>text.  I would imagine these would use pretty formal grammar, spelling and
>construction.
>
>Then there are smaller interactive signs: for example, at the
>javelina exhibit they have litttle wooden flip signs.  On the top there is
>a basic question eg "How fast do javelinas run?" and you flip it open to
>the answer (which I can't ever recall, so I always flip this one).
>Somewhere on this there's a really nicely drawn cartoonish picture of a
>javelina running at top speed... THese often seem to be directed towards a
>younger audience, and I'd imagine that they might use slang, or
>contractions, as a way of generating interest and interaction.
>
>There's an intermediate kind of sign: like the one that has a javelina
>skull in bronze with the lower jaw that can be articulated. Although I
>recall this as a smallish one, this is a clearly more formal sign if only
>because of the expense to make it, and we'd expect more formal language on
>it I think.
>
>Lastly, there are yellow tags.  (I absolutely love these.)  They are about
>3"x 6" or so, paper with a plastic protective coating on them, and
>attached with wire to things like plants or rocks.  These tend to answer
>questions like "what is going on here?"  or "Is this plant dead?" or
>"Where is the animal?"   The informality of this range of signage is
>underscored by the more fragile and cheap materials used.
>
>My sense is that these "tag" signs have a more personal address or tone to
>them.  They assume that we have noticed a change from before, or they
>attempt to capture a relatively evanscent moment (flowers after a rainfall
>perhaps).  This level of signage could more easily use informal language,
>and it would be a very appropriate way to engage the more intimate tone of
>the signs.
>
>Why do I love the yellow tags?  Because they almost always ask or answer a
>question that I have.  Because they may change from visit to visit.
>Because often they call attention to processes, either about the exhibit
>and why it looks the way it does (giving a sort of "insider" view), or
>about the "natural" event before us that belongs to that moment ("after
>the storm," or "in the fall," or "when a coyote gets old").  They assume
>that I/we care about changes of all kinds: that the museum is making, that
>nature brings about, that visitors unintentionally cause.
>
>Varying signage types, and language use on them, can lead to greater
>interest by offering a landscape of information that is varied and
>yet consistent, made legible and compelling through
>differentiated layers.
>
>
>Annette A. Wilson
>_________________________                            _____________________
>                          The University of Michigan
>College of Architecture and Urban Planning  :           Research Assistant
> -Joint Programs-                           :    Interdisciplinary Program
>3+ Master of Architecture    and            :         in Feminist Practice
>Doctoral Program in Architecture            :              2125  Lane Hall
>        Environment and Behavior            :                 734/763-3589
>_________________________________________________________________
_________
>

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