First Prints and Personal Panel Development

First Prints

We got our first batch of prints back and the colours were not exactly as we had expected. You can see in the image below that the colour on the first icon on the right panel is hard to see.  We tweaked these a little to make them more readable and sent them off again.


Consistency Is Key – Personal Panels

We all worked under the same template for the personal panel development. Fiona had designed a few layout options for us to populate with our own personal work; this allowed us to add a personal touch to the work but maintain the consistent theme we have been developing for the overall show display.

Research into exhibitions and displays shaped our decisions to keep a clean, simple and minimalist style for Portrait Of The Artist’s degree show layout. In exhibitions, I have learnt that less is more, and it is actually easier to take in more information, when there is less presented. Speaking about exhibition text, Trench writes,

These word limits don’t restrict the amount of information that most visitors absorb. Instead, they increase it. In a gallery or exhibition, less really is more.

She goes on to highlight that there is a real difference between the complexity of information that can be gained through an exhibition and that which is suitable for a book. For this reason, we chose to limit the amount of content going on our boards and space.

Developing Content

For my personal panel, I choose to highlight my core roles in the project, which overlap into my strengths as a designer: storytelling, art and design, and filmmaking. Using the template below, I filled in images to represent the copy I was adding into the space.


Storytelling Copy

I took my time to develop the copywriting to accompany the images in the piece. I wanted to truly reflect my key roles and represent myself in a clear way.

In the storytelling section, I wanted to reflect my role as a writer and storyteller on this project, which came through on multiple levels of the production process. My role was not just writing content for the gallery, it was also in forming the story of the interview section through my editing ability, as well as writing and editing the final making of video.

Screen Shot 2016-05-22 at 16.20.16.png

Artwork Copy

This section was to reflect my role as a key asset creator along with Fiona. Together we dreamed up, designed, created and refined anything that you can see in the POTA scenes.

Screen Shot 2016-05-22 at 16.20.32.png

Filmmaking Copy

I felt that it was important to communicate how my filmmaking skills and technical ability overlapped in this project. We were working with a Beta version of the DepthKit, which brought massive technical challenges. Persisting with this technology was a major part of the process. I spent weeks figuring out how to get this to work, and days after figuring out the variables that allowed us to get the best shots in DepthKit Capture.

Screen Shot 2016-05-22 at 16.20.39.png


We made sure all our panels matched and lined up together and then sent them off to be printed.

For my images, I was finding it hard to get a good screen grab of the scenes so I took them into Photoshop and edited a few scenes together to show the artwork in its best light.


They all turned out really well – we will be setting them up on the next couple of days.



Trench, L. (2013) Gallery Text At The V&A. London: V&A Museum. Available from: [Accessed 08/05/2016].


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