J O N AT H O N H O P K I N S
book one
CONTENTS
Introduction
05
Traders: The East India Company and Asia
07
Arctic Convoys
19
High Arctic lobby
26
Toy Boats
29
The North-West Passage
43
Atlantic Worlds
57
Sailor Chic
65
Astronomy Photographer of the Year
72
Retail
74
Licensing Broucher
76
5
17/12/2011
I N TRODU CTION
Welcome to my first book, designed to showcase
I will therefore try to present projects in this book
a small selection of the many creative projects I
in a fair light, as larger exhibitions are often the
have been involved with during my first five years
product of a teams work. I strive to describe and
of working in exhibition and graphic design.
give an accurate account as to my involvement in
This book aims to provide an overview of the
each. Projects depicted in the images are all related
experiences, skills and challenges I have went
to work I have either led, or had major involvement
through and overcome during this period. Where
in and photos selected all centre around my own
appropriate, images have been selected to get the
designs.
atmosphere, look and feel of the project or piece of design work across to you, dear reader.
Each exhibition shown within this book is but a small example of the vast amount of work which
At this time I would say that my speciality lies
goes into each project. In-depth samples such as
within 2-D and 3-D exhibition design. While I rely
exhibition floor plans, case layout drawings and
on industry standard three-dimensional software
other concept work can be seen upon requested.
and use technical drawing conventions, I see 2-D
However, I pride myself on treating each project
and 3-D exhibition design practices as integral
/ exhibition as a new experience and tailor the
and inseparable to creating an enjoyable visitor
workflow as appropriate. Where one project might
experience. I would not present a series of well-
benefit from a computer-generated model, another
drawn floor plans and elevations as my best work.
might require a handcrafted model of even a series of
What interests me, rather, is the finished product,
detailed hand sketched drawings. Whichever method
the gallery, exhibition or piece of print and more
is chosen, I always attempt to push my creative
importantly the way in which the visitor interacts
boundaries, constantly propelling myself forward.
with the work.
7
TRADERS: TH E EAS T I N DIA COMPA NY AND A SIA
I spent a good deal of time during 2010-11 working
One of the gallery highlights includes a 50-meter
on 2-D design for Traders, which concept was
graphic visually depicting the East India
developed in early 2010 by an external design
Company’s effect on Britain. This was printed onto
company called At Large. Originally brought
a metallic composite material, never before used
onboard to oversee the artwork with At Larges’ own
within the National Maritime Museum. Another
2-D designer, I was soon asked to perform more of
highlight is the Commodity Islands, which have
a creative director role, reporting and presenting
been adorned with intricate eastern motifs printed
to a number of director-level employees within the
with overlays onto Alucabond, giving a real sheen
museum. Traders, The East India Company and
to the space. Over-sized quotes cut from bronze leap
Asia was opened in July 2011, launched as our first
out from the wall to help weave the complicated
major permanent gallery opening in tandem with
political story.
the New Sammy Ofer Wing. My graphic statement was to use a sumptuous I was later tasked with designing all 2-D elements
colour palette that was reminiscent of my previous
within the gallery, complementing a spaciously
exhibitions to deliver a rich depiction of the
designed exhibition solution within a small
narrative. I worked closely with the rest of the core
gallery. Apart from the rather political challenges
team to ensure the smooth running of the program,
of managing internal and external expectations
delivering the gallery on time and budget. Whilst
amidst slightly differing views, the gallery itself
this project was not the easiest to work on, it has
needed a good touch of graphical elements to help
remained the most satisfying and the results of
tell one of the Museums most important stories.
which, I am proud of.
9
Previous page Five category one panels run down the length of the gallery designed as book marks allowing visitors instant recognition of the place, date and theme of the section they are in.
Above Metallic easel structures have been adorned with rich hand crafted eastern motifs, which flow around the space, printed directly to substrate with differing overlays.
12
Above I worked closely with local community groups to display their handmade garments in response to a Museum participation programme. On the left, I creatively directed an external design agency who was commissioned to produce detailed infographics.
13
Above The challenge in Traders was to balance a bright colour scheme amongst a series of island displays, large centrepiece objects and gilt frames. An important task was to ensure design motifs and interpretation were adequately spaced around paintings and other large objects.
Previous page Colourful sub-section panels mark the commodity zones, each with a carefully crafted motif taken from objects. On the far wall a hint of the large 50-meter graphic wall tells the visual story of the East India Company’s influence on Britain.
16
Above Large complex cluster displays have been arranged on Island units, standing centre stage and supported by graphics on surrounding walls. The easel on the left depicts the monsoon trade winds printed with a series of overlays direct to substrate to produce a detailed colourful map whilst preserving the metallic qualities of the material underneath.
17
Above A section of the complex elevation with linked artwork for each panel along the 50 meter Impact on Britain wall.
ARCTIC CONVOYS
Probably the most rewarding space to work with,
Metallic vinyl subtitles and quotes have been over
this small micro gallery (60m²) houses the
printed with a grunge texture, mimicking rust and
temporary exhibition Arctic Convoys, which
ice on ship hulls. The two main introduction and
celebrates the contributions made by The Allies
conclusion panels were developed with a small
who braved the arctic conditions delivering
amount of research & development. They consist of
supplies to Russia during the Second World War.
silver Diabond panels, cut and printed with a series of overlays to achieve a similar rust effect. They are
Arctic Convoys is made up of a number of
then returned and mounted on a split baton frames.
photographs, paintings and 3-D objects. Despite
They were designed to replicate a piece of solid
a relatively tiny budget and strict time constraints,
metal but at a fraction of the price.
I was able to develop and design a robust, compact exhibition to a standard comparable to other
A proportion of the budget was spent working with
permanent galleries.
a well-known cartographer who, under my direction, produced a stunning introduction map. My time
Bold use of light and dark wall colours creates a
was well spent developing a infographic in the style
dramatic, foreboding atmosphere, whilst framing
of a vintage WW2 propaganda poster with carefully
the wall-mounted items beautifully and creating
juxtaposed statistics helps finish the gallery with a
a sense of space down the length of the gallery.
light touch hand crafted element all designed and installed in less than a month.
21
Previous Page I creatively directed a professional cartographer to produce a detailed introduction map. This is printed onto a rough canvas-like material to offset and compliment the metal structures that can be seen at either end of the gallery, framed by the charcoal walls.
Above A crafted infographic banner mirrors the introduction map. It shows visitors at a glance the cost and reward the convoys yielded, set within a WW2 propaganda poster style. A full sized representation can be seen on the following spread.
24
25
H I GH ARC TIC LOB BY
High Arctic was primarily developed externally by UVA (United Visual Artists) as a high-spec interactive experience looking at the human effect on the Arctic Archipelago of Svalbard. While I was not directly involved in the design of the experience, I was tasked with working with the core team, advising on the processes and materials for introduction interpretation and way finding. At the height of my involvement I was tasked with producing a 3x4 meter interpretation map contextualizing the art installation, depicting the route taken by UVA’s lead designer and the Cape Farewell expedition. During the opening of the new Sammy Ofer wing in 2010-11, a series of small projects like this were completed in-house to fulfill an ambitious Museum program of works. Here, I not only was privileged to work with a renowned group of experimental digital artists, but I also had the chance to produce a rather technically complex piece of cartography as well as helping to design a exhibition lobby introduction for an audience unfamiliar with modern art.
28
TOY B OATS
This exhibition displays a vast collection of
A mock bandstand frames the projection area with
historical toys in an exciting and dynamic way,
an intricate fret cut toy boat motif arching between
arranged in a way to appeal to a wide and diverse
two pillars. Two benches subtly suggest a park where
visitor demographic. Objects are placed centre
some of these toys might have been played with. A
stage with generous room to appreciate their
bespoke shopfront built from untreated hard wood,
aesthetic appeal whilst the exhibition design
adorned with hand painted period slogans has been
enhances and excites the experience, prompting
built at the end of the exhibition. It displays some of
the question whether these are just toys or
the larger display toys unlikely to have ever touched
important historical models.
water. Bespoke ‘price tag’ labels and advertising posters on the parallel wall add to the effect.
Bright colourful walls and the playful use of stylised Edwardian architecture throughout the
The exhibition has been positively regarded and
space remind the visitor of the social and economic
even extended for a period of six months due to
background whilst preserving the underlining fact
popular demand. Working on a healthy medium
that the exhibited artefacts were toys made to be
exhibition of this scope (220m²) has allowed me
played with. Careful use of historical canvas framed
to work closely on all aspects including 3-D, 2-D,
images and a living room picture wall are intended
print, marketing and branding design. The result
to evoke a sense of nostalgia.
is a complete, distinct and rounded exhibition.
31
Previous Page Light boxes inspired by toy packaging hang suspended above island showcases, each with a different primary colour overlay and a printed set of postcard images provides a playful touch to the exhibition.
Above At the end of the gallery, two large shop displays have been designed and constructed, retro fitting two previously built-in showcases in an attempt to provide the ultimate display of toy boats and end the experience on a high.
34
Above Edwardian style architecture and a playful picture wall filled with homely photograph props provide a warm, comfortable and familiar retro backdrop for the toys.
35
Previous Page Simple step plinths make up the basis of case layouts maximising the available space and creating a dynamic and exciting display. Hard wood laminate applied to backboards adds to the period look and feel of the exhibition. Custom designed external label rails interpret all the objects outside the case solving the problem of reopening cases containing loan objects from other institutions.
Above I designed a conservation grade showcase mimicking a turn of the century shop counter display which allowed visitors to get a closer look at various toy boat packaging, manuals and adverts. A rich bright blue wall with contrasting vinyl slogans frames the section and a series of interesting period adverts.
38
Above At the heart of the gallery is a projection area that is flanked with a hardwood bandstand complete with detailed fret-cut arch. Around the centre of the gallery, display units are given laminated oak plinths to give the impression of old collectors showcase.
39
Above One of the highlights of this exhibition was the chance to complete a series of technical illustrations showing the mechanical movements of various types of propulsion systems. I wanted to depict them in an old-fashioned way that might have been seen in instruction books at the time.
42
Above This image represents the front / back cover and one inside spread of the Toy Boats gallery guide and children’s trail. It was specifically designed to appeal to young families. It was purposely created to emulate an old manual or toy magazine. On the cover the exhibition identity can be clearly seen.
43
N ORT H-WEST PASSAGE: AN ARCTIC OB SESSION
The exhibition introduces the visitor to the Arctic
floating mounts add to an eerie effect of frozen time.
and takes them on a journey in search of the
The exhibition uses a mixture of objects, paintings
ellusive North-West passage, the fabled treacherous
and sound stations to allow visitors to explore the
route through the shifting Arctic ice. The exhibition
space and discover some of the most famous
splits into several sections, telling the story from
expeditions. Although mainly aimed at the adult
a handful of key explorers, documenting their
crowd, the considered inclusion of a playful
struggles and reasons behind making these
audiovisual interactive station help engage younger
dangerous expeditions.
visitors and become talking points for families. Working on this 220m² square exhibition allowed
The exhibition uses cold and neutral colours, stark
me to lead on every key detail from 3-D, 2-D, mount
angles and dramatic lighting to set the scene,
and case layout to branding and marketing.
recreating the dangerous conditions explorers faced. Inspiration came from cracking ice patterns
One of the particular highlights of this job was to
found in reference landscape photos. Ominous
allow myself ample time to come up with a bespoke
ice cracking sounds captured from actual footage
logo, hand sketching the strap line to really get
and intermittent videos heighten the visitor’s
across the obsession of the theme. I also had the
experience of the space through their auditory
opportunity to handcraft my own interpretative
senses. Large light boxes suspended from the
marketing image that superimposed various
ceiling glow in the centre of the space, mimicking
images to create a dramatic and original
Arctic ice sheets. This along with minimalistic
introduction to the gallery.
45
Above The exhibition centres around five important explorers who each tried to sail through the fabled passage and care Is given to allow each portrait room to breath. To supplement the narrative panels aimed primarily at an older audience, sound stations are scattered around the space giving a voice to the explorers.
Previous Page A mixture of subtle curves and harsh angles sends the visitor on their own expedition through the space. Two large floating islands with glowing sides draw inspiration from cracking ice sheets, adding to the sense of drama.
48
Above A interactive audiovisual in the foreground produced by our in-house team allows younger visitors to embark on their own expedition.
49
Previous page The introduction room contains large built in displays contextualising the area, reminding the visitors that this hospitable place contains a wealth of life and riches. A rich welcoming blue invites viewers into the space and hidden showcases built into the wall encourage people to discover objects.
Above I spent a good deal of time working with the in-house mount making teams to ensure case layouts were exciting and true to my original intentions. During this exhibition I learnt how to produce accurate case layout drawings and lighting plans with preventative conservation in mind.
52
Above Section panels were designed with blue acrylic sides and fluorescent lighting tubes within to radiate a soft glow, reminiscent of way light catches the edge of shifting ice sheets as seen in reference photos.
53
Previous page This marketing image is a composite of a series of reference photographs. In the centre, a ghostly image of a ship can be seen, lifted from a painting in the Museum’s collection. I wanted to create a stunning evocative introduction for the exhibition and marketing related materials. Above This image represents a gallery guide that was created to supplement the exhibition experience and help generate donations. It was created under budget using white spot ink on a translucent cover, simulating the Arctic frost.
56
57
AT LANTIC WORLDS
This permanent gallery was one of the first major
when choosing appropriate imagery due to the
projects I worked on shortly after Sailor Chic. My
sensitive nature of the story being told. Section
responsibilities were to produce the final artwork,
panels were reverse printed onto frosted vinyl and
working closely with an external design agency
applied to tempered glass, which were then spaced
to ensure the gallery opened on time and budget.
directly off the exhibition wall. This taught me the
While there was little time to really make my mark
limits of accessible design / best design practises,
,certain aspects like a series of maps, showing trade
recognising the disabilities of a large proportion
routes and flipbooks did allow me some creative
of the population, whilst providing the gallery with
freedom.
robust, stylish interpretation panels.
More importantly, this project taught me a number
One of the design highlights of this gallery was
of previously unknown large format printing
the chance to design and install the introduction
techniques, most notable of which is the constraints
and conclusion graphics. The lead designer wanted
and emerging popularity of large format direct to
the gallery to be flanked by extremely large visuals
media printing. The gallery was arranged thematically
of the Atlantic Ocean. Because no stock imagery
with each section containing large-scale graphics,
could be sourced at the size required, I was asked
often with enlarged details of objects or paintings
to produce my own interpretation using multiple
seen in that part of the gallery. Care was taken
smaller images creating an original piece of artwork.
59
Previous Page I was increasingly involved in object installing/ installation and lighting where I gained invaluable knowledge for future exhibitions.
Above One of my tasks for this permanent gallery was to design and install a series of maps. They served as an important introduction to basic cartography for use within the exhibition.
62
Above While my main responsibility was to produce the final artwork from templates provided by the lead designer, I was heavily involved in the image selection and much time was spent making good photography for large-scale purposes.
63
SAILOR CHIC
Sailor Chic was produced in collaboration with
A logo was designed along with a stylised monogram
another in-house designer. I was given the task of
that would make up the basis for some of the
producing all 2-D graphics and exhibition branding
exhibition graphics. This brand would inform how
to supplement the 3-D design. The exhibition was
the exhibition was to be marketed and was even
conceived and sourced entirely in-house. It tells
used on a variety of shop products, from mugs to
the enduring story of nautical fashion, exploring its
more expensive shirts and hand made handbags.
historical roots, and asking the question ‘Why does this remain a popular fashion trend?’
Graphics produced in the exhibition were carefully selected to blend in with the concrete walls allowing
A large part of my task on this project was creating
the only soft focus to come from the garments.
a full brand that complements the stylish 3-D
Various techniques such as printing directly onto
design of the exhibition. After all, the exhibition
silk, detailed fret cut work and a distressed Union
contains mostly expensive and stunning garments;
Jack carved from hardwood were employed to add
Luxury dresses and Catwalk fashion. Therefore, it
an extra level of depth into case design without
was decided early that the brand needed to reflect
overpowering the delicate fashion garments. The
the nature of high-end fashion and be able to
graphic centrepiece was a large 3-D map of possible
work across all media, from the exhibition wall to
nautical fashion inspirations casting a fun/quirky
catalogues and gallery guides.
suggestion of nautical influences from Queen Victoria to new romantic pop icon Adam Ant.
67
Above Subtle case graphics like the three-dimensional Union Jack in this case were designed to add an extra layer of depth without distracting from the textile garments. Pearl-coloured section panels were designed to compliment and soften the concrete-effect rendered walls.
Previous Page I created a luxury brand for the exhibition, paying homage to the hi-end fashion displayed within the show. The monogram was particularly successful and used on a number of merchandising.
70
Above This sketchbook style graphic was the result of a collaboration between the exhibition curator and myself. The idea was a playful attempt at tracing back nautical fashion to the central figure of Queen Victoria, who famously requested her children were made sailor outfits. A larger representation of the inspiration diagram can be seen on the following spread.
71
A S T RON O MY PH OTO GR AP H E R O F T H E YE AR
Astronomy Photographer of the Year is an annual competition inviting amateur astronomy photographers to submit their photographs. I was asked to come up with a brand for the competition to be used in a wide variety of formats. The competition started in 2009 and its success
74
R E TA IL D ES I GN
The NMM Shops identity was designed to promote the shops online presence clearly and loudly on-site while using a simple bold visual language. Other work produced for the retail department include illustrations used on products like the one above which depicts Admiral Horatio Nelson’s Trafalgar Coat and signature.
76
L I C E NS I N G B RO CH UR E
This oversized A4 landscape brochure was commissioned by the National Maritime Museum’s Picture Library to promote the wealth of licensing opportunities throughout the collection. My primary aim was to produce a high-end publication with a take home value whilst keeping to a tight budget.
78
Jonathon Hopkins t. 07528 519938 jonathonhopkins@gmail.com behance.net/JonathonHopkins