More of my Shep collection of stuff.
I bought a copy of “New Faces 1962” official program to get the Jean Shepherd portrait/text:
I bought a copy of WOR’s 60th anniversary booklet to get the Shepherd part. Of ironic interest is that WOR devoted several pages each to their stars that were popular/gossipy talk show hosts. But for Bob and Ray and Shepherd—the only ones likely to become permanent parts of the remembered/historically significant WOR firmament–they only devoted a small part of one page for them:
Where appropriate in my museum exhibit designs, I used visual media to emphasize the scientific word-content, as well as to form an integrated, attractive whole. Below are parts of my first two exhibits in the American Museum’s permanent Invertebrate Hall.
Classification (of the animal kingdom)
I’d never taken a biology course in high or college, so I didn’t know what an invertebrate was. However, a designer, with content-input from experts in any field, can design a way to best express the information provided.
How to present the entire animal kingdom? I was told by the curators that the 27 major groupings are called “phyla,” within each phylum, major related parts are called “classes.” Hundreds or even hundreds of thousands of sub-categories, not shown, make up the millions of species. I used related colors and physical proximity to indicate each of the five super-groupings (reds and greens in the two groupings shown).
The phylum are presented by large, dimensional, hollow hemispheres with clear plexiglas on their front surfaces containing text and drawings/photos; classes within a phylum are indicated by smaller flat disks of related color, with text and drawings/photos.
The millions of species not shown in the major groupings are suggested with many small, colored spheres, which, I hope, give a sense of multiplicity and bubbling life, and visually help hold the groupings together as well as move each grouping along to the next related section.
Continuity in Life
My next permanent exhibit in the Invertebrate Hall was that of “Continuity in Life,” illustrating how species procreate and develop. To give me the idea of how this scientific organization works, the curator in charge drew a small, rough diagram of information/relationships. (She was truly the originator of this graphic design idea.) I took this, elaborated on it, and formalized it into the full-size parts that would become the exhibit.
The first part is shown here. The most primitive form of reproduction is called “asexual,” in which only one sex reproduces itself exactly, forming its descendants. As this is a primitive and self-contained, minor aspect of continuity, it’s done in a (self-contained, stand-alone) disk with text with illustrations.
The rest of this first part illustrated, shows the basics of sexual reproduction, the information, starting with a scientific description of sexual reproduction, moving from top to bottom. The offshoot to the left is the primitive, limited, dead-end aspect of this process—that doesn’t pass on traits to the succeeding generations: mutation—with its three varieties shown (as it’s a dead end, the design itself stops—goes nowhere). The rest of this panel, and of the exhibit, follows along the path most species use from generation to generation, continuing into the next wall case to the right (not shown here).
Even in the museum exhibit world, the word “permanent” isn’t permanent.
The Invertebrate Hall, after 25 years, was trashed years ago to be
replaced by a “permanent” hall on the environment.
One more “Words & Images” to come.