Graphic design and museography

Graphic design is the art of communicating through visual elements, including text, images, symbols, and illustrations. This discipline is found everywhere in our daily lives, as it plays a key role in conveying messages that fulfil everyday needs and attract people's interest, making it a natural pairing with marketing and advertising.

Within graphic design, various fields utilise non-verbal components. One example is signage design, which uses signs and symbols to convey information quickly, such as directional arrows in airports or restroom indicators.

Another area is environmental graphic design, which focuses on connecting people to the spaces they inhabit. It combines architecture, lighting, and functionality to create memorable experiences. Have you ever associated a colour or a sound with a specific moment?

Knowing that graphic design is essential for message dissemination, how can it be applied in museums? When design is used in a global, multidisciplinary approach to exhibition creation, it becomes museography.

The goal of museography is to create an atmosphere that allows visitors to immerse themselves in the exhibition's narrative. Graphic design must serve this goal by building a bridge between the visitor and the exhibition's content.

Space and flow
The space is where the exhibition will take place—and where the story will be told. Therefore, the space must align with the narrative through elements like lighting, colour palette, text design, and the arrangement of pieces on display.

We can structure the exhibition flow in different ways: guided, suggested, or open. Floor plans are essential—not only for internal management but also for visitors, who may find them at the entrance or in printed brochures.

Another essential task of graphic design in museography is signage, such as indicating the route, emergency exits, fire extinguishers, and other safety or comfort-related elements.

Colour and lighting
Both colour and lighting shape the atmosphere of a space. These elements help define the mood and tone—whether it's a dark, intimate environment or a bright space that feels open and outdoorsy. The choice depends on the message we want to communicate.

Graphic design plays a special role in wall graphics and large-scale visual installations that integrate into and transform the space. Wall labels, for instance, can draw attention to specific points, create a sense of depth, or guide the visitor's gaze. When used well, graphic design becomes a powerful tool in museography, capable of producing a substantial visual impact.

Object arrangement
The placement of objects matters not only for aesthetic appeal and narrative cohesion, but also for the efficient use of space. Key questions include: How many pieces will be displayed in each room? How far apart will they be from each other and from the viewer?

We must also consider the eye level, which ensures that artworks are displayed at the appropriate height for the intended audience. The measurements differ depending on whether the exhibition is for adults or children.

Another factor is the type of mounting: Will objects hang on the wall or be placed in suspended displays? Do we want to highlight a key piece especially?

Incorporating all these elements into the overall exhibition design results in a cleaner, more coherent presentation. Thanks to graphic design, we can define how supports look, what colours they use, and how they integrate with surrounding elements.

Panels and supporting text
Every object on display should be accompanied by some contextual information about the item itself, its period, the artist, and other relevant details. Graphic design comes in, helping choose the typography, layout, and colours that best support the exhibition's goals in both function and tone.

The style of supporting text directly affects how the message is perceived—for example, in terms of readability or whether the tone feels elegant or casual.

A well-planned design system ensures that each type of information follows clear visual rules, helping users intuitively distinguish between primary and secondary texts. Layout and typographic choices contribute to a more natural reading experience, easing the visitor's journey and reducing museum fatigue.

All the previous factors contribute to shaping the exhibition's narrative. But how do you start designing an exhibition with the help of graphic design? Here are some recommended steps:
Define the theme and objective. What do you want to communicate? Think about the narrative, the artworks or objects involved, and the target audience. Audience research is key to connecting with their interests and preferences.

1. Design and graphic identity. The most creative phase. It involves sketching the visual plan of the exhibition—how it will be presented in the museum.

2. Graphic design is crucial here, as it defines layout, colour palette, typography, and materials.

3. Production and installation. This step involves executing the plan, which includes preparing final files, producing design elements, and assembling them on-site according to the approved layout.

4. Promotion. Once the exhibition is installed, the process doesn't end. Can graphic design also support the exhibition's promotion? Let's look at that next.

Graphic design transforms a product or service into an engaging experience. Its role extends beyond the exhibition hall—it is a powerful communication tool in external campaigns.
Here are some ways to incorporate graphic design into an exhibition's visual promotion:
Advertising. Ads in newspapers, TV, social media, or physical spaces like banners and billboards around the city.

• Brochures or catalogues. These can offer extra details about the exhibition. Printed materials enable users to review content at any time—even after the exhibition has ended.

• Museum website. Museums should list current exhibitions online and may even create a dedicated landing page for each show.

• Online marketing. Social media is essential for promoting exhibitions, providing an interactive, two-way communication channel with audiences. Online marketing also encompasses banners, video graphics, and other visual elements.

Whether you use one or multiple channels, all communication materials must share a cohesive visual identity so the audience can recognise the exhibition anywhere.

Graphic design is everywhere. Its presence extends beyond the exhibition space, allowing a narrative universe to unfold before the visit and linger long after. It significantly improves reception, drives promotion and outreach, and enhances both museography and museology—creating a robust combination for cultural engagement.

REFERENCES

Blog Dsigno. (2023). https://www.dsigno.es/blog/diseno-grafico/que-es-la-museografia-y-como-funciona#:~:text=Definici%C3%B3n%20de%20museograf%C3%ADa,y%20atractiva%20para%20el%20p%C3%BAblico.

El diván del senador. Diseño gráfco en publicaciones para museos. https://revistas.inah.gob.mx/index.php/lavozinah/article/download/18019/19420/39008

La universidad en Internet. (2021). Campos de aplicación del diseño gráfico: mejora tu futuro laboral. https://www.unir.net/ingenieria/revista/campos-de-aplicacion-diseno-grafico/#:~:text=El%20dise%C3%B1o%20se%20usa%20para,han%20optado%20por%20alguna%20especializaci%C3%B3n.

Universidad Rafael Landívar. (2016). http://recursosbiblio.url.edu.gt/tesiseortiz/2015/03/05/Hurtarte-Ileana-Investigacion.pdf

Yendo. (2002). Cómo promocionar mi exposición de arte. https://yendoplan.com/vender-entradas/blog/promocionar-exposicion