In most cases, a combination of track lights and linear lights are used in exhibition halls, as these types of lights provide even illumination and can be easily adjusted to create the desired effect. Poor lighting can be a major issue in exhibition halls, as it can make the exhibition space feel dark and uninviting.

The lighting of museums and gallery spaces needs to highlight and accentuate the texture, colour and shape of exhibits, whether they are historic artefacts, modern art, 2D paintings or 3D sculptures. The play of light and dark can be used to great effect in display environments.

An artifact’s exposure to light can be predicted based on the light levels and the length of the exhibit. Exposure can be controlled by limiting the light level, the time exposed, or a combination of the two factors.

Lighting with a warm white color temperature (3000K) is our recommendation and is used in the vast majority of art galleries. A 3000K warm white temperature creates a relaxed and inviting atmosphere for visitors. It’s also easier to create a CRI value of 95 with a warm white light.

As a general rule the lights should be positioned so that they hit the centre of the artwork when at an angle of 30 degrees. If the angle is too far below this then the lights are too close to the piece of art and will cast long unwanted shadows over the art.

Follow these rules to ensure the longevity of your collection:

• Avoid displaying artwork in direct sunlight. Ultraviolet light and infrared radiation can cause fading.
• Don’t allow light to directly face artwork. This will protect your artwork against heat damage.
• Avoid fluorescent lighting.

Lighting makes the image appear to jump off the canvas, and gives the scene a three dimensional feel. Lighting can also highlight the intended texture of elements within the composition.

Now that we’ve covered some of the science, let’s get back to the colors themselves. But first, keep this in mind: it’s not just the color that makes an impact; the intensity of each is also important.

Blue

Blue is an intellectual color. It represents trust, logic, communication, and efficiency. Use blue as the primary color in office areas that require focus and mental strain.

Red

Red is a physical color. It represents courage, strength, and excitement. It’s a great color to use in areas of the workplace that demand physical exertion.

Yellow

Yellow is the emotional color. It represents creativity, friendliness, optimism, and confidence. Incorporate yellow when you want to stimulate positivity, creativity and happiness.

Green

Green provides balance. It represents harmony, nature, and restoration. Green proves to be a great color in offices that require people to work long hours, since it’s the easiest color on the eyes (requiring no adjustment). It’s also a great color to use anytime a sense of balance is top priority, which is why it’s commonly found in medical offices.

Purple

Purple is often associated with spirituality or luxury. It can promote deep contemplation or luxury, but should be used carefully, as too much (or the wrong tone) can have an opposite effect.

Orange

Orange blends the physical (red) and emotional (yellow), creating a sense of comfort. It is often associated with food and warmth, and is therefore a natural choice in kitchens. When used appropriately, it is also a fu n color, making it an option for a casual office lounge.

Grey

Grey often represents neutrality. We commonly see it used in offices attempting to look sleek or modern. However, when used inappropriately, it suggests a lack of confidence and can stimulate a depressing mood. As a result, be cautious when incorporating grey in certain spaces.

Generally, cool or blue light gives the audience a sense of calm during the film. But it can also be used to create a somber or suspenseful scene. Warm lighting, on the other hand, is more comforting. It can conjure up feelings of joy and ease

Exposure to natural light helps our bodies produce Vitamin D, improves our circadian rhythms and sleep patterns, helps us to focus, enables us to get more done, and even makes us happier.

Simple brightness and shadow, when utilized well, can make the audience feel intensely about the actors in a shot. Cast your subject in bright and shining light, and the audience will see them as good, clean, and positive in the story.

Lighting will be able to tell your audience the setting of the play. Through the lighting, they will be able to tell whether the play takes place in an indoor or outside environment, the time of the year, and the time of the day. Lighting can also be used to establish the period in which the play takes place.

Angle, Size, Distance, Shape, Duration, and Color are each qualities of light that photographers can combine and manipulate these qualities in setting the look of their photograph for impact beyond just illumination.

The design of the exhibition and visitor experience play important roles in the exhibition spaces, as do the properties of color in the exhibition. However, given the survey of literature, there is limited research on the specifics of color properties in exhibition design and how these properties affect the visitors.

Engaging color properties, exhibition design, and visitor experience is the purpose of this creative project to understand how color affects visitors in exhibit spaces by understanding the influence of atmospheric variables in the exhibit environment, specifically background color. Color contains such an unconscious emotion that is uncontainable however, color choice in a museum exhibition is a conscious decision.

This research seeks to understand the relationship of 14 that color choice within the exhibit environment. The intention of the project is to explore the human reaction to different styles of paintings against each color property within an exhibit space. Through the physical exhibits I created, I am able to fully engage the viewer and comprehend their reactions.

Three tri fold exhibits were constructed, and three distinct colors selected. A monochromatic scheme, using variations of orange was selected. The paint colors were chosen from an assortment of color-aid sheets, and taken to a hardware store to be individually mixed according to the cards.

The bright orange hue  was selected because of its bold saturation and attention-grabbing capabilities. The warm orange color was chosen intentionally , warm colors tend to appear nearer in depth to the viewer so this would encourage the focus of the experiment to be the wall color rather than solely on the painting. This is due to the theory that the eye can adjust quicker to warm colors because of the longer wavelengths .

The prototype exhibit was setup for two weeks; one week for a well-known traditional painting and one weeklong for a contemporary abstract piece of art. These two particular styles of art were chosen because of their distinct features. A van Gogh painting , in which many recognize, is in the style of Impressionism which revolves more around an abstract visualization of a particular subject matter. A contemporary art piece  takes that one step farther with a completely geometric abstract image. The color palettes of both paintings  remained similar so that only the style of the artwork was a factor in visitor experience not the color of the artwork itself.

For the first week, van Gogh’s painting, “Wheatfield with Cypresses”, was hung in each exhibit. This famous artist was chosen because of its familiarity to most audiences . This way the focus in the exhibit was less on the artwork and more about the relationship between the wall color and the artwork. The particular painting was selected due to the balance of warm and cool colors again to give the majority of the focus on the wall color without having too much one area of the painting stand out.

During the second week of the experiment another set of paintings were hung in each exhibit space. An original contemporary painting, each hand painted by the author of this study, was hung to inquire if the style of art in the space affected the visitor experience via color. The size , orientation , and color palette of my painting remained the same so that there was consistency throughout the study.

For the contemporary painting, colors were taken from van Gogh’s “Wheatfield with Cypresses” painting in order to create a similar color palette. The initial design layout and color scheme was created in Illustrator and then mapped out on each canvas with tape. the original Illustrator design. After the design was mapped out, acrylic paints were mixed, and each canvas was hand painted in the same layout as the digital file.

The collection of data involved a survey for participants of the study as well as an onsite observation. Before any of this was done, an initial literature review directed research into topics like color theory, museum design, and visitor experience.

From the survey it was determined that the exhibit that least attracted the viewers was the third exhibit or the hue orange. Based on both weeks of the study, a majority of the participants would not likely return to an exhibit of this wall color. The graphs below  represent survey results from each week asking if the wall color from the exhibit they were least attracted to takes away from the actual artwork.

From the results it can be concluded that the background color of the  third exhibit was found to be too distracting for the viewers causing the color to be more prominent than the actual artwork. The two graphs side by side also demonstrates that the style of painting in the exhibit does not necessarily affect the perception of colors within the space. In both weeks, the color of the second exhibit  was found not take to away from the actual artwork by a majority vote. The first  and third  colors were said to take away from the artwork by the participants. A prediction was made that the third exhibit with the bold hue color would appeal more to the contemporary painting style than the van Gogh, however, the survey results show that this is not the case.

The second survey received only 20 participants but with some changes to the initial predictions. The second exhibit still turned out to be the most preferred exhibit with 50% of responses in favor. Only 5% answered that they were very likely to return to an exhibit with the orange hue background color paired with the contemporary painting. During the same week, 55% of viewers felt overwhelmed by the exhibit while only 15% felt captivated or indifferent. during the first week’s survey, a majority of people reported feeling distracted, overwhelmed, or anxious in this exhibit. The orange hue was so overwhelming and distracting that it was universally the least appealing exhibit with 84% in the first week and 65% in the second week agreeing.

Through the engagement color properties, exhibition design, and visitor experience, the purpose of this creative endeavor was to determine if the style of art hanging in the exhibit affected the response to the wall colors. The prediction was that the contemporary style painting would appeal more to the bright hue of orange instead of the van Gogh painting. The size, orientation, and color palette of the paintings remained the same so that those factors would not sway the viewers. The prediction was that perhaps the colors of the artwork is not what influences the visitor experience, but the style of artwork paired with the color of the space.

Exhibition spaces can mean many things to many people. Art museums, galleries, and critique spaces are all considered exhibit spaces. Numerous factors are involved in the design of an exhibition space. Lighting, visitor circulation, layout, and color are all elements that are included in the strategic planning of an exhibit. The spatial atmosphere in which the art is displayed impacts the exhibition a great deal.

During the 19th century, museums became more aware that they isolate artwork on walls to avoid overcrowding and visitors having to crane their necks . Placement of artwork began to appear more at eye level leaving the walls emptier and the color of the wall becoming more apparent in the space.

In the later part of the 20th century, the White Cube concept, a style which emphasized the artwork focusing on the relationship between space and visitor became a popular form of exhibition design. This approach minimized visual distractions with the use of bare spaces, white walls, and minimalist frames .

Designing an exhibit is a form of communication perceived differently to each visitor. The exhibition space becomes a space of experience for a specific audience. That space can be influential or unpleasant, the success of the exhibit depends on the visitor’s experience.

Exhibits are successful based on the visitor experience; visitors give museums a purpose and the design of the space influences the visitors throughout the exhibit space. When it comes to visitor experience it is best represented through patterns in which the visitors relate to the exhibits. Design of the exhibit can influence visitor flow, the level and quality of social interactions, visitor attention, and affective responses .Wall color, organization of the artwork, and the direction in which the visitors are guided throughout the space are all factors that create the overall spatial atmosphere that influences a visitor’s mood or behavior.

Color is an everyday element of our lives that becomes a subconscious concept the more we are exposed. Whether we are aware of or not, color relationships affect our behavior and emotions. The three basic properties of color; hue, value, and intensity/chroma, have intense power to influence color association. Variation of any of these properties could influence human  behavior, emotion, or the functionality of a space.

Color Properties: 1) to catch attention, 2) hold attention, 3) convey information, and 4) make information memorable. Its function is determined how it is perceived in the space. As Josef Albers states, “In visual perception a color is almost never seen as it really is – as it physically is.”

While there’s likely no place we’re more focused on seeing than in a museum, it’s, ironically, one of the places where many design details go unnoticed. The main event in any museum or gallery exhibition is, of course, the art, but hours of thought and labor go into framing it in a certain, precise manner. From gallery layouts to framing styles, each small decision made by curators and exhibition designers will have an impact on the final show. One of the most important? Paint. Though many museumgoers might be hard-pressed to remember the color of the walls behind the art after their visit, paint selection is an important aspect of exhibition design. In the case of MoMA’s recently opened show “Frank Lloyd Wright at 150: Unpacking the Archive,” the museum’s curators worked with Farrow & Ball to create a color palette that would underscore the multimedia exhibition and act as a visual guide, connecting certain displays that are most relevant to one another. In one portion of the exhibit, for example, plans for Wright’s Imperial Hotel and the Midway Gardens, though displayed in adjacent rooms, hang on the same colored backdrop. “These two projects were concurrent and share a lot stylistically, so we used the same color across their galleries to indicate that they’re connected,” explains Betty Fisher, MoMA’s senior design manager. Though these details might not be explicitly noticed by every visitor, they play an invaluable, if subconscious, role in establishing not only the layout but the general feel of the show.

Generally, it is the curators or exhibition directors who select the paint colors, as it is their vision that needs to be translated into the space. I think that you look at the collection as a whole and decide what reaction they want to elicit from museumgoers and what mood they are looking to create in each space they are planning, as color will have a huge impact on how the guest feels as they experience the exhibition. Some curators opt for bolder palettes while others opt for more traditional neutral colors, but whichever they choose from our offering, they always love how richly pigmented colors like ours can completely change the space in question and impact the works of art themselves.

The most difficult aspect is really that each of  colors can have a completely different impact on a given space depending on the lighting and layout. all colors have the potential to be a backdrop.

What continues to surprise even the curators who choose the colors is how much of a dramatic impact  paint can have on a gallery space or installation—whether it is the backdrop for the artwork or part of the artwork itself created by the artist. That being said, the colors are often integrated so perfectly into shows, museum visitors sometimes do not even notice the specific colors; rather, they experience the mood that the paint colors and art work to create in the space together. every color can impact a space and mood drastically.

For me the backdrop can make or break the show—color can help accentuate details, can hide others, and can dramatically affect the experience of the visitor by helping to either highlight the mood the artist was trying to convey in the piece or act as a juxtaposition to it.

Now that you understand how crucial lighting is for the design of exhibition stands let us give you a basic overview of the types of exhibition lights that are most commonly used. Each type of lighting equipment is built for a specific purpose. For example, consider exhibition stands meant for product displays; their designs would have spotlights or display lights. Since the focal point is the product. Exhibitors often hire exhibition stands that come equipped with lighting, but this is only useful to illuminate your exhibition stand as a whole.

There is hardly much room for any creativity. Since your exhibition stand is uniformly lit, there is nothing to differentiate your product or brand message from the other visual elements of your exhibition stand. Hence, by understanding the different types of exhibition display lighting equipment, you can figure out which type of lights will suit your exhibition design. Being able to choose the correct lighting equipment will also be lighter on your overall budget. The most common types are spotlights, display lights, and banner lights.

Spotlights

Spotlights that are used for exhibition stands are neither huge nor bulky like the ones you might have seen at live events. They are relatively compact and can be discreetly attached to your exhibition stand. They are quite powerful yet are designed to be subtle and will illuminate specific parts of your exhibition stand. Whether it is a product or an alluring banner you want to focus on, spotlights are great to use. It is also the easiest way to light up your stand. They are compact and help to avoid blocking the important information on your stand.

Display Lights

Display lights or hand lights are used to specifically illuminate the exhibition stand graphics. They are quite low on power consumption and cost since hand lights use LED (light-emitting diode) bulbs, which offer an impressive span of illumination even if they don’t have the same intensity as the spotlight. They also come in different colors, making them quite useful for setting up a particular ambiance.

Banner Lights

Banner lights are usually placed behind an exhibition stand graphics or banner to give it an attractive inner glow. Banner lights use LED bulbs since they are small and compact, making them easy to conceal. These are great if you are looking to use your exhibition stand for brand promotion. They can amplify the effectiveness of your high-branding banner, ensuring your exhibition stand gets noticed from a distance. But even eye-level branding efforts like the use of reception counters and wall graphics can benefit from banner lighting since it helps you stand out from your nearby competition.

Backlights

The concept of backlighting is not new to us. We have often used it for signage coverage, billboards, or outdoor promotions, but it has gained importance at exhibitions too. Backlights are not only better but fit the budget of any exhibitor. It has been observed that they add up to 40% more attention to your brand message and offer visibility, even for a longer distance. Backlighting has a supreme impact at exhibitions as it perfectly blends with the ambient lights of the exhibition hall. It also reduces unnecessary shadows as they are positioned to eliminate harsh shadows and to make them bright and visually appealing. It also enhances the texture of your exhibition graphics.

Rope Lighting

Often the understated form of lighting but yet one of the essential ones is the rope light. In rope lighting, you will find small LED bulbs covered in plastic tubes, which protect them from unplanned damage. They are usually found in different lengths and colors. It can hide behind the products without worrying about fire hazards. The sheen brightness of rope lights is very effective in creating a stunning backdrop.

LED Strip Lights

Just like Rope Lighting, LED strip lights come in different lengths. It has a flexible circuit board consisting of LEDs (light-emitting diodes) with an adhesive backing. These strips have a low profile shape that enables you to set them anywhere, thus making them an adjustable lighting tool. It offers great luminosity and customisability. It can be controlled through wireless dimming systems, DMX controllers, and wall switches.

Lighting is an integral part of an exhibition. Effective use of lighting makes your exhibition  more visible and sets the ambiance of your stand space. You have likely seen examples of these whenever you’ve visited stores and cafes.

David Dernie defines lighting as “A vital part in the visitor’s experience as it affects the way in which an exhibition structure is perceived, the effectiveness with which it communicates, the rendering of form and color, and the legibility of graphics.”

As an exhibitor, you need to be aware of the best lighting practices such as which are will work best with lights, their level of illumination, and light distribution. You could have a word with your exhibition stand builders as they have a better idea of where to place lights and create the right impression as per your brief.  For example: if you choose a non-even distribution of lighting, then it might help you create a relaxed space. While if you have uniform lighting, it will help in making your space look more capacious.

Lights not only increase visibility, but it also helps in setting a mood. Therefore, while planning for an exhibition, you need to reflect on the atmosphere you want for your stand. Whether you need to create a warm and isolated atmosphere or have a modern and public feel to it, based on it, you would decide the kind of lighting you want for your exhibition stand. For a warm and private look, you could have dim and warm lighting, whereas, for modern and lively appeal, you could go for bright and cool lights. Working on the right lighting solution will help in giving a professional and impressive appearance to your exhibition stand design.

Did you know that people choose to look at walls that are well-lit. A research shows that people are usuallu attracted to spaces with wall luminance.

Effective lighting is about creating a focus. It is about making sure that certain aspects of your exhibition stand design pop out and draw people’s attention. At its most basic, it’s attracting people to the light.

If you think about it, when working over your creative ideas for exhibition stands, every visual aspect is carefully considered, because the intention is to attract attendees and convey the brand message to them instantly. But exhibitors often underestimate lighting and don’t consider it an essential design element, until they reach the venue.

At the fairground, they realize that the lighting for their stand space is not enough, and now their graphics are not being seen. Even if you plan to hire stands for your show appearances, having extra lighting is always better than less lighting. You can always remove extra lighting, but it isn’t very easy to add more during the exhibition.

Well-placed light sources improve the look of your graphics. They enhance the presence of your exhibition stand at the trade show. Lighting can be quite helpful to guarantee that visitors will automatically see the products or marketing messages you wish to stand out. Several studies in user design have shown that people are naturally attracted to bright spaces, especially walls that are well-lit.

So your brand presence will benefit immensely if your exhibition stand incorporates lighting as a part of its theme and stand design.

   Lighting and color play a very important role in our lives. They can make the space both harmonious and chaotic at the same time. They have a great influence on a person’s thoughts, can change an action or, on the contrary, cause an action. Color and lighting can irritate or soothe the eyes. They can increase yours blood pressure or vice versa decrease your appetite.

“Color! What a deep and mysterious language, the language of dreams.” Paul Gauguin

Indeed, to imagine our life without colors and lights. That’s all If we let it go, it would be difficult for us to distinguish things from each other, ours would be lost sensations, etc.

Do you know what color means in your life and what it would be like for you?

Since color has energy, it is important to know which colors are right for you A living room surrounded by colors that make you feel calm. We can use color combinations to our advantage and get what we want Result. The main thing is to choose them correctly and carefully.

Scientists thought about color combinations centuries ago, and Isaac Newton He was the first to organize colors on a circle, he depicted this circle in 1666, while The introduction of Newton’s color wheel provided the basis for the development of color theory. The color itself In 1490, Leonardo da Vinci used and developed the theory of E. G. Ferta Circle (wheel) theory.

 3 combinations of colors are distinguished:

(1) primary colors,

(2) secondary colors, and

(3) Intermediate colors.

 People usually prefer one or at most two or three colors. That Depending on where we use these colors – when choosing clothes, interior or car. The pleasant or unpleasant feeling that a certain color gives us can change over time change over time. However, the color we prefer It provides extensive information about our character and emotional state.

White – White represents purity, smoothness, tenderness, neutrality, sterility. and youth.

Gray-is a color between black and white. It can express elegance, Cleanliness, respect, stability, tenderness. Often it is associated with pessimism, boredom is associated with.

Black – associated with darkness, secrecy, mystery.

Pink-is the color of life, pink is unacceptable for pragmatic people.

Red – Red is an intense, passionate color.

For Goethe, there were two primary colors, although unlike others, their white and He did not call black, but light and darkness. All other colors for him It is between these two conditions that the darkness or lightness of the color is placed It is measured by proximity or, conversely, distance.

“Color itself is the degree of darkness” – Johann Wolfgang von Goethe

Goethe believed that each color had its own corresponding character and therefore Researched the psychological impact of individual colors on human emotions and mood.

Yellow is the closest color to light and its own It brings gentle and exciting sensations with its bright, flaky nature. However, on the other hand, if it is in a dark tone, for example, It turns sulphurous, leaving an unpleasant effect.

Blue has a peculiar, rather vague influence on people on the mood and it is placed between excitement and relaxation. Often Objects seen through blue glass are gloomy and melancholy appears. However, if the blue color is light, in particular, marine or It turns into green tones, then it gives pleasant sensations gives birth to.

Now something about lighting. Along with the color of the lighting, different types of light flow are used in the interior design. This allows to visually divide the building into separate zones. There are three types of flow: precise, when the lighting has a local character and is concentrated in a certain section , Dispersive, with a wide range of lighting that covers the largest part of the building, Reflected: This kind of flux is reflected from surrounding objects and illuminates a specific area. Due to its soft and diffuse nature, it is better perceived by the human eye. By combining different types of lighting and color, a unique effect is obtained and a special atmosphere is created.

 Lighting can visually increase, emphasize or hide some elements. The optimal distribution of lighting allows you to reduce or increase the space, create a cozy atmosphere and create the desired mood for a person. Lighting in modern design combines with style. Warm colors are used for classic decoration, and cold colors are used for modern or hi-tech. The most important characteristic of any lighting is color. The variety of shades depends on the light source. For example, if there is no violet and blue rays in the light source, the human eye perceives blue and green objects in its light in a completely different way than in natural lighting.