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Tuesday 29 March 2011
CV
Name: Rui Zhang
Email: ruidaub@gmail.com
Telephone number: 07898920189
Term Address: 439 Room, 49 flat, RansomesWay, Chelmsford, Essex. England, CM1 1SA
Home Address: 102 Block 3, 9th THE MANSION OF DRAGON, Loong Palace, 317 Chang ping Road, Chang ping District, Beijing 102208, P.R. China.
Nationality: Chinese
EDUCATION
l Anglia Ruskin University, BSc Multimedia, Animation and the Web 2009 –Present
Modules Currently Studying: Interaction and Usability, 2D Animation, Design Methods and Technology Project, Group Design Project, 3D Modelling and Animation, 3D Character Animation, Advanced Sound Techniques, Virtual Environments, Major Project, Video Production, Web Gallery and Exhibition.
l Beijing Union University (Beijing, China) 2007 -2009
Modules Taken: College English 1, Graphic Construction and Software Application, Web Database and Design, Socialism Thoughts, C Programming, Physical Education, Ethics Studies and Law Basic, College English 2, Two-Dimensional Animation, Photography and Editing, WebTechnology—ASP.net, Advertising and Design, Marketing, College English 3, Art and Design on Webpage, Editing Technology on Media Materials, Three-Dimensional Animation, CG Film Production, Film Editing and Production, Software Programming, Employment Studies, Management Studies, World History of Art and Design, Innovation and Originality in Design , Film and Television Multimedia Tools, Advanced Photography.
l Beijing Cui Wei Senior High School (Beijing, China) 2004-2007
Modules Taken: Physics，Chemistry，Advanced Mathematics，Chinese, History, Geography, Art and Music
l Beijing Li Xin Middle School (Beijing, China) 2001-2004
Modules Taken: Chinese(120/150), Mathematics(127/150), English(116/150) , Physics(95/100), Chemistry(89/100), Geology(A*), History(A*), Sports(30/30)
I.e. Grades in brackets; eg.120/150 meaning final grade was 120 out of full marks of 150.
WORK EXPERIENCE
l Beijing Yu Jin Tang Culture Communication Co., Ltd,
Exhibition Designer Assistant May, 2008 – June, 2009 Part time
Ÿ Good self-discipline and mature organizational skills.
Ÿ Assist project designer with exhibition design procedure, quality and safety supervision.
Ÿ Responsible for cooperating with and supervising on contractors, instruct and monitor on construction.
Ÿ Systemize and archive technical amanuensis, department files, material database.
Ÿ General administration. Enhance team cooperation.
l Beijing Zhong Peng Building Decoration Co.,
Ltd Interior Designer Assistant July, 2008 – September, 2008
Ÿ Good communication ability and excellent team-working with colleagues.
Ÿ Examine contractors regarding human resource, material inputs, Capital inputs and relevant operation status.
Ÿ Check designer's technical progress and working procedure base on building drawings and related criteria.
l HSBC Bank (China) Co., Ltd Beijing Lido Place Sub-branch
Personal Financial Assistant July, 2010 – August, 2010
Ÿ Computer literature, Proficiency in Microsoft Office software and network.
Ÿ Skilled in computer-output typesetting, presswork design and package design, poster design.
Ÿ Thinking clear, methodical work, work on serious and responsible attitude.
Ÿ Provide guides to customers. Good communication and coordination with customers.
ACHIEVEMENTS
l Beijing Union University excellence student award 2008
ACTIVITIES AND INTERESTS
Volunteering
l Beijing 2008 Olympic Games Volunteer (Marathon) summer 2008
Ÿ Full attendance in volunteer’s training program, developed professional skills in servicing, medical aid and so on.
Ÿ Offering help for athletes from various countries in Marathon(guide, rest station service)
l Rural China Education Foundation Summer 2007
Ÿ Great benevolence and willing to offer any help
Ÿ Contribute help in rural area of China
IT Skills
Excellent with Word, Spreadsheet and PowerPoint, email/web/search engine usage ∙ familiar with AutoCAD, Database and Language C, skill on Flash, Action Script3.0, 3Ds Max, Photoshop, Illustrator, Premier pro, After Effect and Final cut pro.
Language
Fluent in both written and spoken English and Mandarin.
Others
Joint in Beijing Union University student union from 2007-2008, participated in organizing various events. Acted the hostess when the party and large-scale sport-game. Taken a press photographer when the university large activity and catcall. Organized and planned activities, arranging ceremony, planned meeting-place arrangement, and arranged show.
Personality
Optimistic, outgoing, funny, earnest and steady especially under high pressure, considerate and kind, excellent team-work skill.
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Saturday 26 March 2011
My personal website
I choice my blog be using to my personal website. The style same to my business card, I change the background colour to Beige that with the Chinese printing complement each other.
Beige is a soft neutral colour that isn't quite white and has some of the earthiness of light browns. Beiger represents quiet, pleasantness with a touch of luster. As a neutral, beige is a calming colour. It carries some of the same pureness, softness, and cleanliness of white but is slightly richer, a touch warmer.
Nature of Beige:
Beige is a neutral color with a bit of the warmth of brown and the crisp, coolness of white. It is sometimes seen as dull and boring unless coupled with other colors. It can be a relaxing color for whole feeling.
Keywords for Meaning of Beige:
Quiet, pleasantness, calm, understated elegance, purity, softness, more rich and warm than white
Culture of Beige:
Beige has traditionally been seen as a conservative, background color. In some cultures, beige garments might symbolize piety or simplicity. The color beige provides a calming effect.
The ink of water colour and the seal colour all around gray colours. And then, the lotus used the colour of misty rose.
The typography
Many web pages look very similar that because there are simple, sound reasons for the common way in which web page layout is structured. The common structure does not happen by chance, it is based on simple, easy-to-understand layout principles.
- People give their web browsers wide windows, to avoid horizontal scrolling.
- Web browsers have a rather large default font size, to get reasonable number of characters with such wide web browser windows.
- But major web pages reduce the line length by using columns, and they can then use a font smaller than the default setting of the browser.
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Tuesday 22 March 2011
the Cube
I tried made a cube-frame.
The tube designed that bears the weight of other tubes, the material should choose a stiff moderately thick paper.
The first one made of 50gsm paper (left over from my sketchbook, but not enough), it can be stand independently. But I not sure that does it strong enough to sustain the weight of the others.
The second I chose the 135gsm paper. It looks pretty strong, and I tired set the same weight of two tubes above. It absolutely loaded.
We can use glue to put together the separate parts of the tube and make it stronger.
About size
I use the A3 paper to cut into square. The square is 297mm long. And the edge of the cube is 297mm.
So if we want the tube is big enough for A1 size, A1 paper to make up is required. The square of A1 paper is 559 long as its width.
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Monday 21 March 2011
My personal website
I choice my blog be using to my personal website. The style same to my business card, I change the background colour to Beige that with the Chinese printing complement each other.
Beige is a soft neutral colour that isn't quite white and has some of the earthiness of light browns. Beiger represents quiet, pleasantness with a touch of luster. As a neutral, beige is a calming colour. It carries some of the same pureness, softness, and cleanliness of white but is slightly richer, a touch warmer.
Nature of Beige:
Beige is a neutral color with a bit of the warmth of brown and the crisp, coolness of white. It is sometimes seen as dull and boring unless coupled with other colors. It can be a relaxing color for whole feeling.
Keywords for Meaning of Beige:
Quiet, pleasantness, calm, understated elegance, purity, softness, more rich and warm than white
Culture of Beige:
Beige has traditionally been seen as a conservative, background color. In some cultures, beige garments might symbolize piety or simplicity. The color beige provides a calming effect.
The ink of water colour and the seal colour all around gray colours. And then, the lotus used the colour of misty rose.
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Saturday 19 March 2011
Redo of my business card
I have redesign of my business card. The aim is present the real identity and more clearly.
The background I use that the ink and wash painting of lotus. It is more softly than the profile of mountains before. And I changed the logo to seal that my Chinese name on Chinese characters.
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Monday 14 March 2011
Research of theory throught book
I have been read some books round technique and theory of Exhibition design.
Book: Dean, David, Museum exhibition: theory and practice, First published 1994by Routledge.
“For the visitor, the exhibit environment is the primary medium of communication.”
The museum exhibition mission
Museum means a dwelling for the Muses—a place for study, reflection, and learning. Therefore, museum exhibitions are self-defining as well. They have the mission to provide places for education and reflection.
The muse-logical motivation for exhibiting is to provide the objects and information necessary for learning to occur. Exhibitions fulfill, in part, the museum institutional mission by exposing collections to view, thus affirming the public’s trust in the institution as caretaker of the societal record. Museum exhibitions also accomplish several other goals.
These include:
l Promoting community interest in the museum by offering alternative leisure activities where individuals or groups may find worthwhile experiences.
l Supporting the institution financially: Exhibitions help the museum as a whole justify its existence and its expectation for continued support. Donors, both public and private, are more likely to give to a museum with an active and popular exhibition schedule.
l Providing proof of responsible handling of collections if a donor wishes to give objects. Properly presented exhibitions confirm public trust in the museum as a place for conservation and careful preservation. Potential donors of objects or collections will be much more inclined to place their treasures in institutions that will care for the objects properly, and will present those objects for public good in a thoughtful and informative manner.
In general, a healthy and well-presented public exhibitions program affords institution credibility to its supporting community and to the broader community of museums. Exhibitions have the intent to advance the institutional mission by exposing collections to public view, providing enlightening and educational experiences, and proving the public trust. Further, the specific goals of museum exhibitions involve the desire to change attitudes, modify behavior, and increase the availability of knowledge.
Interpretation is the act or process of explaining or clarifying, translating, or presenting a personal understanding about a subject or object.
The exhibition development process
The progressive, sequential nature of the project model works well with museum exhibition development. The sequential arrangement of phases and stages may be outlined to make types of activities and specific tasks more easily discernible. Throughout development, and in each phase, there are three principle tasking areas. They are:
l Product-oriented activities—efforts centered on the collection objects and their interpretation.
l Management-oriented activities—tasks that focus on providing resources and personnel necessary to completing the project.
l Coordination activities—keeping the product- and management-oriented activities working toward the same goal.
Exhibition project model
OUTLINE OF EXHIBITION DEVELOPMENT
Conceptual phase
l Product-oriented activities:
Ÿ collecting ideas
Ÿ comparing ideas with audience needs and the museum’s mission
Ÿ selecting projects to develop
l Management activities:
Ÿ assessing available resources to do the project
l Results:
Ÿ a schedule of exhibitions
Ÿ identification of potential or available resources
Developmental phase
Planning stage
l Product-oriented activities:
Ÿ setting goals for the exhibition
Ÿ writing the storyline
Ÿ designing the physical exhibition
Ÿ creating an educational plan
Ÿ researching promotional strategies
l Management activities:
Ÿ estimating costs
Ÿ investigating sources and
Ÿ applying for funding
Ÿ establishing resource budgets
Ÿ appointing tasks
l Results:
Ÿ an exhibition plan
Ÿ an educational plan
Ÿ a promotional plan
Ÿ Production stage
l Product-oriented activities:
Ÿ preparing the exhibition components
Ÿ mounting and installing the collection objects
Ÿ developing the educational programs and training docents
Ÿ implementing the promotional plan
l Management activities:
Ÿ overseeing the availability and use of resources
Ÿ tracking progress and coordinating activities
l Results:
Ÿ presenting the exhibition to the public
Ÿ using the educational programs with the exhibition
Functional phase
Operational stage
l Product-oriented activities:
Ÿ presenting the exhibition to the public on a regular basis
Ÿ implementing the educational programs
Ÿ conducting visitor survey
Ÿ maintaining the exhibition
Ÿ providing security for the exhibition
l Management activities:
Ÿ settling accounts
Ÿ administration of personnel and services
l Results:
Ÿ achieving the exhibition goals
Ÿ preventing deterioration of collections
Terminating stage
l Product-oriented activities:
Ÿ dismantling the exhibition
Ÿ returning objects to the collection storage
Ÿ documenting collection handling
l Management activities:
Ÿ balancing accounts
l Results:
Ÿ the exhibition is ended
Ÿ the collections are returned
Ÿ the gallery is cleared and repaired
Assessment phase
l Product-oriented activities:
Ÿ assessing the exhibition
Ÿ assessing the development process
l Management activities:
Ÿ creating an evaluation report
l Results:
Ÿ an evaluation report
Ÿ suggested improvements to the product and the process
People and museums
People are the only reason for museums to exist. It may appear simplistic and obvious to say so, but that fact is sometimes overlooked in the day-to-day process of operating a museum. Everything museological revolves around the human race.
People have three principal means of gathering information, through:
l Words—language, both heard and read, requires the most effort and mental processing to extract meaning.
l Sensations—taste, touch, smell, hearing are more immediate and associative.
l Images—visual stimulus is the strongest, most memorable of the methods.
A large percentage of the information gathered by humans is visual. People process incoming images in six basic ways. These are:
l Pattern seeking and recognition.
l Mentally rotating objects in space.
l Identifying dynamic structures, or mentally constructing movement capacities of objects.
l Orthographic imagination or mentally constructing three-dimensional objects from two-dimensional representations such as maps or schematics.
l X-ray visualization or visualizing relationships as though one could see through objects.
l Visual reasoning or imagining action/reaction events.
Worldview is a personal, cognitive (rational) structure or model of the world composed of how the person sees him- or herself, and how he or she views reality.
A few of the factors that influence one’s worldview are:
l Culture
l Religion
l Physiology
l Psychology
l socio-economic status
l race and ethnic background
The foundations for building the cognitive structure are:
l facts as they are perceived
l concepts, propositions
l theories, generalizations
l raw perceptual data
DESIGN EXHIBITION
Naming the key elements of design varies, depending upon the person naming and their interests. However, there are six main elements. These are:
l value
Value is the quality of lightness or darkness, having no reference specifically to color. Areas that are black have the lowest value; areas that are white, the highest. Judicious combining of value with the other design elements can dramatically affect the visual impact. Value is controlled by pigment, surface treatment, and lighting.
l Color
Color is an extensive subject. To attempt to cover all aspects of color would be inappropriate in this context. Color requires both the physical characteristics of light energy and the action of the human brain. Colors are perceived through the filter of perception and are ascribed meanings.
l Texture
Texture is the visual roughness or smoothness of a surface.
l Balance
Balance is the quality of visual weight distribution. When images or objects are arranged symmetrically—items of equal size and weight match across a mid-point— they are in symmetrical balance.
l Line
Line is the quality of linearity. A line is a string of points with little or no space between them and next to each other to lead the eye and thus suggest direction. Line gives a strong directional content to composition. It can vary in strength, density, width, and other qualities.
l shape
Shape is the element of physical or spatial containment. It is the composite of all points forming the internal or external surface of a composition. Both two- and three-dimensional shapes are everywhere and infinite in variety.
Human factors in exhibition design
We can say that space may be defined in terms of the emotional responses aroused, as below:
l formal or informal
l cold or warm
l masculine or feminine
l public or private
l awesome or intimate
l graceful or vulgar
Methodologies and design strategies
All the tendencies, attitudes, and responses addressed so far have a definite impact upon the design process.
l Left turning upon entry
By creating an attractive, larger, brighter opening to the left, or by placing a barrier to force flow to the left, a designer can select against the right turning tendency.
l See-through panels, exhibit cases, and windows
By using these devices, a designer can capture attention, draw visitors into the next area, heighten mystery, create openness, and promote interest and movement.
l Pools of light and color
Using areas of light and color as accents plays upon chromaphilic and photophilic tendencies, enticing visitors along a path of progression.
l Landmark exhibits
Placing striking exhibits periodically throughout a gallery draws visitors through the gallery.
l Use headlining and large type
These permit quick transfer of basic information such as themes, sub-divisions, and topics. Headlines are visually more attractive than text blocks and are more often read.
l Use diagonals and curves
The human eye follows lines. Diagonals and curves are visually active. They can lead people along, and achieve enough visual motion to allow a visitor to leave one exhibit and move to the next one.
l Transitional spaces
Changes in ceiling height, color scheme, lighting level, aisle width, and other visual and physical manipulations promote shifts in attention, generate curiosity about the next space, and evoke emotional responses. Dim lighting promotes quietness and is calming. It can serve to ease the transition from one type of space to another.
Traffic flow approaches
Suggested approach
This method uses colors, lighting, wayfinders, headlines, landmark exhibits, and similar visuals to draw visitors along a pre-chosen route without setting physical barriers to constrict movement into a single path. Perhaps the most challenging and difficult approach, it promotes a comfortable learning experience for the visitor by allowing freedom of choice while maintaining contextual continuity.
l Advantages—the suggested method provides a casual path for the patron while presenting information within a coherent framework and in digestible interpretive increments.
l Disadvantages—this method depends heavily upon the success of design elements to lead the learning experience.
Unstructured approach
Upon entering a gallery, a person may choose his or her own path without a suggested route that is right or wrong. Essentially, movement is non-directed and random. This method is often characteristic of art galleries.
l Advantages—this is a suitable approach for strongly object-oriented exhibitions. It allows visitors to move at their own pace and decide their own priorities. Interpretive material must be object-directed and not dependent upon a progressive format.
l Disadvantages—this approach does not work well with storylines or directional presentations.
Directed approach
This method is more rigid and restricted than the others. The gallery is normally arranged in a one-way traffic flow with minimal opportunities for exiting before the whole exhibition has been viewed.
l Advantages—this approach allows a very structured, coherent, and didactically oriented development of a subject.
l Disadvantages—this method often promotes exit-oriented behavior as the visitor looks for a way to leave the pathway. In some cases a sense of entrapment results, while in other instances it can lead to bottlenecks in traffic flow when one person wants to stroll through and study, and another wants to find the exit.
Object arrangement
Objects from the collections and other sources are the principal ingredient in most museum exhibitions. The arrangement of objects is of primary concern for the designer.
Regardless of dimensional qualities, all objects have certain intrinsic visual characteristics that affect how they may be arranged. These are:
l Visual impact
This refers to the characteristics of the object that arrest and hold attention and relates to the strength of the individual objects and to the whole. Color, directionality, texture, and other design elements work together to create the visual power of an object as perceived by the viewer. Mono-chromatic groupings depend heavily upon value, texture, visual mass, and weight. Color compositions depend upon these elements but add color relationships.
l Visual weight
The values, textures, colors, and other design elements combine to imbue the overall composition with the quality of weightedness.
l Visual direction
Many objects have a quality that leads the eyes of the viewer in a direction— directionality. Linear elements, color sequences, weight distributions, and other design factors affect the directionality of an object or composition.
l Visual balance
Visual weight, color, and directionality combine to give an object the quality of balance. Imbalance is visually unsettling, giving the impression of being in motion or leaning. Balance produces the feeling of being at rest.
l Visual mass
Objects have the visual quality of solidity or opacity. Color, texture, value, and linearity all lend the object this quality. The visual mass relates to the apparent density of an object.
In organizing objects along an eye-level center line, several characteristics of the objects themselves affect the placement.
l Horizon lines
Particularly in representational works of art, part of the composition of the work is the implied viewpoint or eye-level of the viewer. This is the horizon line and it corresponds to the illustrated point where sky and earth meet. Horizon lines in varied works are often not in agreement with one another.
l Directionality
The direction in which an image leads the eyes—directionality—should be compatible with the intent of the designer. Some objects are strongly directional in appearance. The arrangement of groups of objects should strive to keep the viewer’s eyes moving back into the overall composition.
l Balance
Balance is usually the desired result for arrangements of objects. The characteristics of individual objects should be balanced in relation to the whole.
l Flanking
Flanking uses opposing elements to balance each other along a horizontal line, forcing the eyes toward the center of the grouping.
l Spiraling
Spiraling is more dynamic and uses the directional qualities of the objects to create a spiraling pattern of eye movement around the center of the visual mass.
Controlling the exhibition environment
Any exhibition environment comprises two basic parts:
l matter (organic and inorganic materials)
l energy
To provide adequate care for objects while on exhibit, environmental factors must be controlled as precisely as possible. The main factors to consider are:
l temperature
l relative humidity (RH)
l particulate matter and pollutants
l biological organisms
l reactivity of materials
l light
Evaluation
“It is important to keep in mind just who is visiting an exhibit and what kinds of expectations these individuals may have.”
In evaluating an exhibit, some questions to ask might include:
l Does the exhibit attract and hold visitor attention, and if so, how well and for how long?
l Are visitors learning anything?
l Does the exhibit meet the needs of people? Does the exhibit address and answer their questions?
l Do visitors feel the museum experience is personally rewarding?
l Does the exhibit stimulate continuing interest in the subject?
l Will the visitors return to the museum, and why or why not?
In planning to evaluate, certain parameters must be determined. These include:
l What are the data required to do an evaluation?
l How are the data to be collected?
l Is evaluation to be scientific or perceptual, objective or subjective, formal or informal, cognitive or affective?
l What is to be evaluated?
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