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 Tom Yurkin
Tom Yurkin, experience designer at Freeman, attended the School of Industrial Design and Visual Communication Design at Ohio State University, and has also studied design and architecture at the Louvre Museum in Paris as a student of Parsons School of Design. He has created experiential environments for a range of companies, including Starwood Hotels & Resorts Worldwide Inc., 3M, and General Electric Co., and has won numerous industry awards for his work. Here, he explains why engagement is an important component of exhibit design.
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In the digital age, it's easy to get caught up in the newest gizmo or gadget. Is new and shiny always the way to go?
I think exhibit design is more about the engagement you create with the audience than it is about the physical structure itself. Gizmos and gadgets are fun, but it's not enough to have the newest whatever in your booth, you need to focus on creating an experience. Very low-tech concepts can work just as well as all the bells and whistles as long as the strategy is thought out and the design is well executed.
OK, so depending on your strategy, low tech can work. But let's say you want to go high tech — what are some of those bells and whistles?
Actually there are some really cool materials on the market right now, including recycled laminates, and various types of resins and acrylics. Beyond materials, there are of course some amazing new products — LED lighting, LED and LCD screens, interactive screens, augmented reality, quick-response codes, radio-frequency identification technology, and amazing apps for smart phones and iPads. All of those things can be used to enhance the exhibit experience for the attendee and foster engagement.
“Engagement” seems to have risen to the top of exhibitors' must-have lists when it comes to exhibit design. What gives?
Simply put, the experience is what makes an exhibit successful. You want to make the most of any exhibiting opportunity. Why do you exhibit? To interact with your customers and prospects. How do you do that? You create an engaging, welcoming environment that facilitates communication. It seems like common sense, right? Too often though, that goal — fostering communication — gets lost in the shuffle, especially when exhibits are “designed by committee.” If there are too many cooks in the kitchen, so to speak, the design gets splintered and loses focus. Exhibiting isn't about filling a booth with products and talking at attendees as they walk past. It's about creating a forum for communication and interaction.
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 Rob Majerowski
Rob Majerowski leads a team of designers as vice president of creative at MG Design Associates Corp. Throughout his tenure at MG Design, he has won numerous industry awards recognizing his work, including three Sizzle Awards and an Exhibit Design Award. In addition to sharing his expertise as a speaker at EXHIBITOR Show, he also shared his thoughts on all things exhibit design in this Q&A.
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If there were a step-by-step plan for exhibit managers to follow when planning a new custom build, what would it entail?
I can break the process down into four steps. I find that following these steps leads to the right kind of engagement between exhibit manager and designer. So, here you go:
1. Be prepared. Identify your internal decision-making team and work together to determine why you need the new build, and what goals and objectives you want to accomplish with the new exhibit. Establish criteria for validating and evaluating design concepts.
2. Put story before structure. Ask yourself what messages you want to communicate to your audience. When you define the message, your design firm will help you determine the best way to deliver it through the use of exhibit components, graphics, media, and interactive elements.
3. Be available. It's important that you are a part of the process. So, make yourself available to meet with your designer to answer questions and provide feedback about his or her proposed concepts. It's been my experience that if you're part of the process, you'll get a much better creative product, in a much shorter timeframe.
4. Limit your bid pool. Deciding on a new build concept can be tough, and choosing among, say, seven design proposals is almost impossible. If you are in a bid process, vet the participating companies and limit the bidders to a pool of three to four at the very most. This will allow you the time to participate with each company and will virtually guarantee outstanding proposals to choose from.
It sounds like, as an exhibit manager, starting off on the right foot with your designer is the key to getting what you want. What else helps?
I think investing time and attention into the entire build process, from initial bid to final product, is imperative. I've noticed an increased desire for “mail-in bids” for new build design projects, which leads to less face time with decision makers. Basically, exhibit designers are invited to an RFP for a new build, but lo and behold, there are eight other firms bidding on the same project and the RFP dictates that we need to mail in our bids. That means we don't get a face-to-face meeting to present our ideas, and the creative process becomes obsolete.
Would you say that “process” is what makes or breaks a build?
To some extent, yes. Sometimes we choose to participate in projects with mail-in bids, and sometimes we don't. And it's widely known that when designers bid on a project, they are doing it at their own expense, essentially providing free design concepts for the client/prospect. I think I can speak for most exhibit companies when I say that you can easily understand frustration on our part with this cringe-worthy practice. We provide a great customized marketing and design service, and when we're asked to mail it in, we're eliminating collaboration — and that's not in anyone's best interest.
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 Nico Ueberholz
As the CEO and principal of Uerberholz GmbH in Wuppertal, Germany, Nico Ueberholz develops creative solutions for all strategic and operational aspects of temporary architecture. Uerberholz's work, which includes exhibits, road shows, retail environments, and flagship stores, has received more than 100 national and international design awards and prizes. Here, he provides a sneak peek at the future of exhibit design.
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If you could predict the future of exhibit design, what would it look like?
In a word, softer. Exhibit design is returning to soft shapes. Form and function merge fluidly and evolve continuously, eventually finding their own position in the big picture. Media elements, like touchscreens and monitors, are being integrated seamlessly into the design, not forced or overly accentuated.
Do you think the pursuit of form meets function is driving innovation within the industry?
Absolutely. We recently created an exciting new exhibit module that effortlessly combines multiples essential functions — it provides room for presentations and storage, and is transportable. It is mobile, modular, and sustainable. When closed, the module functions as a transport container. At the simple push of a button, the module opens up and automatically turns into a space that is about 500 square feet. Of course, it's easier to understand if you watch the video demonstration: http://www.youtube.com/user/Ueberholz?blend=16&ob=5.
In addition to form and function, there seems to be another word on the tip of everyone's tongue — engagement. Where do you see engagement taking us in 2012?
We increasingly strive to create true multisensory experiences. The more senses you can engage, the more memorable the experience. In our exhibits, we often integrate and stimulate attendees' five senses. For example, in one exhibit, we used the scent of lavender and thyme, the texture of olive-tree bark, the taste of the tree's olives, the visual of changing lighting to reflect nature's progression from day to night, and the sound of cicadas in the sun. The result was a truly memorable experience, as attendees' senses were completely enlightened and engaged.
Do you think nature is a design element in its own right?
Nature is the great equalizer. Most people can relate to it on some level. I draw most of my inspiration from nature — lights, shadows, deep colors, animals, plants. Organic shapes that have grown over time are the perfect templates for design.
Sounds lovely, but is natural inspiration suited for every exhibit?
No, of course not. As an exhibit manager, you must seek out a design partner who is truly capable of emotionally understanding and manifesting the philosophy and product vision of your company. Look for someone with a great eye for visual product differentiation — a designer who is skilled in creating presentations that elevate the uniqueness of your products. When choosing a design partner, the overall creative, emotional solution should be the deciding factor — not the price per square foot. A great designer can achieve a great performance regardless of the budget.
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 Jerry Firbank
Jeremy Kenneth Firbank, chief creative officer of Pico Concept Ltd., has been an active inventor and exhibit designer since the 1960s, and has designed everything from exhibits, pavilions, and retail spaces to public and private events. His work has received awards from EXHIBITOR magazine as well as the UK Queens Award for Industry. We asked him to share his thoughts on the shape of the exhibit-design industry in general and the RFP process in particular.
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If you had a catch phrase about exhibit design to share with exhibitors, what would it be?
“It's not what it is — it's what it does.” It's not enough for an exhibit to look nice or be appealing. It has to perform. Good design should be a given, however, ingenuity with customer engagement isn't a given and is often sadly missing. Make an impression on attendees with your exhibit, with a prominent brand statement, modern, appealing architecture, lights, color, movement, and style. It's not enough to just leave it to the sales team, some demos, and a meeting room.
Obviously, making an impression on attendees at a trade show is priority numero uno for most exhibitors. Do you have any advice on how to increase engagement?
Engagement with attendees is won or lost in the first few seconds. People want new information, things that they don't already know, to hold their attention. Build an innovative initiative to provide information in a way that is new, exciting, and memorable. And keep in mind that a majority of any engagement at an event is lost upon parting. Develop and manage a follow-up process with post-event activity, such as mailers, phone calls, e-mails, etc., to build opportunities for future engagement.
What do you wish exhibit managers knew (or did) to better facilitate the exhibit-design process?
Exhibit managers should determine a far more sophisticated, experienced, and qualified method for assessing a creatively strategic and tactical bid proposal via a professional selection process. Corporate selection committees typically don't have the time or resources to fully understand, quantify, and assess the large numbers of bids that they request through RFPs. For example, in a typical RFP process, exhibit houses are asked to spend large sums of money to design a proposed exhibit, which often has no stated budget and no real direction regarding the desired response from attendees. What's worse, all this is done with little or no interaction between the exhibit designer and the company requesting the bid. While it seems like a good idea to get designs and responses from a lot of exhibit houses, it can really distort the outcome. The reality is that the best companies in our industry are the ones that ask the toughest questions upon receiving the RFP, and are the ones least likely to bid. The real exhibit-industry experts add true value to a company's exhibit program because they'll take the time to learn about the company's challenges and objectives.
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 Steve Cook
Steve Cook, senior designer at Pinnacle Exhibits, has been an exhibit designer for 15 years. His client list includes the likes of Sony Computer Entertainment American LLC, Microsoft Corp., Nikon Inc., and Kyocera International Inc., and his work has received numerous awards from industry associations and publications. Here, he explains that exhibitors are selling much more than their products and services — they're selling an experience.
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How do you see exhibit design changing in 2012?
It's time to rethink how exhibitors and attendees interact on the show floor. For example, do you, as an exhibitor, need conference rooms? Are there more exciting and convincing ways to express the capabilities of your products? What is the essence of the product and those who use it? Exhibit design can feel downright formulaic, but it doesn't have to be that way. I suspect greater attention will be given to the nature and culture of the products on display, and the exhibit architecture will be come more of an expression of the product, and less about the exhibit designer's own self expression.
So you think some exhibit designers focus too much on their own objectives, and not enough on the exhibit's purpose?
Sometimes. I call it self-aware exhibit design, and we've all seen it — swoopy headers, stock photography, whimsical kiosks, etc. Those things should be shelved in favor of product- and attendee-relevant design. It's up to the designer to steer exhibitors to happier places. That said, I also wouldn't mind saying goodbye to aggressive, in your face design. I find thoughtful design far more appealing.
In other words, less is more?
It's all about smart design, especially in this economy. Cost-effective materials, for example, can be beautiful. I spent 10 days in Milan, Italy, for design week, and I witnessed countless exhibits using low-grade construction materials to amazing effect. Even though the economy is pitching everyone challenges, a good designer can accommodate smaller budgets by using materials and construction techniques more wisely.
If you could ban one phrase from RFPs forever, what would that phrase be?
“Leaders in our industry.” I see it all the time, but am still at a loss for what, exactly, it means. Not only is it generic, it's also unnecessary, and I think most exhibit designers would agree. We approach every design with the goal of making the client look its best, no matter the position in the industry. Omit the PR jargon and focus on what truly sets your company apart from the competition. That's a crucial step toward achieving good design.
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 Saul Stokes
Saul Stokes, senior designer at MC², has more than 12 years of experience as a professional designer and has worked on myriad projects domestically and internationally, including exhibits, corporate interiors, customer-briefing centers, and point-of-purchase displays. Here, he shares his thoughts regarding the influence of social media and technology on exhibit design.
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Social media has given everyone a voice — which isn't always a good thing. But in this digital age, where do exhibits and face-to-face events fit in?
Because of the Internet and social networks, there's a new honesty that has to take place between companies and their customers. One negative comment on a company's Facebook page can really affect a business. Therefore, there's a need for companies to keep an open, direct channel with their customers to make sure needs and expectations are being met. And where can companies directly communicate with their customers? At trade shows. The exhibit is the perfect environment in which to engage attendees face to face, and it's also the perfect place to make good on promises to attendees, and provide solutions to their challenges.
Do you think social media and exhibiting will merge?
I think we'll see a continual drive to connect socially on the show floor, like using Twitter to drive traffic to a booth or posting videos of in-booth activities to YouTube. I also see trends in smart phone interaction, like quick-response codes. QR codes are a great tool because they eliminate paper waste and allow exhibitors' literature to exist as a live, dynamic document, rather than a static element.
In addition to QR codes, what other tech tools are you seeing on the show floor?
I really like AV Concepts' Liquid Scenic, which features HD projection mapping onto set pieces. It's definitely a game changer in exhibit and event design. And it's one of those things you have to see: http://www.avconcepts.com/interactive-technology/liquid-scenic. I'm also excited about RealFiction's Dreamhoc holographic displays, which are very futuristic and great for displaying smaller products: http://www.realfiction.com/en/. I think as projection and display technology advances, we're going to see more experimentation in terms of what constitutes an “exhibit.” For example, I've been seeing movement away from rectilinear, simple design (think the Apple Store) to more complex, radical architecture. This is mostly due to advances in fabric structure and multiple-axis CAD equipment. I think we'll see more curved exhibit designs in the coming years.
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 Gino Pellegrini
Gino Pellegrini, president and exhibit designer at InterGlobal Exhibits, was named the Exhibit Designers and Producers Association's Designer of the Year in 2008, and has won numerous awards for his work from various industry publications, including EXHIBITOR magazine, Event Design magazine, and BtoB Magazine. Below, he shares his thoughts on exhibit-design trends for the new year. |
What trends do you foresee making an impact on the exhibit-design industry in 2012?
Obviously, creativity sells. The quality of exhibit design has increased dramatically over the past few years — perhaps due to the economy. I've seen companies cut shows from their calendars, but then allocate the money from those shows to the few remaining shows they kept. When that's the case, I think exhibits become much more than a reception desk, lounge area, and demo stations. They become storytellers.
How so?
Well, the new trend in design is to understand the client's brand, and how that brand's promise will be incorporated into the exhibit. To do that successfully, you have to be creative and think outside the box. An exhibit presence at a trade show should complement the company's brand, its product, its quality, and its service-value proposition while setting it apart from the competition. It should reflect confidence in the company as the leader in its industry.
That seems like a job for public relations, not exhibit marketing.
PR plays a part, sure, but the exhibit should represent the company's unique attributes in a physical environment. Conceptions outside the box that are synonymous with new trends will garner extra attention.
What do you believe is driving that shift from exhibit as meeting room to exhibit as engaging environment?
Custom trade show exhibits are expensive, but are still a major force within a company's marketing mix. Today, exhibit managers are approaching that investment with more more scrutiny, oftentimes including C-level executives in the design and decision-making processes. I think there is much more consciousness and concern from the client side about the way an exhibit looks and how it's branded.
Do you think technology plays a part in the increased interest in exhibit design?
In the past, exhibits were just workstations with people standing in the aisles, waiting to engage with attendees and launch into a 60-second elevator speech. Today, due in large part to the Internet, exhibits are more about fostering relationships, and technology, such as RFID and augmented reality, is a great tool to facilitate that.
Beyond technology, what's one design element you wish more exhibitors would incorporate into their exhibits?
Hanging elements above the exhibit space. As the hair is the frame of the face, a nicely done hanging sign is the frame of an exhibit.
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 Mark Pearlman
Mark Pearlman, design director/studio manager at Group Delphi, has designed exhibits for myriad companies, including Medtronic Inc., LG Electronics Inc., FujiFilm Corp., and Baush & Lomb Inc. His work has appeared in EXHIBITOR magazine, Interiors South Korea, and Innovation, The Journal of the Industrial Design Society of America. Read on to learn how he believes the economic downturn, Green movement, and social media are shaping the exhibit-design industry.
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What role has the economy played in exhibit design?
The economic downturn and increases in fuel costs have created a double-edged sword for new builds. There's an increased desire for lightweight exhibits and reduced shipping costs, but at the same time, overall budgets have decreased. So RFPs come in for new custom builds with rental budgets — not going to happen. Exhibit managers need to start thinking about the big picture and stop focusing on the nuts and bolts of how the exhibit gets built. Let us know what your endgame is, and then leave the details up to us.
How much interest is there in Green materials?
I think there is great interest, but the whole point of custom designing an exhibit is to convey your brand story. Sometimes, Green materials just aren't a good fit. First and foremost, stay true to your brand story. Also, material selection is a crucial part of the design process, so make sure you allow enough time for your designer to source, test, and prototype the materials you want to use. Bottom line, don't make the decision to use a Green material just because it's Green.
There was a time when some people thought Green was going to change the industry. Has anything replaced it?
We are in the middle of a huge shift in the production and fabrication model of exhibit design. Exhibiting isn't the only way for companies to reach their audience. So instead of building something in the shop, attaching a company logo and graphic to it, and calling it a day, we're exploring various communication media, and selecting the best fit. Sometimes it's an exhibit. Sometimes, it's a virtual, viral, social, rental, or mobile component. We used to build things in the fabrication shop because there were only three ways to tell a story: through words, images, or videos. Now that you can tweet it, like it, app it, and multitouch it, exhibiting has been turned on its head. Take E3, for example. That show went away for a while, but then Web 2.0 and social media brought together the global gaming community online. In turn, that online community felt a need to be social in the real world, and bang, E3 is back and making up for lost time. That's pretty powerful.
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 Deanna Kuhlmann-Leavitt
As principal and lead designer at Kuhlmann Leavitt Inc., Deanna Kuhlmann-Leavitt has been recognized by numerous design organizations, including the American Institute of Graphic Design (AIGA), the American Institute of Architects (AIA), the Society of Environmental Graphic Design (SEGD), and Communication Arts. Here, she discusses the importance of perspective and what U.S. designers can learn from their European counterparts. |
If you could give a fortune cookie's worth of advice to exhibit managers, what would it say?
“Don't be afraid to hire designers that work outside of established exhibit houses.” We bring fresh perspectives by designing spaces that don't look like every other exhibit on the show floor. We can also bring resources to the project that come from a broader talent pool than from a single exhibit house — the right artists, fabricators, designers, etc., for the job.
Do you think such designers can bring a different perspective to the exhibiting industry?
Absolutely. Building a business using great design is a distinct, long-term competitive advantage — and one used for years by the likes of consumer brands Nike and Apple. I believe that eventually this enlightened strategy will make its way into the exhibit world.
I think everyone would agree that Nike and Apple have successfully created a brand identity and loyal following, but doesn't that success carry a hefty price tag?
Not necessarily. Good designers know how to make the greatest impact for their clients, regardless of budget. In this economy, smart clients will use design to set themselves apart from the competition.
Good design is rather subjective, but what are some of the mistakes exhibit managers make when it comes to their booths?
Missed opportunities to tell their story. Spaces that are homogenized, logos that are too big, floor covering that is uninspired, lights that don't light, silly giveaways, spokespeople that are not actual employees and/or know nothing about the company and its products, spaces with “stuff” that is marketed as hot and on trend but isn't, and of course, spaces that don't heed the advice, “Just because you can doesn't mean you should.”
So basically, U.S. companies should take a hint from the more streamlined, sophisticated spaces being designed across the pond?
Europe gets trade stand design. For the most part, their solutions are simple, iconic, dramatic, and timeless. Once designers start leading the process in the United States, perhaps we will start seeing a bit more sophistication in our neck of the woods.
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 Jeff Bartle
Jeff Bartle, chief creative officer at 3D Exhibits Inc., has been designing environments for more than 30 years at a range of industry firms including George P. Johnson, Contempo Design, and EWI Worldwide. EXHIBITOR asked him to share his opinions on what works and what doesn't when it comes to exhibit design. Here's a hint: Ditch the plants.
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If you could sum up the key to getting the exhibit you want in three words, what would those words be?
Embrace your designer! Share with him or her not only your functional requirements, but also how — and what — you want your customers to think, feel, remember, and do after experiencing your exhibit. And have the courage to be different, be memorable, and make meaningful connections with attendees.
What's the most misunderstood (or misused) design element when it comes to exhibits?
Well there are three things, in my opinion. The first thing that comes to mind is plants. It doesn't matter what you do with them, they very seldom look right in an exhibit. Plus I think they've been used mostly to hide poor wire management. You're not fooling anyone. Second is white space. Leave it alone — not every surface needs to convey a message. And piggybacking off of that, the last thing is text. There's often way too much to read. We live in an age when virtually everything you need to know, you can find on the Internet. So be strategic about your graphics and messaging. Use enough to pique the interest of attendees, but don't overwhelm them.
So plants, too little white space, and too much text make for an unattractive exhibit. What makes an exhibit a success?
Using materials and architectural elements that seamlessly work together within a defined brand context is a good start. Beyond that, make sure the design is specific to your company's own style and image. I try to avoid looking at individual materials or elements as defining a style, because then they become commoditized and overused. Kind of like how bamboo became synonymous with Green. Exhibitors that wanted to convey Green ideals used bamboo, even if it had nothing to do with the products and services their company offered.
Are there any materials with which you don't enjoy working?
I'm not sure this counts, but I would have to say client-printed literature. Every aspect of its integration into an exhibit's design is expensive and redundant, especially given how easily access, distribution, and presentation of the same information can be managed digitally.
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Eli B'sheart
Eli B'sheart, vice president of creative and innovations at EWI Worldwide, has been designing everything from trade show exhibits and consumer events to retail environments for the past 13 years. Here, she explains the concept of the “brand story,” and the role it plays in the exhibit-design process.
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It seems like it's not enough to simply promote products and services, exhibitors have to make a more personal connection with attendees. What's your take?
The exhibit has to be an engaging experience, not a storefront. Attendees are done with smoke and mirrors. In-booth experiences that resonate with visitors and provide interesting, informative, and engaging content will become more popular in the coming year. Exhibit managers and designers are driven to do their best by the brand, and the more information and dialogue we can create between the brand and its customers, the better the connection. Be smart. Be creative. Be true to your brand story.
What is a brand story?
One of the ways we make sense of our world is through stories. These stories connect us in a common experience. As such, a brand story requires brand knowledge and a clear understanding of the brand's essence, values, and beliefs. A brand story can't be a work of fiction but rather an honest communication of the value, connection, and demonstration of how your brand is unique and compelling. It requires a strategy that integrates multiple marketing channels while adhering to a consistent global message that can be interpreted in any live environment. This is what feeds into the authenticity of your brand and the exhibit experience. And in turn, having a unified and consistent approach across all marketing channels increases brand equity.
Do you think social media is a viable avenue through which to establish authenticity?
Yes, and in fact, that need for authenticity is dictating the tools we're now using to interact with attendees. Social media, for example, is becoming more important, as it extends the dialogue beyond the show floor by giving attendees and outlet through which to ask questions and gain additional information about a product or service. What's more, customizable technologies, such as QR codes, RFID technologies, and personalized URLs, are giving attendees the information they need right then and there. In essence, humans and digital tools are merging. Information exchanges are becoming seamless and fluid, and as a result, more ubiquitous.
Are people just getting lazy?
I don't think it's laziness, I think it's just the way the world is evolving. Information is instantaneous, and attendees expect no less from exhibit experiences. People want substance and payoff for their time — that's what should drive an exhibitor's strategy, and ultimately, the booth's design. Attendees want information that doesn't take a great deal of effort to obtain, and that also provides a solution for their specific need.
How is that influencing exhibit design?
A trend that continues to impress me is something we refer to as “transformative architecture,” in which a designer masterminds an environment that allows attendees to seamlessly drive and create their own experiences within the live spaces, and then extends that experience using social networking and digital tools. The use of digital engagements to create an environment that puts attendees at the center of the experience is exciting and impactful.
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 Errol Ahearn
Errol Ahearn is executive creative director for health-care accounts at Global Experience Specialists (GES) Inc. He has more than 25 years of experience and has been honored with numerous awards, including being named the 2011 International Business Award’s Creative Executive of the Year and the 2010 Exhibit Designers and Producers Association Designer of the Year. Here, he explains how to get the exhibit you want, why mobile apps are all the rage, and why he thinks a good design is nothing without well-trained booth staffers.
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Do you have any advice for exhibitors seeking new custom builds in 2012?
Beyond the obvious suggestions to maximize interactive technology, incorporate Green materials, and create a lightweight design, I recommend the following steps to help smooth out the new-build process. First, create a brief presentation on the current state of your exhibit program, your proposed show schedule, and, if possible, your competitors’ latest efforts. Share this presentation with critical stakeholders, and together briefly define your overall objectives for the new exhibit. If you can, highlight what’s new in your industry, or what you feel will be a trend down the road. You could even gather ideas from your stakeholders ahead of time, and incorporate their feedback into the presentation. This will help you refine your objectives quickly. Plus they’ll appreciate your attention to detail and willingness to hear their ideas.
Second, use that input and your finalized, agreed-upon objectives to solicit vendors that are able to not only build your booth, but also provide a complete pull-through strategy that meets your goals.
Finally, make sure you request the latest measurement tools, interactive engagement tactics, and lightweight custom structures available. It’s your money, your new exhibit, and you deserve to get exactly what you need and want.
We can’t really have a discussion about exhibit design without talking about technology. So, what are you seeing on the show floor?
Well-designed mobile apps are huge right now. Apps are outstanding giveaways when used as avenues through which to extend your company’s brand messaging. You can load them up with product information, specs, videos, photos, and basically anything you want to showcase. Then attendees can download them almost instantaneously, right there in your exhibit. That said, it has been a design challenge to figure out the best way to promote and distribute them in the booth.
What’s your biggest pet peeve when it comes to exhibit design?
Seeing an exhibit not functioning at its full potential. Often this is because of improper booth-staff management. It reminds me of a story I learned years ago that illustrates the importance of booth-staff training. It goes like this: Imagine your new exhibit is a $500,000 racecar. You just spent all of this money, and your biggest race of the year is right around the corner. Now it’s time to select the driver — the person who will win or lose the race for you — and you have two choices: a professional racecar driver, or your cousin who gets nervous driving faster than 65 mph. It’s a no brainer, right?
My former boss, Bob Francisco of Admore Inc., used to tell that story all the time to clients. You literally see their eyes light up at the realization that, yes, booth training can make or break your exhibit program.
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