christianportfoliosmallscreenres
TRANSCRIPT
Work by Christian Hernandez
Designed for the Page and Screen
Plinth, a digital magazine for museums & cultural institutionsMagazine Cover Design ........................................................1-2App Icon Design ....................................................................... 3Writing .................................................................................... 4-5
Carr McLean - Print Catalogue Design ........................................... 6-7Canada’s leading distributor of supplies for libraries, muse-ums & archives
Poster Design ..................................................................................... 8-9Presented at the 2013 American Institute for Conservation Conference
Diagrams & Photography
Photography .................................................................................... 10-13
Patternmaking Diagram ................................................................ 14-15
Exhibition Design & Development
Design for Exhibition – At War With Fashion! Women’s Dress and Propaganda 1940-1945
Introduction ........................................................................... 16Layout ..................................................................................... 17Exhibition Handout ......................................................... 18-19Object Selection ................................................................ 20-21
Design for Exhibition II – Youthquake! The 1960s Fashion Revolution
Introduction ........................................................................... 22Final Installation Images ...................................................... 23Layout ................................................................................ 24-25Concept Development ..................................................... 26-27
Personal Project
Design for Social Media - Museums are Awesome ................. 28 - 29
Contents
1
Plinth - Magazine Cover Design
December 2013 cover for Plinth,a digital magazine for museums and cultural institutions.
Photograph courtesy of the American Gothic House Center.
2
Plinth - Magazine Cover Design
Plinth cover art for November 2013 (top) & March 2014 (bottom).
3
Plinth - App Icon Design
Design ideas for Plinth magazine app icon (above)& mockup of icons on screen (below).
4
Plinth - WritingMuseums: All it takes is a SPARK - October 8, 2013
At a recent public program at the Racine Art Museum called Jazz in June, the moderator asked the group if anyone played an instrument. Many people raised their hands but it was a typically non-verbal woman who made the biggest impact. She started playing the piano with her hands in the air, humming a tune, and soon the whole group was humming along. Experiences like this happen regularly at SPARK!
SPARK! is a joint project between eleven cultural institutions in Wisconsin and Minnesota. The goal is to provide programming for people with memory loss, such as older adults with Alzheimer’s or Parkinson’s disease, and their caregivers in a comfortable, welcoming and stimulating environment. Each institution creates unique programming that pairs appreciation of art with a hands-on activity such as dance, poetry, painting or sculpting, to motivate the conversation and experience. For Tricia Blasko, Curator of Education at the Racine Art Museum (RAM) in Racine, Wisconsin, “having experiences that are in the moment rather than worrying about things from their past or what happened that morning,” is one of the goals of the program.
SPARK! began as a Helen Bader Foundation (HBF) initiative that took cues from “Meet Me at MoMA“, a program at the Museum of Modern Art in New York, to provide programming for people with dementia. The HBF provided funding to create the SPARK! Alliance, a collaboration between eleven participating institutions, the Alzheimer’s Association and Dr. Anne Basting of UWM Center of Aging and Community. SPARK! does more than bring people with memory loss into museums; it is a safe, fun environment focused on helping underserved people in our communities and their caregivers, who are oftentimes their spouses. At SPARK! art becomes a personal experience for the care couple, allowing them to connect emotionally and conversationally as they see, feel, and create in the moment. In the safe space of SPARK!, the individual with memory loss can be inspired to find their voice and express themselves in a way that is becoming more and more difficult as they grow older. “There is never a wrong way to express emotions, thoughts or feelings,” says Tricia Blasko, “and best of all, they have FUN!”
SPARK!’s success can be seen in the sold-out attendance, and in the smiling faces of repeat participants. At the RAM the program is an art-making experience in “one of the largest studio class offerings in a museum in Wisconsin” with programs that combine visual imagery, visits into galleries, and music that relates to the topic. The program also brings in visiting artists and allows participants to touch various art objects or materials to provide a tactile experience. The institutions recognize and validate that they are working with adult audiences by providing activities, lessons and tours that any adult would enjoy. But perhaps more telling is the response the visitors have had, like that of a wife who brings her husband, who was diagnosed with early-onset Alzheimer’s, and their adult son, who has suffered from brain trauma. They rarely miss a session because, while outside of SPARK! they have lost many friends and social venues due to their trouble interacting with them, within SPARK!, the wife, who is the primary caregiver to her husband and son, has become part of a group of friends who are in similar situations and understand her needs. SPARK! is a social outlet for the whole family while also strengthening their bonds and exercising their minds.
SPARK! has plans to accommodate more participants by increasing the frequency of these events. One day the SPARK! Alliance hopes to include at-home care couples, as well as more museums. While the HBF funding is now over, they provided more than $100,000 for planning and implementation of SPARK! projects, allowing them to be free for participants. SPARK! continues to be funded from other avenues, but it still could use more help in order to achieve sustainability and growth. A promotional video about SPARK! can be found here.
I would like to thank Tricia Blasko, RAM’s Curator of Education, for sharing her institution’s stories. Right now there is a group of people in charge of SPARK!, but they are trying to find funding that would allow for one person to manage it, build a website and be the resource person for new museums and cultural institutions interested in starting their own SPARK! programs. In the meantime, if your museum is interested in becoming part of the SPARK! Alliance, please contact Jane Tygesson, a volunteer docent at the Minneapolis Institute of Art, for a copy of Opening Doors to Memory and Imagination, a how-to on starting a program for those with memory loss.
This post is dedicated to Kathy Cleaver, my first mentor, the person who first inspired me to work in cultural heritage, and whom I recently found out is suffering from memory loss.
5
Carr McLean - Print Catalogue Design
Museums Conservation ArchivesPreservation and Conservation Supplies
ArchivalArchival
20102010Order Online! www.carrmclean.ca
Call 1.800.268.2123 • Fax 1.800.871.2397
Pr
od
uc
t G
uid
e 2
010
Document StorageLetter/ Legal Document Boxes ........................................... 2-5File Folders, Document Envelopes ............................... 6-8, 21Large Document and Roll Storage .................................... 9-11Newspaper, Magazine and Pamphlet Storage ................ 12-13
Photographic StorageDrop Front and Print Storage Boxes ............................... 14-15Museum Cases, Portfolio and Presentation Books ........ 16-17Clamshell, Photo and Negative Boxes ............................ 18-19Photographic Envelopes, Sleeves and Pockets .............. 20-25Perma-Saf and Print File Preservers ................................ 28-31Photographic Cleaners and Supplies ............................... 32-39Archival Albums and Scrapbooks .................................... 34-35
Specialty StorageMap and Blueprint Storage ............................................... 8-11Slide Viewing and Storage .............................................. 26-29Currency and Postcard Storage ....................................... 42-43Media Storage ................................................................. 44-48Film Reel, Microfiche and Microfilm Storage .................. 48-51Artifact Storage and Supplies .......................................... 52-55Textile Storage and Supplies ........................................... 56-59
Conservation Tools & SuppliesArchival Marking Pens and Labels .................................. 39-41Preservation Discs ................................................................ 44Archival Storage Bags .......................................................... 60Preservation Kits .................................................................. 61Encapsulation Supplies ................................................... 62-63Document Repair and Preservation ................................ 64-70Deacidification ...................................................................... 71Cutting Aids ..................................................................... 83-85Dry Mounting Presses and Supplies .................................... 94Tacking Irons ........................................................................ 95Conservation Brushese ................................................... 96-97Adhesives ........................................................................ 98-99Conservation Waxes and Cleaners ............................. 100-101Conservation Weights and Specialty Tools ................. 102-103Cotton Gloves and Lab Supplies ................................. 104-105Magnifiers and Tweezers ............................................ 106-107Pest Control ........................................................................ 108Conservation Books and CCI Publications .................. 142-145
Archival Paper and BoardsBond and Interleaving Paper ........................................... 72-73Japanese and Handmade Papers ......................................... 74Tissue Paper .................................................................... 74-75Archival Boards ................................................................ 76-79Archival Packaging and Shelf Lining ................................ 80-83
Book MaintenanceBook Strips, Pockets and Cards ........................................... 64Book Covers and Rare Book Boxes ..................................... 65Archival Book Repair Tape and Accessories ................... 66-68Book Cleaning ...................................................................... 69Book Binding ........................................................................ 70
FramingMat Cutters .......................................................................... 84Museum Frames and Pre-Cut Mats ..................................... 86Picture Hanging Systems ................................................ 87-89Framing and Mounting Tapes ......................................... 90-93
Facility EssentialsVacuums ............................................................................. 109Gallery Aids ........................................................................ 129Audio Visual Carts and Lecterns ........................................ 132Mobile Carts ....................................................................... 133Record Storage Shelving ..................................... 134, 136-137Ladders and Facility Storage Boxes ................................... 135Patron Control ............................................................. 138-139Security Mirrors and People Counters ............................... 140Museum Rails .................................................................... 141
Environmental Monitoring & ControlHumidity Control ......................................................... 110-111Hygrothermographs ........................................................... 112Thermo-Hygrometers ......................................................... 113Data Loggers ............................................................... 114-117Light Meters and UV Filtering ..................................... 118-119
Display and ExhibitTabletop Acrylic Easels and Risers .............................. 120-121Book Cradles and Exhibit Aids .................................... 122-123Exhibit Display Cases .................................................. 124-127Exhibit Panel Systems ........................................................ 128Bulletin and Communication Boards ........................... 130-131Hang Up Media and Book Display Bags ............................ 146
Page 44 Page 54 Page 71
Page 109Page 143Page 59
Graphic design for Carr McLean’s 2010 Museums Conservation
Archives supply catalogue.Table of Contents (top),
Cover (bottom), and an inside spread (opposite page).
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7
Carr McLean - Print Catalogue Design
8
Poster Presented at the 2013 American Institute for Conservation Conference
9
This poster was created from my graduate thesis research on sustainable practices and materials in collections care.
10
Photography - Collection
Left: Front, back and raking light photographs of medallion made from gold-couched threads, date unknown, FIT Graduate School Study Collection.Right: Gold and cream colored silk dress with gold lace, metallic fringe
and black beaded net, circa. 1920, private collection.
11
Photography - Documentation
Top: Chinese export robe, 1900-1940, Putnam County Historical SocietyMiddle: (L - R) Detail of silk ground, warp and weft in dark field.
Bottom: (L - R) Apron, FIT Graduate School Study Collection and detail.
12
Photography - Condition ReportsArtifact: Moccasins PR + PL Accession # 84.34.591 A (PR) + B (PL) Materials: Fabric: Leather, wool, glass beading, sinew & cotton thread Owner/Donor: Brooklyn Children’s Museum Purpose for Condition Report: Conservation Prepared by: Christian Hernandez Date of Examination: February 9, 2012
Condition Report for Footwear p. 3/4
PR Moccasin – Exterior Edge
PR Moccasin – Interior Edge
Fig. 6: Material loss
Fig. 7: Seam coming undone
Fig. 8: Tear in leather, bead loss
Fig. 9: Less dense beading
Fig. 10: Bead loss
Fig. 11: Bead loss
Fig. 12: Bead loss, tear in laces
Fig. 13: Crizzling
Fig. 14: Bead loss
6 7 8
9 10
11 12 13
14
This is a page from a condition report created for a conservation project.
13
Photrogaphy - Diagramming
Red gingham dress, circa 1945-1955 Putnam County Historical Society (top), and with measurements added in Adobe Illustrator (bottom).
14
Patternmaking Diagram
Panels:
1. PL front 2. PR front3. PL back center + tail facing 4. PR back center + tail facing5. PL back side6. PR back side7. Left tail8. Right tail9. PL upper sleeve10. PL lower sleeve11. PR upper sleeve12. PR lower sleeve13. Pocket14. Collar
Linings, facings, etc not counted.
8 cm
8.5 cm
54.5
cm
55 c
m
2.5 cm
11.5 cm9 cm
6.5
cm
7 cm
12 c
m
23 cm 23.5
cm
4 cm
46 c
m
41 cm14 cm
58.5 cm
56 c
m
12 cm 6 cm
7 cm
8 cm
10 cm
6 cm
35.5
cm
36.5 cm
60 cm
fold
ed ed
ge
fold
ed e
dge
fold
ed e
dge
folded edge
folded edge folded edge folded edgefolded edge
SeamsMeasurementsGrainlinesButtons
54 c
m
10.5 cm
13.5 cm
27 cm (internal)
65.5 cm1
45 cm 4
50 cm
818 cm 11
63 cm 9
15.5 cm 12
10.5 cm
64 cm 2
42 c
m 7
6.5 cm
8.5 cm2.5 cm
45 c
m
2 cm
11.5 cm
4 cm
66.5
cm 1
45 c
m 4
54 c
m 3
12 c
m
63 c
m 2
fold
ed e
dge
25 cm 6
143.5 cm 15 75.5 cm 14
74 cm 14
40.5 cm 5
fold
ed e
dge
fold
ed e
dge
fold
ed ed
ge folded edge
52 cm 3
104
cm 10
56 c
m 13
14.5 cm
9.5 cm5 cm
6 cm 10.5 cm
11.5 cm
7.5 cm
9.5 cm
6.5 cm
Acc. 2003. 001. 005 aOwner: June BovéDate: 1880-1900Description: Men’s black wool tailcoat with black satin lapels and black satin lining.
Note: Measurements have been rounded to the nearest .5 cm.
No measurements or details were taken of the lining.
All measurements on front and back appear to be equal or under .5 cm di�erence left and right unless otherwise noted.
Reference for measurements1. from armhole to cu� along edge of sleeve when laying �at2. straight from top of armhole to outer edge of cu�3. along armhole exterior 4. from armhole to cu� along seam 5. along outer edge of collar6. along interior neckline from seam to seam 7. from top point to the natural lower tip of satin lapel along the interior edge 8. from tip of lapel to lowest tip on front 9. around waist from dart to dart 10. from top of collar to bottom of tails 11. from lower tip of satin lapel to waist dart12. from lowest tip on front to waist dart13. along edge of vent14. from waist dart to edge of tail15. along hem with 6 cm overlap
The measurements, grainlines and patterns (above) of a tuxedo jacket (inset right) recorded in the style of June Bové.
15
Patternmaking Diagram
Panels:
1. PL front 2. PR front3. PL back center + tail facing 4. PR back center + tail facing5. PL back side6. PR back side7. Left tail8. Right tail9. PL upper sleeve10. PL lower sleeve11. PR upper sleeve12. PR lower sleeve13. Pocket14. Collar
Linings, facings, etc not counted.
8 cm
8.5 cm
54.5
cm
55 c
m
2.5 cm
11.5 cm9 cm
6.5
cm
7 cm
12 c
m
23 cm 23.5
cm
4 cm
46 c
m
41 cm14 cm
58.5 cm56
cm
12 cm 6 cm
7 cm
8 cm
10 cm
6 cm
35.5
cm
36.5 cm
60 cm
fold
ed ed
ge
fold
ed e
dge
fold
ed e
dge
folded edge
folded edge folded edge folded edgefolded edge
SeamsMeasurementsGrainlinesButtons
54 c
m
10.5 cm
13.5 cm
27 cm (internal)
65.5 cm1
45 cm 4
50 cm
8
18 cm 11
63 cm 9
15.5 cm 12
10.5 cm
64 cm 2
42 c
m 7
6.5 cm
8.5 cm
2.5 cm
45 c
m
2 cm
11.5 cm
4 cm
66.5
cm 1
45 c
m 4
54 c
m 3
12 c
m
63 c
m 2
fold
ed e
dge
25 cm 6
143.5 cm 15 75.5 cm 14
74 cm 14
40.5 cm 5
fold
ed e
dge
fold
ed e
dge
fold
ed ed
ge folded edge
52 cm 3
104
cm 10
56 c
m 13
14.5 cm
9.5 cm5 cm
6 cm 10.5 cm
11.5 cm
7.5 cm
9.5 cm
6.5 cm
Acc. 2003. 001. 005 aOwner: June BovéDate: 1880-1900Description: Men’s black wool tailcoat with black satin lapels and black satin lining.
Note: Measurements have been rounded to the nearest .5 cm.
No measurements or details were taken of the lining.
All measurements on front and back appear to be equal or under .5 cm di�erence left and right unless otherwise noted.
Reference for measurements1. from armhole to cu� along edge of sleeve when laying �at2. straight from top of armhole to outer edge of cu�3. along armhole exterior 4. from armhole to cu� along seam 5. along outer edge of collar6. along interior neckline from seam to seam 7. from top point to the natural lower tip of satin lapel along the interior edge 8. from tip of lapel to lowest tip on front 9. around waist from dart to dart 10. from top of collar to bottom of tails 11. from lower tip of satin lapel to waist dart12. from lowest tip on front to waist dart13. along edge of vent14. from waist dart to edge of tail15. along hem with 6 cm overlap
Men’s black wool tuxedo jacketcirca: 1880-1890FIT Graduate Study Research Collection.
16
Design for Exhibition - Introduction
At War with Fashion! Women’s Dress and Propaganda 1940-1945 was a hypothetical exhibition graduate project which included curating objects, writing labels, designing the visuals and developping public programming.
The first slide from the presentation (left) and Intro wall text (below).
Women’s fashion - textiles, clothing and accessories - was greatly affected by World War II. Dress materials like silk, rayon, leather, rubber and metal were rationed for the war effort. At the same time many women supported their friends and family members in the armed forces and also served in many capacities at home and abroad. These women often showed their pride, unity, and optimism through the way they dressed. Whether through overtly visual or more subtle means, these women became walking propaganda posters.
The Unites States and Britain were both adept at creating propaganda slogans like “Keep it Under your Hat,” “Make Do and Mend,” and “Loose Lips Sink Ships.” This home front propaganda sought to instill unity and loyalty by building morale and encouraging everyone to do their bit, even if it meant sacrifice.
During the war years, motifs of planes, boats, guns, tanks, Morse Code, Victory Vs, as well as patriotic words and colors were seen everywhere. The textiles and accessories shown in this exhibit were often produced in short runs, with limited distribution, and reflect life during wartime. In August 1945 when the war finally ended, life continued, but not all soldiers returned home. At that moment the clothing and textiles that once expressed pride, unity and optimism no longer had the same meaning - they became reminders of the degredation and sacrifice. many were thrown out because of what they represented, At War with Fashion: Women’s Dress and Propaganda 1940-1945 shows the rare examples that survive to recall their story.
AT WAR WITH FASHION!
Introductory Wall Text
The exhibition will have 30 objects including: 14 framed scarves 5 framed yardages of fabric 5 outfits on mannequins in display cases 6 accessories in wall mounted display casesThe exhibition will have 8 wall graphics including: 5 photographs of the objects or related artifacts
being used & 3 enlarged photographs of textiles to show the small-scale motifs
17
Design for Exhibition - Layout
AT WAR WITH
FASHION!
* Wall graphic of nearby textile
* Photograph on wall
Couch
10’ Room is 43’ x 38’
The final object will be a dress made from salvaged “parachute silk” with an enlarged photograph behind of women sewing colourful parachutes.
On exiting the exhibition, the visitor will see a photograph of liberated French women dressed as flags from four Allied countries “waving goodbye.”
On entering the exhibition, the visitor will see the wall text to their immediate left, along with an enlarged photograph as wall graphic. These will encourage the visitor to walk straight instead of turning right to the ideal end of the exhibit.
V VV
18
Design for Exhibition - Exhibition Handout
19
Design for Exhibition - Exhibition Handout
This letter-page sized takeaway for visitors includes all the objects in the exhibition. It was created in Adobe Photoshop and InDesign.
20
Design for Exhibition - Object Selection
Three patriotic-themed scarves which are the first objects after the intro text (above) and a period photograph used as a wall graphic (below).
21
Design for Exhibition - Object Selection
Three objects with motifs about rationing (above) and the final object, a wedding dress, with an enlarged photgraph as a background (below).
22
Design for Exhibition II - Introduction
Youthquake! The 1960s Fashion Revolution was an exhibit designed and executed as a final graduate project. In a class of 13, my role was as one of two exhibition designers who worked closely with the curators. I was responsible for making decisions about layout, arrangement of
mannequins and the overall look. The exhibition was up from March 6th to April 7th 2012 at the Museum at the Fashion Institute of Technology.
Above: Two of the final concept images sent to the Museum at FIT’s exhibition department, who did the construction of platforms,
painting of walls and installation of mannequins. Opposite page: The final installation images of the designs above.
23
Design for Exhibition II - Installation
24
Design for Exhibition II - LayoutThese and other diagrams were created in Adobe Illustrator.
A detailed layout of the entire exhibition space (top) and south room (bottom) with platforms, useable floor space, paintable wall surfaces,
36” touch distance and mannequin indicated.
Top: Courrège Suit, Orange acrylic/wool, 1968, France, The Museum at FIT, Gift of Mrs. Phillip Schwartz, 81.132.4Bottom: Scott Paper Company “Paper Caper” Dress, “Dura-Weve” paper, 1966, USA, The Museum at FIT, P92.57.26 Museum purchase
25
Design for Exhibition II - LayoutAdobe Photoshop was frequently used to create digital representations of
what objects would look like on mannequins in the space.
26
Exhibition II - Concept Development
Two design ideas for the south platform. The top image has a photograph for the
curved backdrop.
27
Exhibition II - Concept Development
The south platform mock-up and photograph from installation.
28
Design for Social MediaMuseums are Awesome
I Heart Museums is a personal project and social media campaign. It began in September 2013 with the desire to change the “museums are” Google instant search to include “museums are awesome.” The primary
vehicle of this campaign is Facebook but also includes activity on Twitter and Buzzfeed. #MuseumsAreAwesome.
I Heart Museums Facebook profile photo. Created in Photoshop.
29
Design for Social MediaMuseums are Awesome
I Heart Museums’ Facebook cover photo with altered Google Instant Search (above) and Twitter page (below, @I_Heart_Museums)
Christian HernandezGraphic Design + Social Media for Museums
(+ Sustainable Collections Care)
[email protected]/in/HernandezChristian
facebook.com/IHeartMuseums#MuseumsAreAwesome