Part 2

Photographs and Illustrations Review the foregoing elements to see where pictures will tell your story as well as (or better than) words. List all photographs you have already taken of your project, ones you can still obtain, and drawings which will illustrate or help narrate your story. Don’t be selective yet. Later, when you are designing your exhibit layout, space limitations will force you to choose.

Equipment and Specimens These also help narrate your story. Select objects and apparatus which will provide viewers a good grasp of your project work. Have you hit upon a low-cost substitute for expensive laboratory equipment? Do some of your specimens present clearly visible evidence of points you want to make? Are any of the experimental results or specimens particularly unusual, spectacular, or beautiful? List them for possible use.

Handout Brochure An important but frequently overlooked exhibit component is the “handout brochure” to be distributed to interested viewers. Even a single mimeographed page can supply more written information than should be displayed in the limited space of the exhibit. It can provide serious viewers a condensed version of the project report. The brochure provides all viewers a reference when they discuss the science fair and your exhibit with others. Consider the handout brochure while planning your exhibit’s contents because it can contain data and graphs which might otherwise clutter and confuse your exhibit proper.

How Exhibits Are Judged

Rules for the judging of exhibits vary, but most science fairs stick fairly closely to the criteria and point values used by the National Science Fair-International, which are:

I. Creative Ability Total 30 points

How much of the work appears to show originality of approach or handling? Judge that which appears to you to be original regardless of the expense of purchased or borrowed equipment. Give weight to ingenious uses of materials, if present. Consider collections creative if they seem to serve a purpose.

II. Scientific Thought Total 30 points

Does the exhibit disclose organized procedures? Is there a planned system, classification, accurate observation, or controlled experiment? Does exhibit show a verification of laws, or a cause and effect, or present by models or other methods a better understanding of scientific facts or theories? Give weight to probable amount of real study and effort which is represented in the exhibit. Guard against discounting for what might have been added, included, or improved.

III. Thoroughness Total 10 points

Score here for how completely the story is told. It is not essential that step-by-step elucidation of construction details be given in working models.

IV. Skill Total 10 points

Is the workmanship good? Under normal working conditions, is the exhibit likely to demand frequent repairs? In collections, how skilled is the handling, preparation, mounting or other treatment?

V. Clarity Total 10 points

In your opinion, will the average person understand what is being displayed? Are guide marks, labels, and descriptions spelled correctly, and neatly yet briefly presented? Is there sensible progression of the attention of the spectator across or through the exhibit?

VI. Dramatic Value Total 10 points

Is this exhibit more attractive than others in the same field? Do not be influenced by “cute” things, lights, buttons, switches, cranks, or other gadgets which contribute nothing to the exhibit.

Such rules leave much to the individual discretion of the judges, particularly regarding the distinction between the science project itself and the exhibit. Be sure to study your local rules and judging criteria carefully. Since usually 60 points pertain to creativity and sound scientific thought, a large part of your score depends on the original excellence of your science project. The remaining 40 points apply to the manner in which you develop your exhibit of that project.

Judges study criteria and point values before evaluating exhibits. Although your exhibit should speak for itself, at many fairs the judges chat with each exhibitor to determine how well he understands his project area. Be prepared to present details concisely and clearly, but avoid lengthy explanations unless asked.

Designing Your Exhibit

After you have finished your project, documented your work in a project report, planned and listed what must go into the exhibit, and familiarized yourself with the ground rules under which you will compete, you are ready to design your exhibit. The sections which follow suggest guidelines and construction hints on exhibit structure; ways of presenting information (text, photographs, transparencies, line drawings, captions, models, specimens, laboratory equipment, etc.); layout and location of exhibit items, exhibit materials, color, and lighting.

STRUCTURE

_Size._ National Science Fair-International rules limit exhibit size to 48 inches wide and 30 inches deep. The structure may rest on the floor, on its own supports, or on a table (normally about 30 inches high) supplied by the fair. Even if local rules permit more space, you may find it desirable to build to NSFI rules so your structure will be eligible at all fairs.

The overall height of your exhibit is limited by practical considerations to about 7 feet, since the passing viewer’s eye encompasses most easily the area between 30 and 90 inches above the floor and the view of someone standing near is even more limited. Tabletop structures 48 inches or less in height work out nicely, and can conserve materials.

_Shape._ With few exceptions, science fair exhibitors can explain their projects adequately within structures similar to those shown in Figures 1 and 2. Such tabletop “booth” exhibits have these common features: (a) a large back wall which can be used for the introductory message, for featured illustrations or specimens, or for important conclusions; (b) two smaller side walls, angled outward for easier viewing, which can contain supplementary text and illustrations; and (c) horizontal display space at table height to hold specimens, apparatus, project notebook and project report, handout brochures, etc. Some exhibitors fit this space with a slanted- or stepped-shelf unit. If the back and side walls are fastened to such a base the structure is stronger.

Many variations are possible. Very tall objects might be handled by the self-supporting structure shown in Figure 2. Some exhibitors extend back and side walls to the floor, but this requires more panel material and tempts the exhibitor to mount text and illustrations below the level of easy viewing.

The title board can be functional as well as attractive, as in Figure 1. It puts your main title where it can be seen easily and it conserves wall space. It can brace the side walls and serve to shield lights.

_Materials._ Attractive exhibit structures can be built from artboard and similar paper products, so for one-time-only elementary school exhibits you may not wish to invest in more permanent materials. But if you look forward to other projects, exhibits, and fairs, you will be wise to consider materials which will hold up in repeated use. Even though most fairs do not permit you to compete in successive years with the same exhibit material, seldom do they require you to build a new structure each year to hold your changing displays.

“Masonite” and similar wood-fiber particle boards are relatively inexpensive, take paint and adhesives well, are fairly light, and in thicknesses of more than ⅛ inch and lengths of less than 48 inches are sufficiently rigid when supported by adjoining panels. They are available with rows of holes pre-drilled to accommodate a multiplicity of “pegboard” hanger devices. If you hope to use your basic structure for other exhibits, pegboard allows you flexibility in rearranging three-dimensional exhibit items. Also, the holes facilitate wiring down display items that might be dislodged by careless viewers or filched by thoughtless souvenir hunters.

One standard 4-by-8 foot sheet of hardboard or plywood will suffice for the typical tabletop structure if you divide it as shown in Figure 3.

Plywood and untempered hardboard should be sealed with a primer coat before finish painting. If you seal the reverse side of the panels also, they warp less. For finish coats, the enamel now available in aerosol spray cans will save you some brush work. Always apply spray paints in several light coats while the surface is horizontal, to avoid unsightly “runs”.

For bracing, framing, and other woodwork, white pine is strong, light, easy to work, and unlikely to warp if seasoned properly.

Hinges, washers, bolts, nails, or screws which will be painted may be of uncoated steel. Otherwise, you may find brass, stainless steel, aluminum, or chrome-plated steel better.

If your exhibit proves to be a winner, you may need to erect and dismantle it at several fairs. A little ingenuity and foresight in the selection of removable-pin hinges, wing-nut bolt assemblies, and the like, may save a lot of time later and help keep your exhibit structure in good condition.

CUTTING 4′ × 8′ PLYWOOD OR HARD BOARD FOR MAXIMUM ECONOMY BACK WALL PANEL 34″ × 48″ TITLE BOARD OR “HEADER” 6″ SIDE WALL PANELS (2 ea.) 28″ × 48″ OVERHEAD PLAN OF TYPICAL SCIENCE FAIR EXHIBIT STRUCTURE BACK WALL PANEL SIDE WALL PANEL SIDE WALL PANEL BASE UNIT 30″ (allowable) LIGHT BEHIND HEADER 48″ (allowable) SIDE PLAN OF SAME STRUCTURE CONCEALED LIGHT HEADER BACK PANEL SIDE PANELS ELECTRICAL OUTLET BOX BASE UNIT TABLE

_Lighting and Wiring._ Fluorescent lighting is bulky and hard to conceal in the average science fair exhibit. Incandescent showcase lamps work well, take up less space, and are less expensive. If you need shielded light, consider inexpensive clip-on bed lamps.

Most fairs have rigid rules on electrical wiring and you should study them and those of the National Science Fair-International. If you will install a fused entry-outlet box on your back wall or base unit, as shown in Figure 3, you can run all fixture cords to that one location. Most fairs provide power cords reaching to the exhibitor’s electrical inlet, but don’t depend on it. Procure 25 to 50 feet of heavy-duty extension cord and keep it handy, just in case.

PRESENTING INFORMATION

After determining the shape and size of your structure, you can decide how best to present the information needed to explain your project. Some exhibitors prefer to build their structure first, so that they may try out different arrangements of illustrations and three-dimensional items on the finished display space. Or, you can measure off your back wall, side walls, and interior base areas, and then “try out” the size and placement of your display items on matching-size sheets of tracing paper.

There are many good ways to present the same information. Exhibit design is an art with some established principles but with few fixed rules. Here are some guidelines which may help you.

_Preliminary Sketches._ Make sketches of all possible layout ideas and study each for clarity of content and visual effect.

_Text._ Keep all text to a minimum number of words. Viewers come to see an exhibit, not to read it! A good illustration, specimen, or a graphic representation (see Figure 4) can save many words. Where text is needed, letter it clearly and large enough for easy reading. But avoid unnecessarily large or garish lettering—titles and text should only explain your exhibit, never dominate it!

_Text Placement._ Some exhibitors place captions uniformly over or under all illustrations, but text blocks placed at the side may communicate as clearly, and help prevent visual monotony (see Figure 5).

_Points of Emphasis._ If you use a series of illustrations or specimens to tell a running story, consider enlarging or featuring one of the most significant items so it can serve as the focal point of the series, as in Figure 5.

_Large Photos._ Unless your photographs can be viewed in detail without stooping and squinting, either have them enlarged or discard them.

_Color Photos._ Color photos are expensive, but just one or two will add interest to a large group of black-and-white prints.

_Charts and Graphs._ If your exhibit contains charts and graphs, keep them simple. Avoid line charts if several curves must cross and recross. Logarithmic charts, scatter diagrams, and similar ratio charts are confusing to the average viewer. Caption and explain charts and graphs adequately. Simple pie, bar, and representational charts, as shown in Figure 6, can be particularly meaningful. Often the use of colors will make the various factors more discernible.

_White Space._ Next to content, the exhibitor’s most valuable tool is “white space”—those unoccupied areas of his display panels. Crowded, busy panels on which materials and text fill every inch of space are a hallmark of the amateur. Worse, they defeat their purpose, for viewers usually take one hurried glance, decide that understanding so cluttered an exhibit would be a chore, and move on to simpler displays. (As a rule of thumb, approximately 40% of your available display space should be occupied by absolutely nothing!)

_Organization._ Just as you organize words into sentences and paragraphs, your exhibit elements (textual and visual) should be organized into groups and subgroups. (See Figures 1 and 2.) Here again the “feature” technique may be employed. For example, if you are displaying several similar specimens you may emphasize the most unusual one by placing it on a raised or differently-colored background as shown in Figure 7.

_Apparatus._ Amateur exhibitors sometimes get carried away with enthusiasm for large arrays of mechanical apparatus which are both unnecessary and confusing. If your project involved development of a unique piece of equipment, consider whether you can display it alone, without the entire assembly into which it fits. Sometimes this can be done by displaying the featured part alongside a drawing or photograph of the complete assembly, as in Figure 4. Again, keep details to a minimum; leave them in the project report.

_Mechanical movement._ Usually motion in a science fair exhibit is called for only when there is a clear need for it. Thus it is logical to use a turntable to revolve different fluorescing mineral specimens under “black light”, or to present successive radioactive ore specimens to a Geiger-counter probe. But to use such a turntable to present a series of photographs would probably be unnecessarily contrived. Usually you may spend your efforts better on sound content, clean design, and clear text than on mechanical gimmicks.

_Pushbuttons and Such._ Few audience-participation devices in science fair exhibits merit the effort, money, and space expended on them. But if you do display equipment for viewers to operate, make certain it can be operated safely and dependably even when you are absent (as during the judging). Nothing frustrates an exhibit viewer more than a pushbutton that doesn’t work!

_Demonstrations._ These can be informative and interesting, and you may want to include one. But since you cannot be on hand to demonstrate at all times, design your exhibit to “stand alone” without the demonstration. And when you are absent, you may avoid unsatisfied viewer curiosity either by removing the idle demonstration equipment, or by posting a “Next demonstration at ____ o’clock” sign.

_Living Things._ Plants or animals which have been employed in the science project can often be displayed to lend interest and meaning to the exhibit. But since the science fair follows the project, interim growth and aging may alter living specimens so that at fair time they are considerably less meaningful or attractive than at the peak of your project. Also, if you compete in several fairs, you may find transportation and special care of your living specimens difficult and onerous. If you do plan to exhibit living specimens, familiarize yourself with local and national fair regulations governing their use, make sure that animals can be housed attractively and comfortably, and protect both animals and plants from inquisitive fingers. Then be selective and employ the minimum needed to make your point in the exhibit.

About Color

Properly employed, color is functional as well as aesthetically pleasing. You may find the following suggestions helpful in deciding which colors to employ in your exhibit, and where.

In a space as small as your science fair exhibit, one or two basic colors, plus black and white, should suffice. Use your color in a few large blocks, not in many small patches. Different basic colors can be used to define different main areas of emphasis; then different shades of the basic colors can be used to define subareas.

Life-science project exhibits can rely most safely on pastel shades running heavily to greens and yellows, while physical-science projects are portrayed frequently against more intense colors. In either case, avoid violent contrasts and “paintpot” variety. Your exhibit should convey an air of handsome restraint, not flippant prettiness or carnival gaudiness. Your colors should attract and enhance, not shock or confuse!

A STEP-BY-STEP ACOUNT OF HOW I MOUNT MY BUGS CATCHING BUGS MOUNTING BUGS SCIZZORS TWEEZERS PIN COTTON NET CHLOROFORM SOME OF MY BUGS

Where desired, visibility and impact of illustrations and specimens can be increased by mounting them against contrasting background colors. Avoid the amateurish impulse to always tape or paint a border around illustrations, specimens, and blocks of type. Placed properly against a contrasting background, these provide their own best border.

The final test of color is how it looks in actual use, so experiment with your color schemes before making a final choice. And if you have any doubts, invite the reactions of your family and friends and also the advice of your art teacher.

Completing Your Exhibit

Before mounting your exhibit elements on the structure permanently, lay them out temporarily. (You will probably want to move them around several times to get the best position.) You can then pencil in your title, text, and caption blocks in actual size. Use separate sheets of paper for each, and try out various locations around the materials they explain.

Use of too many letter styles will detract from the attractiveness of your exhibit. Headings can be all in capital letters, and subheads in smaller “caps”, or in initial caps and “lower case” letters. Statements and other text should use caps and lower case. Do not use all caps for a paragraph of descriptive material—a mass of capitals is harder to read.

Before completing the lettering, you should try out your layout and text on classmates, family, and perhaps your English teacher. Science fair exhibits should be understandable to intelligent laymen as well as to trained specialists. Technical jargon, pompous adjectives, and stilted sentence structure are not scientific. In scientific writing, as in any good writing, the simple, direct approach is usually best. Try to use short sentences, familiar words, and a minimum of technical terms and formulae.

Are your present photographs too small? You can experiment with desirable sizes of photos by clipping from old magazines any illustrations that appear about the right size, and trying them on your layout. You can then have your photos enlarged to the ideal sizes that you find most pleasing. Matte-finish photo prints are preferable since glossy prints produce “glare”. Before mounting photographs, trim off the white border, which detracts from the impact of your pictures and the simple unity of your exhibit.

When fully satisfied with your layout, begin the final lettering of your text. For hand-lettering, sketch with a soft pencil first, using a ruler and eraser freely. A lettering guide, borrowed from your school’s graphic arts department, will prove very helpful. Unless you are experienced you can save yourself trouble by not lettering directly upon the background. Instead, letter each copy block on a separate piece of art paper which can be glued into position later. Have a friend or teacher double-check your lettering for typographical errors.

With illustrations and copy blocks complete and trimmed to size, you are ready to start mounting. For paper products use “rubber cement”, obtainable at stationery stores. Coat both surfaces completely, but do not press them together until each is dry. To avoid air bubbles, first separate the coated surfaces with a “slip sheet” of waxed paper or aluminum foil, which can be slipped out when the materials are positioned exactly. Then press into place with a soft cloth or rubber roller. (Excess cement will rub off when dry, without damage.) Also consider using double-coated adhesive tape for mounting. It is obtainable at art-supply stores.