Developing Interpretation for Trails
By Jim Kimmel, Ph.D.
Dept. of Geography
Texas State University
San Marcos, Texas
Trails are important venues for self-directed interpretation. Trails take many forms - walking, wheelchair, biking, skiing,
swimming, boating, and auto. Here are some tips on the interpretive design of trails, not their physical design.
1. The trail should be designed for interpretation. The trail should connect points of interest.
2. Interpretive trails must be accessible (conveniently located for most of the visitors). Accessibility for handicapped people is important. The federal Rehabilitation Act and Americans with Disabilities Act (ADA) specify requirements for handicap accessibility.
Contact:
The Access Board
1331 F Street, NW, Suite 1000
Washington, DC 20004-1111
(202) 272-5434 (v) - (202) 272-5449 (tty) - (202) 272-5447 (fax)
(800) 872-2253 (v) - (800) 993-2822 (tty)
website: http://www.access-board.gov/
email: info@access-board.gov
3. A trail intended to introduce visitors to an area should be one-half mile to one mile long and should take about 30 minutes to complete. These trails are not hiking trails.
4. Stops on the trail should be clearly marked. They should be interpreted with on-site signs or keyed to a trail guide brochure. Stops should be out of sight of each if possible (difficult in the desert). On a half-mile trail there should be a maximum of about fifteen stops. Most stops should be in the first half of the trail.
5. Three trail forms: Loop - one-way traffic, returning to start point.
Figure-eight - offers the option to return at the intersection. Offers an interpretive alternative on the second loop.
Linear - two-way traffic makes the trail seem more crowded and reduces the interpretive effectiveness of the return trip.
Linear trails may be necessary in some settings, or the trail may have been designed for some purpose other than interpretation.
6. Mark the trail clearly and appropriately. Use small arrow signs or other markers.
7. Use thematic interpretation. The trail should have a theme and each stop should relate to that theme. The introduction, body, and conclusion carry out the theme.
Introduction - generates interest, introduces the theme of the trail, and provides information about the trail - length and
difficulty.
Body - stops develop the theme with specific information.
Conclusion - reinforces the theme. Provides orientation if necessary.
The introduction and conclusion can be signs or sections of the trail brochure.
Checklist for an Effective Thematic Stop
Has a theme-title (not just a topic title)
Focuses immediately on an observable feature (s) of interest
Explains the feature quickly and interestingly
Connects the stop's theme to the overall theme of the trail
Contains fewer than sixty words
Has short sentences (less than twenty words each)
Uses simple, active verbs whenever possible
Contains no unfamiliar language or technical terms
Encourages audience involvement if possible (by asking questions or suggesting visitors do something or look for something)
Uses visuals to explain and illustrate the message
(Ham 1992, p. 324)
Sources and References
Ham, Sam, 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, Douglas, Ted Cable, and Larry Beck. 1995. Interpretation of Cultural and Natural Resources. State College,
Pennsylvania: Venture Publishing, Inc.
Trapp, Suzanne, Michael Gross, and Ron Zimmerman. 1994. Signs, Trails, and Wayside Exhibits. 2nd Edition. Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
Showing posts with label stories. Show all posts
Showing posts with label stories. Show all posts
Wednesday, August 5, 2009
Developing Self-directed Interpretive Experiences
Developing Self-directed Interpretive Experiences
By Jim Kimmel, Ph.D.
Dept. of Geography
Texas State University
San Marcos, Texas
The US Forest Service uses the following types of "nonpersonal" interpretation, meaning that staff members are not involved directly in personal communication with visitors:
After-hours displays
Campground bulletin boards
Exhibits
Displays
Wayside exhibits
Interpretive signs
Unstaffed information stations
Kiosk
Publications Free material
Sales Material
Newspaper guide
Brochures
Map tear sheet
Recreation opportunity guide
Self-guided trails
Auto tours
Radio Transmission
Relief Model
Interactive video
Most self-directed interpretation uses a printed document. The effectiveness of documents depends on the quality of their design, writing, and production.
Design for the audience
What are the audience's characteristics, what use will they make of the materials, and in what conditions?
Writing
Be brief and to the point. Focus on one idea per text unit. Text units should not exceed fifty words. Use subheadings to break the text into sections and to guide the reader. Use active verbs. Do not use jargon, but you should introduce and define new useful terms when appropriate.
Principles of design
1. Balance
Illustrations and text blocks are the "elements" of a document. Each element has visual weight. Large photos, color,
placement close to page edge are "heavy." Weight should be balanced on the page and opposing pages should be balanced. Use a grid as a framework to determine balance.
2. Sequence
Readers usually start at upper left corner and exit at lower right corner. Their eyes move from illustrations to type, large elements to small, color to non-color, and from unusual shapes to usual shapes. Use layout, lines, and the content of illustrations to move reader's eyes to the important parts of a document.
3. Contrast
Contrast calls attention to certain elements of the document and makes the document interesting. Use contrast in type sizes and styles, sizes of elements, colors, and shapes. However, don't over-do it - keep it simple.
4. Simplicity
Clutter confuses and frustrates the reader. Use abundant white space. Use simple illustrations and headings. Readers look for reasons not to read something. Make your documents quick and easy to read.
5. Proportion
Use a 3 to 5 or 3 to 4 proportion (8.5 x 11 in. paper is 3 to 4 proportion). Squares are not as interesting. Use divisions of thirds, fifths, and sevenths.
6. Unity
Elements must complement each other. Ways to achieve unity include: consistent typeface and colors. Paper, ink, and illustrations should be compatible.
Tips on design
Typefaces, styles, and sizes
Serif and sans serif
Serif is easier to read.
Sans serif is good for headings.
Times New Roman is compatible with most printers.
Consistency of typeface
Don't use more than two typeface. If you use two, chose ones that provide strong contrast.
Bold and italic
Use for emphasis, but keep it simple. Underline now usually indicates an Internet connection.
Size varies with the font
Graphic designers claim that 8 point, 9 point, or 10 point are readable and look most "professional." However, keep in mind that many interpretive publications will be read quickly, while walking on a trail or riding in a vehicle. The light may be dim, and many of the visitors have poor eyesight. Twelve point or fourteen point may the better choices for many publications. Visitors often choose large type, even up to eighteen point.
Line length
Avoid line lengths more than 65 characters. Columns can be difficult with most word processing programs, especially in conjunction with graphics. You can use text boxes. Publishing software such as Microsoft Publisher™ and Adobe PageMaker™ facilitate layout with complex text and graphics placement.
Color
Color is attractive and improves retention. Cool colors (blues) are soothing and imply formality. Warm colors (reds and
yellows) are stimulating and convey informality. Green and red-purple are neutral. Red often implies a warning and is a
passionate color. Greens and browns imply "nature." Be sure that there is strong contrast between ink color and the paper or background. Full (four-color) printing is expensive. One color printing is the least expensive. You can give an impression of more colors by using colored paper and a single color of ink (dark blue, brown, or green), plus half-tones.
Illustrations
Illustrations are eye-catching and convey large amounts of information quickly. But they must be high quality and appropriate for the audience and purposes of the document.
Line art
Line art does not have shades of gray. Easier and less expensive to reproduce than continuous tone art. Includes pen and ink drawings, wood prints, and engravings.
Continuous tone art
Contains shades of gray or color. Photographs, paintings, and charcoal/pencil drawings. More expensive to reproduce for conventional printing methods because it requires creation of halftones. Can be scanned and reproduced digitally (with mixed results).
Sources of illustrations
Learn to sketch! Learn photography. Otherwise, use clip art, photo stock houses, and illustration archives such as the Texas Department of Transportation. Always give credit for illustrations.
Paper
Paper types Bond paper - inexpensive, may bleed through when printed on both sides. Most common weight is 20 lb. Offset paper - better for double-sided printing. Use 50 lb. weight for newsletters, 70 lb. for brochures. Cover paper - Use for document covers and post cards. 80 lb. weight is most common.
Paper finishes
Smooth coated (clay) surfaces reproduce greater detail, but are more expensive. Rougher textures are good for less detail. Paper finish conveys a message - slick and glossy vs. warm and informal.
Camera ready copy
Unless you use digital printing (see below), you must have "camera-ready" copy that looks exactly how your finished document should look. Most "lay-out" today is done with computers. However, you may have illustrations that are not in digital form.
These are pasted onto the camera-ready copy. Be sure the edges are thoroughly stuck; otherwise a line will show. You can use tape, but it may show a line and it will obscure anything it covers.
Printing
Offset (photo offset), photocopying, and digital printing are the most common methods to produce interpretive materials.
Offset printing requires production of photographic plates. This cost is justified if a large number of the document will be printed and if multiple colors will be used. Photocopying is fast and relatively inexpensive for small quantities (less than 100) using black print. You can use colored paper to make the document more eye-catching. Full-color photocopying is expensive and not comparable to off-set print quality. Single color is available, but more expensive than black. Digital printing is fast and inexpensive for black printing. Digital printers read your file and print directly from it, without using a camera-ready. This means that all of your document must be digital.
Sources and References
Ham, Sam, 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, Douglas, Ted Cable, and Larry Beck. 1995. Interpretation of Cultural and Natural Resources. State College,
Pennsylvania: Venture Publishing, Inc.
Zehr, Jeffrey, Michael Gross, and Ron Zimmerman, 1991. Creating Environmental Publications: A Guide to Writing and Designing for Interpreters and Environmental Educators. Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
By Jim Kimmel, Ph.D.
Dept. of Geography
Texas State University
San Marcos, Texas
The US Forest Service uses the following types of "nonpersonal" interpretation, meaning that staff members are not involved directly in personal communication with visitors:
After-hours displays
Campground bulletin boards
Exhibits
Displays
Wayside exhibits
Interpretive signs
Unstaffed information stations
Kiosk
Publications Free material
Sales Material
Newspaper guide
Brochures
Map tear sheet
Recreation opportunity guide
Self-guided trails
Auto tours
Radio Transmission
Relief Model
Interactive video
Most self-directed interpretation uses a printed document. The effectiveness of documents depends on the quality of their design, writing, and production.
Design for the audience
What are the audience's characteristics, what use will they make of the materials, and in what conditions?
Writing
Be brief and to the point. Focus on one idea per text unit. Text units should not exceed fifty words. Use subheadings to break the text into sections and to guide the reader. Use active verbs. Do not use jargon, but you should introduce and define new useful terms when appropriate.
Principles of design
1. Balance
Illustrations and text blocks are the "elements" of a document. Each element has visual weight. Large photos, color,
placement close to page edge are "heavy." Weight should be balanced on the page and opposing pages should be balanced. Use a grid as a framework to determine balance.
2. Sequence
Readers usually start at upper left corner and exit at lower right corner. Their eyes move from illustrations to type, large elements to small, color to non-color, and from unusual shapes to usual shapes. Use layout, lines, and the content of illustrations to move reader's eyes to the important parts of a document.
3. Contrast
Contrast calls attention to certain elements of the document and makes the document interesting. Use contrast in type sizes and styles, sizes of elements, colors, and shapes. However, don't over-do it - keep it simple.
4. Simplicity
Clutter confuses and frustrates the reader. Use abundant white space. Use simple illustrations and headings. Readers look for reasons not to read something. Make your documents quick and easy to read.
5. Proportion
Use a 3 to 5 or 3 to 4 proportion (8.5 x 11 in. paper is 3 to 4 proportion). Squares are not as interesting. Use divisions of thirds, fifths, and sevenths.
6. Unity
Elements must complement each other. Ways to achieve unity include: consistent typeface and colors. Paper, ink, and illustrations should be compatible.
Tips on design
Typefaces, styles, and sizes
Serif and sans serif
Serif is easier to read.
Sans serif is good for headings.
Times New Roman is compatible with most printers.
Consistency of typeface
Don't use more than two typeface. If you use two, chose ones that provide strong contrast.
Bold and italic
Use for emphasis, but keep it simple. Underline now usually indicates an Internet connection.
Size varies with the font
Graphic designers claim that 8 point, 9 point, or 10 point are readable and look most "professional." However, keep in mind that many interpretive publications will be read quickly, while walking on a trail or riding in a vehicle. The light may be dim, and many of the visitors have poor eyesight. Twelve point or fourteen point may the better choices for many publications. Visitors often choose large type, even up to eighteen point.
Line length
Avoid line lengths more than 65 characters. Columns can be difficult with most word processing programs, especially in conjunction with graphics. You can use text boxes. Publishing software such as Microsoft Publisher™ and Adobe PageMaker™ facilitate layout with complex text and graphics placement.
Color
Color is attractive and improves retention. Cool colors (blues) are soothing and imply formality. Warm colors (reds and
yellows) are stimulating and convey informality. Green and red-purple are neutral. Red often implies a warning and is a
passionate color. Greens and browns imply "nature." Be sure that there is strong contrast between ink color and the paper or background. Full (four-color) printing is expensive. One color printing is the least expensive. You can give an impression of more colors by using colored paper and a single color of ink (dark blue, brown, or green), plus half-tones.
Illustrations
Illustrations are eye-catching and convey large amounts of information quickly. But they must be high quality and appropriate for the audience and purposes of the document.
Line art
Line art does not have shades of gray. Easier and less expensive to reproduce than continuous tone art. Includes pen and ink drawings, wood prints, and engravings.
Continuous tone art
Contains shades of gray or color. Photographs, paintings, and charcoal/pencil drawings. More expensive to reproduce for conventional printing methods because it requires creation of halftones. Can be scanned and reproduced digitally (with mixed results).
Sources of illustrations
Learn to sketch! Learn photography. Otherwise, use clip art, photo stock houses, and illustration archives such as the Texas Department of Transportation. Always give credit for illustrations.
Paper
Paper types Bond paper - inexpensive, may bleed through when printed on both sides. Most common weight is 20 lb. Offset paper - better for double-sided printing. Use 50 lb. weight for newsletters, 70 lb. for brochures. Cover paper - Use for document covers and post cards. 80 lb. weight is most common.
Paper finishes
Smooth coated (clay) surfaces reproduce greater detail, but are more expensive. Rougher textures are good for less detail. Paper finish conveys a message - slick and glossy vs. warm and informal.
Camera ready copy
Unless you use digital printing (see below), you must have "camera-ready" copy that looks exactly how your finished document should look. Most "lay-out" today is done with computers. However, you may have illustrations that are not in digital form.
These are pasted onto the camera-ready copy. Be sure the edges are thoroughly stuck; otherwise a line will show. You can use tape, but it may show a line and it will obscure anything it covers.
Printing
Offset (photo offset), photocopying, and digital printing are the most common methods to produce interpretive materials.
Offset printing requires production of photographic plates. This cost is justified if a large number of the document will be printed and if multiple colors will be used. Photocopying is fast and relatively inexpensive for small quantities (less than 100) using black print. You can use colored paper to make the document more eye-catching. Full-color photocopying is expensive and not comparable to off-set print quality. Single color is available, but more expensive than black. Digital printing is fast and inexpensive for black printing. Digital printers read your file and print directly from it, without using a camera-ready. This means that all of your document must be digital.
Sources and References
Ham, Sam, 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, Douglas, Ted Cable, and Larry Beck. 1995. Interpretation of Cultural and Natural Resources. State College,
Pennsylvania: Venture Publishing, Inc.
Zehr, Jeffrey, Michael Gross, and Ron Zimmerman, 1991. Creating Environmental Publications: A Guide to Writing and Designing for Interpreters and Environmental Educators. Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
Developing Guided Interpretive Experiences
Developing Guided Interpretive Experiences
By Jim Kimmel, Ph.D.
Dept. of Geography
Texas State University
San Marcos, Texas
1. Develop interpretive programs based on themes identified in the interpretive planning process.
2. Organize Your Presentation
A. Grabber - say or do something provocative or evocative to grab the audience's attention. Surprise, challenge, or sing a song, - whatever it takes without being silly or contrived.
B. Bridge - link your grabber to the body of the presentation. If you sing a song about the San Marcos River as your grabber, relate that to the problems of maintaining Texas wild rice.
C. Body of the presentation - the theme is the framework. State your theme clearly and fill it in with facts that are relevant to the audience's interests. The facts must all serve to develop the theme. People will forget the specific facts, but will remember the theme if it is developed properly. Don't use more than seven points - five or less is better. Use sensory aids - things people can see, hear, touch, smell, and taste. Get the audience to do something - lie down at the base of at tree and look up, close their eyes and describe a rock by touch, etc. Use active verbs to create mental images.
D. Conclusion - repeat the theme and summarize how you have developed the theme.
3. Size Up Your Audience.
Ages
Genders
Ask them the following:
Origin
Previous experience with the place
Why they are here
4. Tailor Your Presentation to the Audience.
o incorporate their interests
o relate to their places of origin
o relate to their experiences
5. Do's and Don'ts.
Do
o be enthusiastic
o use the senses - sight, sound, smell, touch, taste
o use appropriate humor (best if spontaneous)
o give them new ideas and knowledge in an understandable way
Don't
o lecture
o use inappropriate technical terms or information
o talk too much
6. Slides Can Liven Up a Presentation
Technology Slide talks are very effective. They provide rich information and hold the audience's attention. We are now in a technology gap. Slides (35mm) are the old technology and digital images are the new. Each has pro's and con's. Slides provide sharp images and deep colors. They are somewhat awkward to use in multiple presentations. They do deteriorate over time.
Projection technology is dependable. Duplication, titling, modifying are possible, but can be expensive and time-consuming.
Digital images, using current projection technology, are not as sharp as slides. However, they are very easy to duplicate, title, and modify and put into professional presentations. Projection technology is expensive and not as sharp as slides. I now use both technologies for images that I think are important.
7. How to Create a Slide Talk.
A. Select a topic that is highly visual (most are), and for which you have slides or can reasonably get them.
B. Develop the theme.
C. Review your slides and select images that support your theme.
D. Group the slides into sub-themes.
E. Arrange the sub-themes to provide the best flow for the body of the presentation.
F. Arrange slides within sub-themes to provide the best flow. Eliminate slides that are superfluous or low quality.
G. Get new images if necessary.
H. View all slides in sequence and rearrange if flow is not exciting and informative.
I. Estimate total time, figuring 15 seconds per slide. Presentations should not be more than 45 minutes. Orientation-type presentations should be 5 to 15 minutes.
J. Eliminate slides if the presentation is too long.
K. Write storyboard cards for each slide, listing the points for narration. Remember the 15 sec. limit per slide!
L. Practice and evaluate. Revise as necessary.
M. Practice, practice, practice.
8. How to Present a Slide Talk.
A. Stand to the side so you can see the slides out of the corner of your eye. They are your que's for the narrative. However, give your primary attention to the audience. Do not talk to the screen!
B. Your narrative should not describe the slide ("These are windmills."). You should explain the meaning and importance of the image ("Windmills are necessary to pump water for stock in remote areas where electricity is not available, but some ranchers are now replacing them with solar collectors.").
C. Make smooth transitions between slides, introducing a slide before it appears.
D. Vary your tone, inflection, and tempo to provide liveliness to the presentation. The audience cannot see you well, so gestures are not useful.
E. Never show a white screen. If you need to have a pause in the slides to explain something without an image, use a blank (black) slide.
F. Never apologize for your images. If an image is not good, don't use it!
G. Be sure you have a spare bulb.
H. Check everything before the talk starts. Be sure all slides are in properly (upside down and backwards). Check all
electrical connections. Be sure the plug is hot when the lights are out. Be sure the screen is in the right place and the
projected is situated properly and focused.
9. Field Techniques.
A. Be the host Arrive at the meeting place at least 15 minutes early. Spend the time talking to the people as they gather.
Find out all you can about them. Provide a warm, friendly, positive welcome. Be clear and specific about the length of the field trip, any possible physical challenges, breaks, potty stops, safety and behavioral issues, and what the visitor should have with them - water, sun block, binoculars, etc.
B. Conduct the trip in a manner appropriate for the group. Pacing, rest stops, selection of topics - all must be tailored for the group.
C. Interpret the place Help the visitor understand the full story of the place. Some field trips may be narrowly focused
(butterflies), but most should help the visitor understand how the place "works." Include biophysical and cultural factors.
Help the place tell its story. Use what the visitor can see, hear, smell, and feel to tell the story. Don't just tell them
the names of things, help them understand what those things do. Be flexible. Seize on opportunities as they come along.
D. Involve the participants Relate the place to their interests. Ask them what they think about things. When they ask a question, help them discover the answer, rather than simply telling them.
E. Know where to stop All nature trails are planned to include specific stops. Use these in your interpretation. If you are leading a road trip, plan your stops.
F. Develop strategies for large groups If possible, set a maximum number for the trip and stick to it. However, that maximum may be large (30 or more). Speak so everyone can hear. Arrange the group into a circle at stops or find a particularly visible place for yourself. Divide the group if necessary. Give one half of the group a task while you talk to the other half. Wear a distinctive hat so you are recognizable (required if in the National Park Service).
G. Handle obnoxious people Fortunately, most nature and heritage visitors are nice people. However, some may be "know-it-alls." Respond positively to these people, and incorporate what they have to say into the interpretation. Often they do know a lot. Never contradict them, even if they are clearly wrong - many of them are looking for an argument. Instead, positively turn what they say into the springboard to provide an alternative view. Never get pulled into an altercation with a visitor.
If they become abusive, smile and apologize. The trip will be over before too long, and this fine person will go home, never to be seen again.
Sources and References
Ham, S., 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, D., T. Cable, and L. Beck. 1995. Interpretation of Cultural and Natural Resources. State College, Pennsylvania: Venture Publishing, Inc.
Regnier, K., M. Gross, and R. Zimmerman, 1992. The Interpreter's Guidebook: Techniques for Programs and Presentations.
Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
By Jim Kimmel, Ph.D.
Dept. of Geography
Texas State University
San Marcos, Texas
1. Develop interpretive programs based on themes identified in the interpretive planning process.
2. Organize Your Presentation
A. Grabber - say or do something provocative or evocative to grab the audience's attention. Surprise, challenge, or sing a song, - whatever it takes without being silly or contrived.
B. Bridge - link your grabber to the body of the presentation. If you sing a song about the San Marcos River as your grabber, relate that to the problems of maintaining Texas wild rice.
C. Body of the presentation - the theme is the framework. State your theme clearly and fill it in with facts that are relevant to the audience's interests. The facts must all serve to develop the theme. People will forget the specific facts, but will remember the theme if it is developed properly. Don't use more than seven points - five or less is better. Use sensory aids - things people can see, hear, touch, smell, and taste. Get the audience to do something - lie down at the base of at tree and look up, close their eyes and describe a rock by touch, etc. Use active verbs to create mental images.
D. Conclusion - repeat the theme and summarize how you have developed the theme.
3. Size Up Your Audience.
Ages
Genders
Ask them the following:
Origin
Previous experience with the place
Why they are here
4. Tailor Your Presentation to the Audience.
o incorporate their interests
o relate to their places of origin
o relate to their experiences
5. Do's and Don'ts.
Do
o be enthusiastic
o use the senses - sight, sound, smell, touch, taste
o use appropriate humor (best if spontaneous)
o give them new ideas and knowledge in an understandable way
Don't
o lecture
o use inappropriate technical terms or information
o talk too much
6. Slides Can Liven Up a Presentation
Technology Slide talks are very effective. They provide rich information and hold the audience's attention. We are now in a technology gap. Slides (35mm) are the old technology and digital images are the new. Each has pro's and con's. Slides provide sharp images and deep colors. They are somewhat awkward to use in multiple presentations. They do deteriorate over time.
Projection technology is dependable. Duplication, titling, modifying are possible, but can be expensive and time-consuming.
Digital images, using current projection technology, are not as sharp as slides. However, they are very easy to duplicate, title, and modify and put into professional presentations. Projection technology is expensive and not as sharp as slides. I now use both technologies for images that I think are important.
7. How to Create a Slide Talk.
A. Select a topic that is highly visual (most are), and for which you have slides or can reasonably get them.
B. Develop the theme.
C. Review your slides and select images that support your theme.
D. Group the slides into sub-themes.
E. Arrange the sub-themes to provide the best flow for the body of the presentation.
F. Arrange slides within sub-themes to provide the best flow. Eliminate slides that are superfluous or low quality.
G. Get new images if necessary.
H. View all slides in sequence and rearrange if flow is not exciting and informative.
I. Estimate total time, figuring 15 seconds per slide. Presentations should not be more than 45 minutes. Orientation-type presentations should be 5 to 15 minutes.
J. Eliminate slides if the presentation is too long.
K. Write storyboard cards for each slide, listing the points for narration. Remember the 15 sec. limit per slide!
L. Practice and evaluate. Revise as necessary.
M. Practice, practice, practice.
8. How to Present a Slide Talk.
A. Stand to the side so you can see the slides out of the corner of your eye. They are your que's for the narrative. However, give your primary attention to the audience. Do not talk to the screen!
B. Your narrative should not describe the slide ("These are windmills."). You should explain the meaning and importance of the image ("Windmills are necessary to pump water for stock in remote areas where electricity is not available, but some ranchers are now replacing them with solar collectors.").
C. Make smooth transitions between slides, introducing a slide before it appears.
D. Vary your tone, inflection, and tempo to provide liveliness to the presentation. The audience cannot see you well, so gestures are not useful.
E. Never show a white screen. If you need to have a pause in the slides to explain something without an image, use a blank (black) slide.
F. Never apologize for your images. If an image is not good, don't use it!
G. Be sure you have a spare bulb.
H. Check everything before the talk starts. Be sure all slides are in properly (upside down and backwards). Check all
electrical connections. Be sure the plug is hot when the lights are out. Be sure the screen is in the right place and the
projected is situated properly and focused.
9. Field Techniques.
A. Be the host Arrive at the meeting place at least 15 minutes early. Spend the time talking to the people as they gather.
Find out all you can about them. Provide a warm, friendly, positive welcome. Be clear and specific about the length of the field trip, any possible physical challenges, breaks, potty stops, safety and behavioral issues, and what the visitor should have with them - water, sun block, binoculars, etc.
B. Conduct the trip in a manner appropriate for the group. Pacing, rest stops, selection of topics - all must be tailored for the group.
C. Interpret the place Help the visitor understand the full story of the place. Some field trips may be narrowly focused
(butterflies), but most should help the visitor understand how the place "works." Include biophysical and cultural factors.
Help the place tell its story. Use what the visitor can see, hear, smell, and feel to tell the story. Don't just tell them
the names of things, help them understand what those things do. Be flexible. Seize on opportunities as they come along.
D. Involve the participants Relate the place to their interests. Ask them what they think about things. When they ask a question, help them discover the answer, rather than simply telling them.
E. Know where to stop All nature trails are planned to include specific stops. Use these in your interpretation. If you are leading a road trip, plan your stops.
F. Develop strategies for large groups If possible, set a maximum number for the trip and stick to it. However, that maximum may be large (30 or more). Speak so everyone can hear. Arrange the group into a circle at stops or find a particularly visible place for yourself. Divide the group if necessary. Give one half of the group a task while you talk to the other half. Wear a distinctive hat so you are recognizable (required if in the National Park Service).
G. Handle obnoxious people Fortunately, most nature and heritage visitors are nice people. However, some may be "know-it-alls." Respond positively to these people, and incorporate what they have to say into the interpretation. Often they do know a lot. Never contradict them, even if they are clearly wrong - many of them are looking for an argument. Instead, positively turn what they say into the springboard to provide an alternative view. Never get pulled into an altercation with a visitor.
If they become abusive, smile and apologize. The trip will be over before too long, and this fine person will go home, never to be seen again.
Sources and References
Ham, S., 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, D., T. Cable, and L. Beck. 1995. Interpretation of Cultural and Natural Resources. State College, Pennsylvania: Venture Publishing, Inc.
Regnier, K., M. Gross, and R. Zimmerman, 1992. The Interpreter's Guidebook: Techniques for Programs and Presentations.
Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
Developing Interpretation
By: Dr. Jim Kimmel
Department of Geography
Texas State University
San Marcos, Texas
Dr. Kimmel has been an educator to increase awareness about the importance of interpretation for effectively developing nature and heritage tourism experiences.
Introduction
Most simply, interpretation tells true and compelling stories of places, people, and events. Here you'll be introduced to interpretation and the key elements to effective interpretation.
Interpretive Planning
Since interpretation is a fundamental function of nature and heritage tourism activities, it should be a major focus of planning and development from the outset. The interpretive program will determine the types of activities and facilities needed.
Developing Guided Interpretive Experiences
Develop interpretive programs based on themes identified in the interpretive planning process. Here is a consise overview of important factors to consider: organization of the presentation, audience issues, and suggestions about preparing an effective presentation.
Developing Self-guided Interpretive Experiences
Most self-directed interpretation uses a printed document. The effectiveness of documents depends on the quality of their design, writing, and production. Here are some practical, no nonsense guidelines to accomplish this.
Developing Interpretation for Trails
Trails are important venues for self-directed interpretation. Trails take many forms - walking, wheelchair, biking, skiing, swimming, boating, and auto. Here are some tips on the interpretive design of trails, not their physical design.
Definitions of interpretation:
National Park Service: Interpretation facilitates a connection between the interests of the visitor and the meanings of the resource.
National Association for Interpretation: Interpretation is a communication process that forges emotional and intellectual connections between the interests of the audience and the inherent meanings in the resource.
Most simply, interpretation tells true and compelling stories of places, people, and events.
Is interpretation educational? Yes!
Is interpretation similar to school? No, the audience is not captive - they do not have to be in your audience, and they will leave if you are boring!
Effective Interpretation
Interpretation must be pleasurable, relevant, organized, and thematic (Ham, S., 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press).
Pleasurable
People participate in nature and heritage tourism for pleasure. Certainly, this can involve learning, but it must be enjoyable.
Relevant
People are interested in things that they care about - themselves, their place, their peoples' history, their concerns, etc. Effective interpretation builds on these interests.
Organized
Most visitors do not want to work hard to get benefits from their visits. We must make it easy for them to understand and appreciate what we are trying to convey. This is best done by carefully organizing the interpretative programs so the visitor knows "where they are going."
Thematic
People respond to stories and concepts better than "just the facts." They remember general ideas and incorporate them into how they think and act. Thus, to effectively engage audiences, interpretation must have a clear story line.
Freeman Tilden's Principles of Interpretation (Tilden, Freeman. 1957 [1977]. Interpreting our Heritage. 3rd edition. Chapel Hill: The University of North Carolina Press.)
1. Relate what is being displayed or described to something within the personality or experience of the visitor.
2. Information, as such, is not interpretation. All agree that information is essential to good interpretation but it should not stop there.
3. Interpretation is an art, which combines many arts. Any art is to some degree teachable.
4. The chief aim of interpretation is not instruction, but provocation.
5. Interpretation should aim to present a whole rather than a part, and must address itself to the whole man rather than any phase.
6. Interpretation addressed to children should not be a dilution of the presentation to adults, but should follow a fundamentally different approach.
Sources and References
Ham, Sam, 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, Douglas, Ted Cable, and Larry Beck. 1995. Interpretation of Cultural and Natural Resources. State College, Pennsylvania: Venture Publishing, Inc.
National Association for Interpretation. Interpnet.com
Serrell, Beverly. 1996. Exhibit Labels: An Interpretive Approach. Walnut Creek, CA: AltaMira Press.
Strauss, Susan. 1996. The Passionate Fact: Storytelling in Natural History and Cultural Interpretation. Golden, CO: Fulcrum Publishing.
Tilden, Freeman. 1977. Interpreting our Heritage. 3rd edition. Chapel Hill: The University of North Carolina Press.
Veverka, John. 1994. Interpretive Master Planning. Tustin, CA: Acorn Naturalists.
Zehr, Jeffrey, Michael Gross, and Ron Zimmerman, 1991. Creating Environmental Publications: A Guide to Writing and Designing for Interpreters and Environmental Educators. Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
Department of Geography
Texas State University
San Marcos, Texas
Dr. Kimmel has been an educator to increase awareness about the importance of interpretation for effectively developing nature and heritage tourism experiences.
Introduction
Most simply, interpretation tells true and compelling stories of places, people, and events. Here you'll be introduced to interpretation and the key elements to effective interpretation.
Interpretive Planning
Since interpretation is a fundamental function of nature and heritage tourism activities, it should be a major focus of planning and development from the outset. The interpretive program will determine the types of activities and facilities needed.
Developing Guided Interpretive Experiences
Develop interpretive programs based on themes identified in the interpretive planning process. Here is a consise overview of important factors to consider: organization of the presentation, audience issues, and suggestions about preparing an effective presentation.
Developing Self-guided Interpretive Experiences
Most self-directed interpretation uses a printed document. The effectiveness of documents depends on the quality of their design, writing, and production. Here are some practical, no nonsense guidelines to accomplish this.
Developing Interpretation for Trails
Trails are important venues for self-directed interpretation. Trails take many forms - walking, wheelchair, biking, skiing, swimming, boating, and auto. Here are some tips on the interpretive design of trails, not their physical design.
Definitions of interpretation:
National Park Service: Interpretation facilitates a connection between the interests of the visitor and the meanings of the resource.
National Association for Interpretation: Interpretation is a communication process that forges emotional and intellectual connections between the interests of the audience and the inherent meanings in the resource.
Most simply, interpretation tells true and compelling stories of places, people, and events.
Is interpretation educational? Yes!
Is interpretation similar to school? No, the audience is not captive - they do not have to be in your audience, and they will leave if you are boring!
Effective Interpretation
Interpretation must be pleasurable, relevant, organized, and thematic (Ham, S., 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press).
Pleasurable
People participate in nature and heritage tourism for pleasure. Certainly, this can involve learning, but it must be enjoyable.
Relevant
People are interested in things that they care about - themselves, their place, their peoples' history, their concerns, etc. Effective interpretation builds on these interests.
Organized
Most visitors do not want to work hard to get benefits from their visits. We must make it easy for them to understand and appreciate what we are trying to convey. This is best done by carefully organizing the interpretative programs so the visitor knows "where they are going."
Thematic
People respond to stories and concepts better than "just the facts." They remember general ideas and incorporate them into how they think and act. Thus, to effectively engage audiences, interpretation must have a clear story line.
Freeman Tilden's Principles of Interpretation (Tilden, Freeman. 1957 [1977]. Interpreting our Heritage. 3rd edition. Chapel Hill: The University of North Carolina Press.)
1. Relate what is being displayed or described to something within the personality or experience of the visitor.
2. Information, as such, is not interpretation. All agree that information is essential to good interpretation but it should not stop there.
3. Interpretation is an art, which combines many arts. Any art is to some degree teachable.
4. The chief aim of interpretation is not instruction, but provocation.
5. Interpretation should aim to present a whole rather than a part, and must address itself to the whole man rather than any phase.
6. Interpretation addressed to children should not be a dilution of the presentation to adults, but should follow a fundamentally different approach.
Sources and References
Ham, Sam, 1992. Environmental Interpretation: A Practical Guide for People with Big Ideas and Small Budgets. Golden, Colorado: North American Press.
Knudson, Douglas, Ted Cable, and Larry Beck. 1995. Interpretation of Cultural and Natural Resources. State College, Pennsylvania: Venture Publishing, Inc.
National Association for Interpretation. Interpnet.com
Serrell, Beverly. 1996. Exhibit Labels: An Interpretive Approach. Walnut Creek, CA: AltaMira Press.
Strauss, Susan. 1996. The Passionate Fact: Storytelling in Natural History and Cultural Interpretation. Golden, CO: Fulcrum Publishing.
Tilden, Freeman. 1977. Interpreting our Heritage. 3rd edition. Chapel Hill: The University of North Carolina Press.
Veverka, John. 1994. Interpretive Master Planning. Tustin, CA: Acorn Naturalists.
Zehr, Jeffrey, Michael Gross, and Ron Zimmerman, 1991. Creating Environmental Publications: A Guide to Writing and Designing for Interpreters and Environmental Educators. Interpreter's Handbook Series. Stevens Point, Wisconsin: UW-SP Foundation Press, Inc., University of Wisconsin, Stevens Point.
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