| As with any organised event which involves | | | | also important to remember that negotiations should |
| schedules and deadlines, the planning and execution | | | | be handled professionally, as both parties want to |
| of an exhibition takes a lot of coordination and | | | | gain maximum benefit from any arrangement. |
| dedication in order for it to be successful. There are | | | | Setting an appropriate theme for the show is very |
| various steps that need to be completed in order for | | | | important, as it will eventually determine what image |
| the exhibition to run smoothly, the majority of which | | | | the public have of the exhibition. Choose one that is |
| are based around the exhibition planning team and | | | | in line with the material you are exhibiting. An 'under |
| coordinator. Exhibitions are primarily aimed at sharing | | | | the sea' experience will not bode well with potential |
| something with a wider community, be it art, motor | | | | invitees to a car show, but will perhaps draw more |
| vehicles, music technology or lingerie. It is therefore | | | | attention if used to market an exhibition on new |
| essential that the aim and vision of the exhibition be | | | | children's toys or a pet show. |
| clear and precise, in order to reach the target | | | | Next in the planning process is finding potential |
| audience with full effect. | | | | exhibitors to take part in your show. Sending out |
| Steps in the preliminary planning of an exhibition | | | | personal invitations is probably the most effective |
| should include: | | | | way to go. You can also advertise your intention to |
| * Setting up of an Exhibition Planning Committee. | | | | hold an exhibition in the early planning months, but |
| * Accurate Budget Planning. | | | | this needs to be done amongst the social or industry |
| * Selection of an appropriate site venue. | | | | circles relevant to your kind of exhibition. As an |
| * Negotiating agreements and contracts with all the | | | | exhibition is primarily about marketing, finding willing |
| necessary parties. | | | | participants should not be too much of a problem if |
| * Sourcing exhibitors and/or speakers relevant to the | | | | the proper methods are used. In addition, in fields |
| theme of the exhibition. | | | | such as music or art, where there is an abundance of |
| * Planning the program | | | | people jostling to display there works, you might |
| * Executing the exhibition plan | | | | need to do a certain amount of vetting in order to |
| The first and most logical step in exhibition planning is | | | | make sure your exhibitors meet the exact criteria for |
| assembling a team of people who have the | | | | your exhibition. |
| necessary skills and experience. Optimally these | | | | Ultimately you want to draw as many people to your |
| people should all be great team players, who can | | | | exhibition as possible, and a sure-fire way of |
| work responsibly and on their own initiative, whilst | | | | increasing the amount of interest in your show is to |
| also carrying other people's interests at heart. It is | | | | offer a diverse range of activities. Offering seminars |
| good practice to make the size of your planning | | | | or interactive workshops is a great marketing |
| committee relevant to the scale of your exhibition. | | | | technique to involve people who would normally be |
| Having an understaffed committee can lead to stress | | | | put off by the prospect of just going to an exhibition |
| and half completed work, while an oversized | | | | to look at stuff. Be sure to source speakers who will |
| committee will lead to a lack of organisation and | | | | be able to deliver dynamic presentations on the |
| indecisiveness. | | | | relevant topics. |
| Once you have assembled your team, the next step | | | | Publicity is of utmost importance in the planning of an |
| is to appoint an exhibition coordinator. This role | | | | exhibition. Use as many channels as are accessible to |
| requires a great amount of responsibility, as most of | | | | you. The internet is a very powerful marketing tool, |
| the executive decisions will come down to the | | | | and should be exploited to its maximum. Make sure |
| coordinator's discretion. You will need somebody with | | | | you have an up to date website which is instantly |
| good organisational skills, is a good communicator of | | | | identifiable with your theme and purpose. |
| ideas, has a great eye for detail and can function well | | | | Furthermore, make use of show invites and |
| under stressful situations. Depending on the size of | | | | advertisements, promotional gifts, flyers, brochures, |
| your exhibition, it might be necessary for the | | | | visitor and press packs, staff badges, stand |
| coordinator to appoint administrative staff or a | | | | backdrops and signage, and internal documents and |
| secretary to deal with the extra administrative and | | | | communications. Ensure that your supporting web |
| clerical tasks. | | | | pages and email address are listed on every single |
| An exhibition budget should be prepared through a | | | | communication item used for the show. If possible, |
| thoughtful process involving the sponsor, planning | | | | advertise the exhibition in local magazines and |
| committee and coordinator. The coordinator should | | | | newspapers, as well as radio. |
| be in full control of the budget, for if payments are | | | | Once you have done all your preparation of |
| approved by someone other than the coordinator, it | | | | advertising, budgeting and sourcing participants, it is |
| will be difficult to hold him/her accountable for | | | | time to plan the actual show and execute it. Planning |
| expenditures. A budget should not be seen as a | | | | of the show plays an important role, and should be |
| financial document, but rather as a planning and | | | | coordinated carefully, because once a schedule is |
| management control document. It is a listing of all | | | | formed, great confusion can result if it is not adhered |
| anticipated expenses, funding sources and projected | | | | to. You might plan certain talks or workshops to |
| revenue. Part of preparing a conference budget | | | | coincide with specific days of the exhibition, and if |
| requires compiling a split folio. This is a division of | | | | these are unclear or mixed up, they might completely |
| expenses which lists the charges covered by the | | | | lose there desired effect, and end up just being a |
| conference master account and individual guest | | | | waste of time and money. Changes are sometimes |
| charges, if there are to be any. | | | | unavoidable, but make sure that if a change has to |
| One of the most important aspects in planning an | | | | be made to the schedule, that it is well publicised. |
| exhibition is choosing a suitable venue. This should be | | | | During the exhibition it is important to make good use |
| arranged as early in the planning process as possible | | | | of signs; this ensures that visitors and exhibitors |
| in order to avoid any last minute nightmares. The | | | | never become disorientated with their surroundings. |
| more time you give yourself to choose a site, the | | | | During the exhibition, the coordinator's time is in great |
| better your options will be. Your site should be | | | | demand. Delegation plays a key role in the smooth |
| located as centrally as possible with regards to your | | | | running of an exhibition, but is worth nothing without |
| target audience. It is pointless having a textiles | | | | a well trained and informed group of staff members. |
| exhibition in the central business district, just is it is | | | | Once the show is complete, conducting some kind of |
| pointless having a technology fair in the countryside. | | | | evaluation will be very valuable in giving you an idea |
| Choosing the appropriate venue also has an influence | | | | of what can be improved on in future events. The |
| on the overall theme and furnishings which you might | | | | most common type of evaluation is to create a |
| use in your exhibition, so an early decision will make | | | | survey form. This can consist of yes/no questions, or |
| consequent planning more streamlined. | | | | wherein the various levels of satisfaction can be |
| It is generally regarded good practice to enter into a | | | | indicated, from low to high. It is worth noting that |
| formal contract agreement with the venue. The | | | | two separate evaluation forms can be set up, one to |
| process of reaching this agreement may take time, | | | | delve the interests of the exhibitors, and the other |
| but it will ensure that both parties will be protected | | | | that of the visitors. |
| against any unexpected changes in plan. It would be | | | | And with that you have completed your exhibition! |
| dreadful to be notified one week before the | | | | With the correct planning and dedication it can be an |
| exhibition that you have been double booked | | | | informative and exciting experience for all those |
| because no formal documents were signed and the | | | | concerned, and with the steps set out above you |
| venue manager completely forgot about the | | | | should have no problem achieving this. |
| conversation you had over the specified dates. It is | | | | |