There were 3 inset areas along a curved wall. Two had individual panel boards with Centenary gold side detailing, one showing the history of Bentley’s cars and its people. The other showcased the new Continental GT Number 9 and Mulsanne W.O. Edition by Mulliner, some of the design components and 3D elements.

The central flat inset area had a photo wall of ‘100 years of Bentley’ images as well as a large extruded Centenary logo. I was able to have input into the design/art direction, making the photo wall into Bentley’s diamond pattern, which was subsequently used in other Bentley exhibits. The grid of the imagery was perfectly aligned with the edges and imagery was carefully placed to have an even balance of tone and colour, and work in the diamond crops.

The Innovation Lab area had a polygon lattice background around the curved walls made of strip lights. Each image and copy panel had to be separate, with bespoke die cuts made, working from stand builders’ CAD files and plans. The varying shapes created challenges with consistency of typography, as did the framing of the image choices.

An organised filing system

Because this type of project has many moving parts and stages of sign-off, often working on layouts without having all the text or sizing information, having a structured work method and filing system makes the end of the timeline much smoother.

I organised the internal filing process so that final panel files were created in tandem with, and fed into, the wall artwork and concept decks. This made the last part of the process, between sign-off and file handover, happen quickly because the panels were artworked during, rather than at the end of, the project. This also allowed changes at panel level without having to work on both concepts to show client and artwork files.