Infographics
Infographics
Infographics
Infographics are everywhere in our daily lives. They are attractive, eye-catching, and
convey information and clear and efficient ways. In a day and age where reading is
declining, these powerful text types are frequently used to inform, entertain, or persuade.
Be sure to look for the following elements and use the terms correctly when writing a
textual analysis on infographics.
Like other texts, infographics have a beginning, middle, and end. In particular, pay close
attention to the visual path established by the creator. Effective infographic designers
know how to steer the viewer’s visual path and successfully through the information.
There are several main organizational strategies to look for in infographics:
4. Cause-and-effect structure: This structure presents a cause and then shows the
effect or effects of that cause, often using visual aids to illustrate the relationship
between the two.
Once you have identified the purpose and organizational structure of your infographic, it’s
time to identify and analyze how the creator makes choices to shape meaning with respect
to the intended message.
1. Title: A brief and descriptive phrase that identifies the main topic of the
infographic.
4. Charts/Graphs: Visual data representations, such as bar graphs, pie charts, or line
graphs.
7. Color: Color schemes help to visually differentiate between different sections, data
points, or concepts in the infographic.
8. Typography: The font type, size, and style used in the infographic for headings,
subheadings, and body text.
9. Imagery: High-quality images or illustrations that visually support the content and
add context or meaning.
10. Sources/Credits: Information about the data sources, images, or other information
used in the infographic.
11. Flowcharts: Diagrams that show the flow of a process or system, often used to
visualize complex information or decision-making processes.
14. Statistics/Facts: Data-driven points or facts that add credibility and authority to
the information presented in the infographic.
15. Key Takeaways/Summary: A brief summary or conclusion that highlights the main
points or insights of the infographic, providing a clear call to action for the viewer.
16. Labels: Brief text or graphics added to the infographic to provide additional context
or explanation.
17. Emojis: Small graphics representing a specific idea, emotion, or object, often used
to add personality or humor to the infographic.
18. Quotes/Testimonials: Short quotes from experts or customers that add credibility
and social proof to the information presented in the infographic.
20. Interactive Elements: Digital elements that allow users to engage with the
infographic, such as clickable buttons, hover-over pop-ups, or animations, making
the infographic more engaging and memorable.
Bedolina Petroglyph at Valcamonica, Northern Italy 2500 B.C.
INFOGRAPHICS SEMINAR HANDOUT
10 OCTOBER 2005
NATIONAL INSTITUTE OF DESIGN
AHMEDABAD
11 OCTOBER 2005
INDUSTRIAL DESIGN CENTRE
INDIAN INSTITUTE OF TECHNOLOGY
BOMBAY
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INTRODUCTION
Information graphics reveal the hidden, explain the complex
and illuminate the obscure. Constructing visual
representation of information is not mere translation of what
can be read to what can be seen. It entails filtering the
information, establishing relationships, discerning patterns
and representing them in a manner that enables a consumer
of that information construct meaningful knowledge.
WHAT IS AN INFOGRAPHIC?
Infographics are traditionally viewed as visual elements such
as charts, maps, or diagrams that aid comprehension of a
given text-based content. Thus, a newspaper infographic on
a breaking news accident is expected to faithfully record,
using visuals, what has been explained in the accompanying
text.
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Also in this seminar, we will see how infographics have wide
ranging applications beyond news dissemination, in several
other domains such as, scientific visualization, product
design, education, information technology, business
communication and entertainment. The ceramic measuring
bowls (fig.2) from the design studio Panepinto is a fine
example of product that displays unambiguous information in
a vivid manner.
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VISUAL THINKING AND REPRESENTATION
Representation (literally, to present again) provides the basis
for all communication. We can convey ideas about things
that are not materially in our presence only by calling forth
an appropriate mental representation. These mental
representations are stored in categories and are
characterized by a degree of abstraction. Recent studies
have revealed that we categorize even before we identify
things.
fig.8. We think in terms of categories. A
diagrammatic representation by Alberto
Cairo. For example when we look at a chair, a closet, and a table,
we process them as a broader class of objects (“furniture”)
rather than as individual instances of the class (fig.8).
Furthermore, the mental imagery associated with each of the
furniture is likely to have the essential characters of the class
(“chairness”) rather than literal characters of a specific
instance (“recliner”).
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EXERCISE 2
A given representation can be characterized by its degree of
abstraction. The ease of interpretation varies with the level
of abstraction of the representation.
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A BRIEF HISTORY OF INFOGRAPHICS
Images predate not only today’s graphics-laden media but
also written language itself. Petroglyphs3, which were the
earliest forms of non-verbal communication created by
prehistoric societies, are found in all continents except
Antarctica. They evolved into more advanced pictograms
such as the Sumerian cuneiform script and the Egyptian
hieroglyphs, which in turn led to linguistic writing that we use
today.
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Finally, the temperature along the path of retreat. Few, if
any, maps before or since have been able to coherently and
so compellingly weave so many variables into a captivating
whole.
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found themselves captive customers of their local tube
station).
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3. To choose an appropriate medium for presentation – static
(paper or computer screen), motion (animation or video), or
interactive (increasingly web or other electronic device-based,
but could be something as simple as a paper-based
6. Read Interactive Visual Explainers - A pregnancy wheel).
Simple Classification for an elaboration
of the types of Interactives Despite the difficulty in creating a design framework, it would
(http://www.elearningpost.com/features be useful to have one, in order to understand the overall
/archives/002102.asp). picture of the infographic design process. The following
diagram depicts one such a framework:
Infographic Design Framework
INFORMATION TYPE
INFOGRAPHIC DEVICE
INFOGRAPHIC
COMMUNICATION METHOD
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INFOGRAPHIC DESIGN: NINE STRATEGIES
In the last section, we understood where and how an
infographic fits into the overall scheme of the information
design process. In this section, let’s glean some design
strategies by analyzing some successful infographics.
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information. Although the sentence without vowels can be
read, it is harder to read. On a noisy transmission channel,
the redundancy enables the reader to correct errors that may
have been introduced into the stream of information. Noise is
any factor in the process that works against the predictability
of the outcome of the communication process. For example,
traffic lights communicate through color. They also use
position to reinforce the message.
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EXERCISE 3
1. Design an infographic for the given information (refer to
additional handouts).
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BOOKS
1. Harmon, Katherine (2003). You Are Here. Princeton
Architectural Press.
2. Harris, Robert L. (2000). Information Graphics: A
Comprehensive Illustrated Reference. Oxford University
Press.
3. Helfand, Jessica (2002). Reinventing the Wheel.
Princeton Architectural Press.
4. Holmes, Nigel (1991). Designer's Guide to Creating
Charts and Diagrams. Watson-Guptill.
5. Holmes, Nigel (2005). Wordless Diagrams. Bloomsbury.
6. Institute for Information Design Japan (2005).
Information Design Source Book. Graphics-Sha.
7. Jacobson, Robert (2000). Information Design. The MIT
Press.
8. Malofeij Awards - Yearly Books.
9. McCloud, Scott (1994). Understanding Comics. Harper.
10. Mijksenaar, Paul and Westendorp, Piet. Open Here: The
Art of Instructional Design.
11. Mijksenaar, Paul (1997). Visual Function: An Introduction
to Information Design. Princeton Architectural Press.
12. Myer, Eric. K. (1997). Designing Infographics. Hayden
Books.
13. Tufte, Edward (1990). Envisioning Information. Graphics
Press.
14. Tufte, Edward (1997). Visual Explanations: Images and
Quantities, Evidence and Narrative. Graphics Press.
15. Tufte, Edward (2001). The Visual Display of Quantitative
Information. Graphics Press.
WEBSITES
1. Alberto Cairo – A lot of useful resources from one of the
leading practitioners (http://www.albertocairo.com/)
2. Design of Signage – Theory, Application and Resources
(http://www.designofsignage.com/)
3. Gallery of Data Visualization – Examples of good and bad
infographics
(http://www.math.yorku.ca/SCS/Gallery/noframes.html)
4. InfoDesign – A well maintained collections of annotated
links related to infographics
(http://www.informationdesign.org/archives/cat_informa
tion_graphics.php)
5. Interactive Narratives – A database of links to interactive
narratives from the web
(http://www.interactivenarratives.org/)
6. John Grimwade – Online portfolio of one of the leading
infographic designers (http://www.johngrimwade.com/)
7. Nixlog – An exhaustive collection of infographics
available online (http://www.nixlog.com/infographics/)
8. New York Times – Arguably the best online interactive
features in the business
(http://www.nytimes.com/pages/multimedia/index.html)
9. Society of News Designers – News design resources and
awards gallery (http://www.snd.org/)
10. Xplane – The visual thinking weblog
(http://www.xplane.com/xblog/)
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ABOUT THIS DOCUMENT
I prepared this document as a handout to my October 2005
seminars on Infographic Design to the Visual
Communications students at the National Institute of Design,
Ahmedabad, and the Industrial Design Centre, Indian
Institute of Technology, Bombay.
VENKATESH RAJAMANICKAM
OCTOBER 2005
SINGAPORE
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