lo “Que se debe” y “No se debe” hacer cuando creamos una infografía

The Do’s And Don’ts Of Infographic Design


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Since the dawn of the Internet, the demand for good design has continued to skyrocket. From Web 1.0 to Web 2.0 and beyond, designers have remained on their toes as they define the trends and expectations of our online universe. The Internet is a great designer’s playground, and online businesses are growing more and more appreciative of what can be gained from a bit of well-executed eye candy. Over the past two years, this fact has become the backbone of a growing trend in online marketing: the infographic.

Infographics are visual representations of information, or “data viz” as the cool kids call it these days. The term “data viz” comes from “data visualization,” which implies that sets of data will be displayed in a unique way that can be seen, rather than read. This visualization should not be left up to interpretation, it should instead be designed in a way that provides a universal conclusion for all viewers. In the simplest terms, infographics are not too different than the charts and graphs that programs like Excel have been spitting out for years.

Of course, just as Web 2.0 changed 1.0, today’s infographics are far more eye-catching than simple pie charts and bar graphs. Today, infographics compile many different data visualizations into one cohesive piece of “eye candy.” They have evolved with design trends, received some creative facelifts, and the Internet is now getting filled with interesting information delivered in enthralling ways.

While some design trends come and go, infographics are here to stay. With brands like USA Today, The New York Times and Google and even President Obama getting behind them, infographics are becoming a powerful tool for disseminating huge amounts of information to the masses. Companies large and small are using infographics to build their brands, educate their audience and optimize their search engine ranking through link-building. This is why learning how to design a good infographic is a must, and avoiding the common pitfalls of infographic design could mean the difference between landing a big client and losing them entirely.

Wrapping Your Mind Around Data Viz

Designing an infographic is not the same as designing a website, flier, brochure, etc. Even some of the best designers, with portfolios that would make you drool, cannot execute an effective infographic design. Creating infographics is a challenge and requires a mindset that does not come naturally to everyone. But that mindset can be gained through practice and by sticking to certain standards, the most important of which is to respect and understand data viz. Here are some simple rules to follow when wrapping your mind around proper data viz.

Show, Don’t Tell

A rule of cinema is to show, don’t tell. The same holds true for infographic design. The foundation of any good infographic is data viz. As an infographic designer, you may or may not determine the concept and compile all of the research for the final design, but either way you are responsible for turning that information into a visually stimulating, cohesive design that tells a story and that doesn’t miss a single opportunity to visualize data. Take this portion of an infographic about Twitter by ViralMS as an example:

twitter infographic
This Twitter infographic writes out the data, rather than visualizing it.

What’s wrong with this infographic? It breaks the first rule right out of the gate. When you have an opportunity to display information visually, take it. Here, the tweets per second could have at least been shown in a bar graph. This would enable someone to quickly look at this section and see what’s going on; by seeing the various heights of the bars, the eye could have quickly gauged the differences in tweets per second per event without having to read anything.

If you’re having trouble adhering to this rule, try keeping all of your text on one layer of your AI file (excluding text inside charts and graphs). Every once in a while, turn off the text layer and see whether the infographic still makes sense. If there isn’t any data viz, or if a bunch of pictures are missing context, then you are doing too much telling and not enough showing.

If the Client Wanted an Excel Chart, They Wouldn’t Need You

It might sound harsh, but it’s true. If infographics were as simple as laying out a bunch of standard charts and graphs on a page, then clients would not need to search out great designers. Many tools are online that can create colorful pie charts, line graphs and bar graphs, so you have to take things to the next level for your design to stand out. Taking the data from above, which of the two graphs below do you think would make a client happier?

unique data viz
Two ways to visualize the data from the Twitter example above.

If you answered Graph B, you’re catching on. Of course, not all data lends itself to creative and unique graphs. Graph A might work very well if the rest of the infographic shared a similar aesthetic. Sometimes you just have to bite the bullet and produce a traditional bar graph or pie chart; nevertheless, always consider ways to dress it up, as in the examples below:

infographic examples
Ways to dress up simple graphs for an infographic.

Typography Should Not Be a Crutch

Typography can make or break a design, but it should not be the solution to a data viz problem. More often than not, designers begin an infographic with a great deal of energy and excitement, but they lose steam fast as they continue down the page. This often leads to quick decisions and poor solutions, like using typography to show off a big number instead of visualizing it in some way. Here’s an example:

Too much dependence on typography
TravelMatch’s infographic highlights too much.

Whenever I see this, I’m reminded of the “Where’s the beef?” ad campaign, and I think, “Where’s the data viz?” Although Sketch Rockwell is one of my all-time favorite fonts, this is a perfect example of relying too much on typography.

Any time a research number is provided to you for an infographic, ask yourself how it can be visualized. Percentages can always be visualized with creative pie charts; numerical values in a set can usually be turned into a unique bar graph; and when numbers don’t fit on a consistent scale, you might be able to visualize them in a diagram. Here is another way the above data could have been visualized:

data visualization
An example of how to visualize the TravelMatch data, rather than relying on typography.

Typography Has Its Place

All that being said, typography does have its uses, which should not be ignored when creating an infographic. Most of the time, you will want to focus your creative typographical energies on titles and headings. The title of the infographic is a perfect opportunity to use a fun and eye-catching font and to give it a treatment that fits the theme or topic. Just make sure the title isn’t so distracting that it takes away from the reason we are looking at the infographic in the first place. The truth of the matter is that some infographic topics are boring, but the right title design can engage people enough to scroll through.

Similarly, headings help to break up an infographic and make the data easier to take in, giving you another chance to let your font-nerd flag fly.

The title of an infographic is your chance to draw attention to the design.

Organization And Storyline

Organizing an infographic in a way that makes sense and that keeps the viewer interested is not always easy, but it’s part of the job for most infographic designers. Usually, you will be given a lot of data and will need to create a visual story out of it. This can be challenging at first, but you can follow some general rules to make things easier.

Wireframe the Infographic

Wireframing an infographic enables you to work out a storyboard and layout for the design. You may have an idea of the story you want to tell, but as you start laying things out, you might hit a wall and have to start over. Having to reorganize after having already done a lot of the design is incredibly frustrating. Avoid this by setting up your storyline at the start to determine what data to show and how. Set aside an hour to sketch things out and make sure it all makes sense. This will also help to ensure that the color palette you will choose drives attention to the important points and keeps the eye flowing down the page.

Think Outside the Box

As you wireframe the infographic, you will identify section breaks that help to tell the story. Most infographics online have a vertical flow, in which each section has a heading to distinguish it from the last. This gets boring fast. Organizing the data and sectioning off information without relying entirely on headings and color breaks is a good way to break the monotony.

For instance, rather than going for a typical one-column layout, you could use two columns in certain parts. You could also break up sections with borders, with backgrounds of different shapes or give the entire design a road or path theme. Here’s some outside the box layouts to get your creative juices flowing:

unique infographic layouts
There are many unique ways to lay out an infographic that will keep the viewer engaged.

Tell a Story

All good stories have a beginning, middle and end. Infographics deserve the same treatment. At the beginning of the infographic, introduce the problem or thesis. From there, back it up with data. Finally, end the infographic with a conclusion.

Visualize the Hook

Every good infographic has a hook or primary take-away that makes the viewer say “A-ha!” As a designer, you should make this hook the focal point of the design if at all possible. Placing the hook at either the center or very end of the infographic is usually best, so that it grabs more attention. Give the most important information the most visual weight, so that viewers know what to take away. Here are some examples of well visualized hooks:

hooks in infographics
Hooks should either be in the center, beginning, or end of the infographic and need the greatest visual emphasis.

Cleaning Things Up With Color

The difference a color palette can make is amazing, especially in the world of infographics. The right palette can help organize an infographic, evangelize the brand, reinforce the topic and more. The wrong palette can turn a great topic into an eyesore, harm the brand’s image and convey the wrong message. Here are some tips to consider when choosing colors for your infographic.

Make It Universal

In Web design, it’s always important to choose a palette that fits the theme of the website and that is neutral enough for a diverse group of visitors. Because infographics are primarily shared online, picking the right palette for an array of visitors is equally important. You must also consider what looks good online.

For instance, dominant dark colors and neons typically do not translate well on infographics; neon on black can be hard to read, and if there is a lot of data, taking it all in will be a challenge. Also, avoid white as a background whenever possible. Infographics are often shared on multiple websites and blogs, most of which have white backgrounds. If your infographic’s background is also white, then deciphering where it begins and ends will be difficult.

A Three-Color Palette Is Easy on the Eyes

With all of the data that goes into an infographic, make sure that the reader’s eye easily flows down the page; the wrong color palette can be a big barrier to this. Choose a palette that doesn’t attack the senses. And consider doing this before you start designing, because it will help you determine how to visualize the various elements.

If picking a color palette is hard for you, stick to the rule of three. Choose three primary colors. Of the three, one should be the background color (usually the lightest of the three), and the other two should break up the sections. If you need to add other colors, use shades of the three main colors. This will keep the palette cohesive and calming, rather than jarring.

Use the Tools at Your Disposal

When picking colors, you don’t have to reinvent the wheel. A number of great websites out there will help you choose the right palette for your infographic. Adobe’s Kuler offers fresh themes and a searchable database, as well as an easy tool to adjust the palette that you’re interested in. One issue with Kuler is that all of the palettes have five colors, and the colors are sometimes from completely different families, rather than shades of a few primary colors, so finding the right palette can be like searching for a needle in a haystack.

Another color-picking tool is COLOURlovers. This database is easier to search through: it breaks palettes into different themes and can be sorted by favorites. While most of the palettes also consist of five colors, the colors are not always given equal weight; instead, the tool suggests which should be dominant. Here are some good and bad palettes for infographics:

infographic color palettes

Final Thoughts

While these standards are important to consider for most infographic designs, sometimes an infographic comes along that breaks all of these rules and still succeeds immensely. In the end, clients like “eye candy” and designs that “pop!” While such terms are subjective (and annoying to most designers), we all know a great infographic design when we see one, and your clients do, too. Use these rules to guide you into the infographic realm, but create your own techniques and standards after you’ve gained some experience.


Recordando al Viewmaster

Cheryl Yau 

Rediscovering A Stereoscopic World

Charles and Ray Eames: Stereo Photographs from View*Productions. Photo: Cheryl Yau

The Eames Office loft, scattered with molded plywood prototypes and rolls of craft paper.Click. The model of the Kwikset House furnished with two Eames storage units, upholstered chairs and dark orange carpet. Click. A table full of English muffins, strawberries, hardboiled eggs and a glass carafe of coffee set in front of a fiberglass shell chair. Click.

Peering through my clunky View-Master, I was transported into the Eames Case Study #8 House in Pacific Palisades, exactly as it was arranged when Charles and Ray Eames photographed it themselves. In my hands, I was holding 7 full-color Kodachrome images laminated onto a single circular reel. These were part of a set of photos intended for the Museum of Modern Art’s Built in USA: Post-War Architecture exhibition in 1952. Unlike any of the images I had seen before reproduced as slides or in a book, these stereo images — void of any editing or retouching — made me feel like I was actually there.

The Eames stereo photographs came to me by the way of Michael Kaplan, a Professor of Architecture at the University of Tennessee, and a veteran stereo photographer. Since childhood, Kaplan has had a fascination with the View-Master, collecting cartoon reels as well as photographs of national parks he dreamed of visiting. “People started collecting these pictures because it was a way to see exotic parts of the world that they could never afford to travel to,” recalled Kaplan, who grew up in the 1950’s, during the height of the View-Master’s popularity in the United States. At the time, View-Master models were sold at a dollar each (equivalent to $9.27 in 2011), while the reels themselves were only 35 cents, making stereoscopic viewers an affordable hobby. It was common for every child to own one. While adults watched television, children escaped into three-dimensional imaginative worlds. Like baseball cards and stamps, they satisfied the innate human desire to collect. For children like Kaplan in the 1950’s, collecting View-Master reels “was like having your own little art collection.”

By the time he went to architecture school in 1963, the popularity of taking 3D pictures had subsided considerably. Stereo cameras that previously cost over $100 (almost $900 today) were now easily available for fifteen dollars. Finally able to afford one, Kaplan bought his first stereo camera as a student, and his obsession continued throughout his career. “When I was teaching architecture here at the University of Tennessee, I used it all the time in my lectures. One of my students said, ‘you know, if you ever want to do this commercially I’d be interested in going into  business with you.’  And I did.” So Kaplan partnered with his student Gregory Terry and founded View*Productions in 1997. They started out by making reels of their favorite subject: architecture. View*Productions successfully released View-Master reels of work by Frank Lloyd Wright, Ralph Erskine, Hans Scharoun and Frank Gehry, with most of the photography by Kaplan.

Architectural Classics and View-Master from View*Productions. Photo: ©Robert Batey Photography

View-Masters — and the Tru-Vues and stereoscopes that preceded them — were all based on the same principle: that of merging the images seen by both eyes into a third image. The concept began 2000 years ago with ancient mathematicians, philosophers and scholars including Galen, Euclid and Baptista Porta, all of whom wrote extensively on optics. By the time Charles Wheatstone invented the first stereoscope in 1838, the technology quickly spread to the masses. The first stereoscope was publicly unveiled at the Great Exhibition of 1851, where Queen Victoria and Prince Albert were presented at the Crystal Palace with a special viewer designed by Jules Duboscq. Stereographs produced from the 1850’s until World War I covered every aspect of life — including, but not limited to travel, education, current events and portraits. Documentation of key events such as the San Francisco earthquake in 1906 were most popular. To meet the demands of a growing national market, the stereograph company Underwood & Underwood had an assembly line that manufactured up to 3,000 cards a week. At the peak of its success, almost everyone had access to a stereoscope.

“What was so interesting about the View-Master and the other formats that came before it, was that it appealed to every age group” Kaplan explained. The mutually beneficial relationship between the development of photography and stereoscopy created a parlor culture in Victorian society, with stereoscopes appearing in classrooms and archival collections. While the three-dimensional images provided traveling experiences, they also acted as souvenirs, like postcards. During World War II, extensive military sets were even used for training. Human anatomy sets were also available for medical industries. The largest producers of stereographs between 1850 and 1915, Keystone Company and Underwood & Underwood, printed descriptions on the back of the mounted cards or had supporting guidebooks, always supplementing the images with additional information. At the turn of the 20th Century, Underwood & Underwood commissioned salesmen to travel extensively and take orders from homes. Since it was extremely easy to acquire new stereographs, the price of the hobby remained affordable. A standard Holmes stereoscope with a sliding carrier to hold the stereographs, could be purchased in 1908 for only 28 cents, while aluminum versions with varnished cherry wood frames were sold for 49 cents (about $11 today). The decline of stereographs began in 1929 with the introduction of the halftone printing process, and photographic details became lost. As very little new content was produced and fake stereographs with identical pictures circulated, the stereoscope faced obsolescence.

But stereoscopic images themselves remained a resilient medium. The format evolved from mounted prints on 3½ by 7-inch cards, to 35mm filmstrips and eventually into 3 ½-inch paper discs with Kodachrome images. In 1931, prior to the View-Master, the company Tru-Vue released black and white stereoscopic filmstrips, each of which had 14 pictures on them that passed through the little viewer horizontally. This competitor was bought by View-Master fairly quickly, and while they tried to release rectangular cards under the Tru-Vue brand (which scrolled through the viewers in a downward fashion rather than rotate), the alternative format lapsed. By the time Portland-based William Gruber presented it at the 1939 World’s Fair in New York, the View-Master’s patented reel and streamlined viewer was unchallenged, and continued to be marketed successfully throughout the Depression.

Fallingwater (1937) from Fallingwater: Wright & the 3rd Dimension. Photo: ©1998 View*Productions Fallingwater is a registered service mark of Western Pennsylvania Conservancy

Millennium Park (2004) from Frank Gehry: 3 Theaters. Photo: ©2010 View*Productions

“When people think of them from their childhood, back in the 1950’s, they think of the black and brown ones,” stated Kaplan, remembering the viewers that were produced in a sturdy, shock-resistant Bake-Lite plastic. But the slow compression-molding process of Bake-Lite was too costly for the rapid demand in viewers. So in 1958, Charles Harrison updated the shape and materials of the Model F View-Master, replacing the original Sawyer design with a beige plastic. While the format of the standardized reels never changed, the viewer went through several redesigns under different brands, embracing a bright red plastic after it was acquired by GAF, and eventually various shapes and colors as it was marketed solely to children under the Fisher-Price brand.

In 2008, Fisher-Price stopped producing View-Master reels after progressively losing interest in what they felt was a low-tech, antiquated medium. Although they spun off a photographic lab called Alphacine a year later, traditional stereoscopic photography has since become a kind of retro novelty. President of the National Stereoscopic Association Lawrence Kaufman feels the images were too small and believes more potential lies in motion pictures, gaming and HD television. But there is an intimate feeling when holding a mere 7 still images in your hands and experiencing those life-like captured moments.

Holmes Stereoscope and Stereo Card from Keystone Company. Photo: Cheryl Yau

“Spider-Man versus Doctor Octopus” View-Master Reel. Photo: Cheryl Yau

While my 1979 Spider-Man reel enhanced the action of Doctor Octopus reaching through spiderwebs in classic Marvel style, Kaplan’s photography invited me into Russell Wright’s landmarked Dragon Rock home and to the workplace of Charles and Ray Eames. Here, I witnessed classic, mid-century modern design through a stereoscopic lens that recorded the texture and depth of all the designs just as they were produced decades ago — a perspective that Google images and digital reproductions could never provide. I saw the tactile grain of the wooden furniture, the reflections on the glass panels, the light, shadows and wrinkles in his shirt as Charles grasped onto Ray’s pinky with his fingers. To witness these images first-hand is to instantly understand Kaplan’s life-long enthusiasm for 3D images. 

View*Productions created a revived interest in View-Masters, appealing to designers and architects who tend, by nature, to be hoarders of ephemera. But at $10 a reel, it has become unprofitable to produce for a niche market. As emerging technologies introduce ever new genres of media, the production of View-Master reels may finally come to an end. Though eclipsed by more contemporary media, their legacy remains indisputable: created long before the advent of mobile technologies, these devices elevated our sense of what was possible. Interactive and engaging, they thrived for nearly a century as powerful conduits and emblems of time travel. And this, perhaps more than anything, represented optimism through design.

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La técnica para hacer “cinemagraphs” Fotografía de apariencia 3D animada – DesignModo

Ultimamente estoy interesada en el método 


Amazing 3D-like Animated Photos

Posted by: Adrian, In: InspirationPhotography, On: July 5, 2011 | 22 Comments

“What we describe as animated photography is not animation at all. All that happens is that a long string of snap-shot photographs… are passed at rapid speed before the eye.” – F. A. Talbot “Moving Pictures: How They are Made and Worked”, 1912.

Even if we tend to perceive the movement, it is only an illusion, as the animated photos don’t record the moving object, but different motionless positions of the object, that are later combined using different kinds of sometimes sophisticated techniques to create the animated photography that amazes us so much. Another element of amazement is the 3D-like effect that occasionally makes it more realistic than we could imagine it is possible.

Ok, so there’s a trend lately in photography, maybe you’ve seen something while surfing the internet in one of those restless sleepless nights. It consists of creating 3D-like photos that have an animated element. The effect is pretty amazing and gives the actual impression of dimension and depth, as if the person or object captured in the photo is actually in front of your eyes, at the distance of just a touch.


You’ve probably seen hundreds of times those animated avatars on the Internet, but what I suggest you to look through in this collection will change your attitude towards the animated gif…

The New York photographer Jamie Beck, together with the web designer Kevin Burg, have created a series of animated pictures that are a real art on the verge of photography and video. Jamie calls this photos «cinemagraphs», but this is not photography, and still not cinematography. In these photographs Kevin has used some new technology. So here, take your time to contemplate and admire these wonderful pieces of new art. Enjoy!


Images Source:
Behance & Systemsn

Source: http://designmodo.com/3d-animated-photos/#ixzz1ZdEHfyLY