Introduction to Infographics

Introduction to Infographics

An infographic is, at its most basic level, a combination of information (info) and design (graphics). Infographics represent one of the most widely used forms of data communication — they translate complex data, processes, or ideas into visual formats that are accessible to broad, non-specialist audiences. Understanding infographics involves both their history as a genre and the conceptual frameworks through which they have been theorised and critiqued.

Data Journalism: Background and Development

Infographics have a strong connection to the field of data journalism. Data journalism is grounded in a larger quantitative turn within journalism (Petre, 2013), and current practice has deep democratic roots (Coddington, 2014). Data journalism evolved from the practice of computer-assisted reporting (CAR), which used computers to analyse public records and datasets. CAR then branched into related but distinct practices: computational journalism, open-source journalism, and data journalism proper.

Paul Bradshaw provides a concise definition in The Data Journalism Handbook (2012): "Data can be the source of data journalism, or it can be the tool with which the story is told — or it can be both. Like any source, it should be treated with scepticism; and like any tool, we should be conscious of how it can shape and restrict the stories that are created with it." This definition emphasises the dual role of data in journalism — as both raw material and communicative medium — and the critical stance required to use it responsibly.

A Brief History of Infographics

Bogost et al. (2010) trace the visual representation of data from the 1930s onwards:

• Early forms included statistical maps and economic charts, used in government reporting and scientific publications
• Chartoons — infographic illustrations combining charts with cartoon-style imagery — were popularised by Nigel Holmes in the 1960s and 1970s, first in Time magazine and subsequently across the popular press
• The shift from static print infographics to interactive digital visualisations represents the most significant contemporary development in the genre, enabled by web technologies and data journalism platforms

Segal and Heer (2010) identify seven genres of narrative visualisation that map this evolution: magazine style, annotated chart, partitioned poster, flow chart, comic strip, slide show, and video. These genres each carry different conventions for structuring the relationship between data, narrative, and audience interaction.

British Standards for Infographic Types

Dick (2016) lists the British Standard types of infographic — a useful reference for the canonical visual forms available to data communicators:

• Table
• Bar graph
• Line graph
• Area graph
• Pie graph
• Isotope (pictogram) graph
• Scatter graph
• Histogram
• Three-dimensional graph
• Superimposed graph
• Thematic map
• Illustrated graph

Four Conceptual Frameworks for Infographics

Dick (2016) proposes four ways that infographics are typically understood and discussed, each reflecting a different set of values about what infographics are and what they are for:

1. Functionalist-idealist — This framework is concerned with communicating truth through data. Infographics are understood primarily as a scientific methodology — their value lies in their visual logic, precision, and accuracy. This approach is more common in statistics, mathematics, and science communication. A key limitation is that it does not account for contested ideas of what 'the truth' is, and tends to underestimate the rhetorical and ideological dimensions of all visualisation choices.
2. Pragmatist-realist — This framework treats infographics as a tool or technology rather than as communication in the full cultural sense. It focuses on the practical realities of producing and publishing infographics — the constraints of the medium, the platform, the publication format, the audience, and the available resources. This approach is most common in professional media and marketing contexts.
3. Expressionist-aesthete — This framework understands infographics as a form of design and creative expression. It emphasises aesthetic experiments, expressive approaches, and a playful relationship with visual form. Infographics in this tradition prioritise beauty, originality, and emotional impact alongside (or even above) informational clarity. Data art and experimental data journalism often operate within this framework.
4. Didactic-persuasive — This framework treats infographics as instruments of education or persuasion. The primary function of an infographic is to teach or convince — to change what an audience knows or believes. Historically, this approach is rooted in pictographs and early public information campaigns. It has been criticised for being overly reductive: in its emphasis on a single message or lesson, it can simplify complex realities and exclude nuance.

Dick (2016) notes that these categories frequently overlap — a functionalist infographic can still be aesthetically expressive, and a didactic infographic may also aspire to scientific rigour. These frameworks are useful tools for grouping ways of thinking about the production process and for categorising the specific audiences and intentions behind particular infographic forms.

Chartjunk

Coined by statistician Edward Tufte, chartjunk describes redundant, decorative, or misleading visual elements in charts and infographics that do not convey meaningful information to the audience. Chartjunk includes unnecessary grid lines, excessive ornamentation, three-dimensional effects on simple charts, and decorative illustrations that distract from the data. Tufte's principle — that a good data visualisation should maximise its data-to-ink ratio — argues for clarity, economy, and rigour in design. A visualisation should communicate as much information as possible using as few graphical elements as necessary.

The concept of chartjunk has been both influential and contested: critics note that what counts as 'junk' is culturally relative, and that decorative elements can serve important functions in making visualisations engaging, memorable, and accessible for particular audiences.