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Vivimos un tiempo de transición para la infografía periodística, el uso de diagramas con fines informativos. La irrupción de Internet y de nuevas herramientas y técnicas ha desencadenado una etapa llena de incertidumbres tanto en el mundo profesional como en el académico. Éste es el primer libro que identifica las características del nuevo entorno y que ofrece respuestas al mismo tiempo a los interrogantes tradicionales, que han condicionado el desarrollo de la disciplina, y a los que han surgido en los últimos años: de dónde procede la infografía, cuáles son sus bases teóricas y objetivos, hacia dónde está evolucionando y cuáles son los medios de comunicación en la vanguardia de la renovación del género.

Alberto Cairo es profesor de periodismo infográfico y multimedia en la Universidad de Carolina del Norte en Chapel Hill, Estados Unidos. Está considerado como uno de los mayores expertos en visualización de información en prensa del mundo.

"Infografía 2.0 es un libro fundamental para aquéllos interesados en el pasado, presente y futuro de la infografía. Pocas personas son más influyentes y han contribuido tanto a la profesión como Alberto Cairo. Primero como uno de los pioneros de la infografía interactiva, definiendo las reglas del juego. Y más tarde como educador, añadiendo una imprescindible visión analítica y formando a los infografistas totales (reporteros, programadores, diseñadores, cartógrafos, estadísticos) que poblarán las redacciones del futuro. El detallado estudio de la excelsa infografía interactiva de The New York Times es de lectura obligada para estudiantes, profesionales y cualquier persona interesada en nuevas tendencias en la visualización de información".
Juan Velasco, director de arte de National Geographic Magazine

"En el mundo de la infografía, nadie es más influyente que Alberto Cairo".
John Grimwade, director de infografía en Conde Nast Traveler y Conde Nast Portfolio

"Alberto Cairo tiene al menos tres dimensiones. Como los gráficos que tanto le gustan. No sólo es el mejor infografista con el que he trabajado. No sólo es un conoisseur de la info y la grafía, y la psicología y tecnología detrás de ambas. Es además un profesor único. Aquí se recoge un adelanto de su peculiar punto de vista, su ironía y su habilidad para hacer obvio lo oscuro, algo en lo que ha basado su carrera profesional y su aventura académica. Cuando todo parezca perdido siempre podremos exclamar: “Menos mal que nos queda Alberto Cairo”. Ahora, además, podemos ir a buscarlo a las librerías".
Xaquín G.V., subdirector de arte de Newsweek.com

"Desde su enorme experiencia profesional y académica, Alberto Cairo nos ofrece una visión de primera línea sobre la revolución gráfica en el periodismo visual. Un análisis imprescindible para estar al tanto de las nuevas propuestas en el diseño de información impreso y online".
Javier Zarracina, director de infografía de The Boston Globe

What is an Infographic?

The three elements of infographics will be the visible, the content, and the knowledge. The visual includes shades and graphics. There are two various kinds of artwork – concept, and reference. Theme artwork are included in all infographics and signify the main visual representation of the data. Guide artwork are often symbols that may be used to point to specific data, though they’re not always within infographics. Data and facts usually function as the information for infographics and may be purchased from any number of resources, including census knowledge and information reports. Among the main aspects of infographics is that they include some type of information in to the information that they’re offering – this is the knowledge.


Infographics are powerful for their aesthetic element. People get insight from all five of these feelings (sight, touch, hearing, scent, taste), but they receive significantly more data from perspective than some of the other four. Fifty % of the human mind is focused on aesthetic features, and images are processed quicker than text. The brain operations photographs all at one time, but procedures text in a linear style, meaning it will take a lot longer to obtain information from text. Entire business processes or industry industries can be produced strongly related a fresh audience through a guidance style process that leads the eye. The site may possibly link to an entire report, however the infographic primes the audience creating the subject-matter more accessible. Online developments, such as the significantly short interest amount of Internet people, has also led to the increasing popularity and effectiveness of infographics.

When designing the aesthetic facet of an infographic , several criteria must be built to optimize the effectiveness of the visualization. The six components of visible development are spatial, marks, relationship, enclosure, retinal homes, and temporal encoding.[4] All these may be utilized in its own method to represent relationships between various kinds of data. However, studies demonstrate that spatial position is the utmost effective way to symbolize numerical knowledge and contributes to the quickest and easiest understanding by viewers.[3] Thus, the makers usually spatially represent the most important connection being portrayed in a infographic.

Additionally, there are three simple provisions of communication that have to be assessed when developing an infographic – appeal, understanding, and retention. “Charm” may be the proven fact that the interaction needs to activate its audience. Understanding suggests that the viewer should be able to quickly understand the information that is presented to them. And eventually, “maintenance” ensures that the viewer must remember the info presented by the infographic. The order of significance of these provisions depends on the objective of the infographic. If the infographic is intended to communicate data in an fair way, such as for example in the domains of academia or research, knowledge is highly recommended first, then maintenance, and finally appeal. Nevertheless, if the infographic is being employed for industrial purposes, then appeal becomes most significant, followed by retention and comprehension. When infographics are now being useful for editorial purposes, such as for example in a magazine, the attraction is again most important but is used first by knowledge and then retention.

Nevertheless, the charm and the preservation may in practice be put together by the assistance of a comprehensible structure design. Lately, as an endeavor to examine the aftereffect of the layout of an infographic on the appreciation of the viewers, a new Neural Network based cognitive fill estimation technique was applied on different types of frequent designs for the infographic design. When the types of factors in the list above are taken into consideration when developing infographics, they could be a very successful and efficient method to convey big amounts of data in a visible manner.