Infographics

Infographics have evolved in recent years to become a means of mass communication; they are designed to reach a wider audience by simplifying complex subjects and arranging it in an easy to digest format, unlike other types of visualizations. Because of its simplicity and a compelling storytelling, it has gained a lot of popularity in recent years, and we can see infographics being shared all over the internet and social media.

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What is an Infographic?

An infographic is a visual representation of information and data. It takes a large amount of information in text or numerical form and then condenses it by combining elements of text, images, charts, and diagrams. It is an effective tool to present data and explain complex issues in a way that can quickly lead to insight and better understanding.

History of Infographics

Although infographics have only recently gained widespread popularity online, they have actually existed since the 17th century.

The Commercial and Political Atlas, published in 1786 by William Playfair, was the first example of modern infographics.

In 1983, a data visualization expert named Edward Tufte wrote a series of books about infographics. He also offered lectures and hands-on workshops on the subject.

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At the dawn of the 21st century, infographics transitioned into a digital format. With so many historic examples, Tufte’s teachings, and the emergence of the Internet, infographics seamlessly transitioned online.

It was around 2010 that they became what we know today – digital graphics designed to present complex information, usually posted on blogs or within articles on websites,  sometimes spreading virally.

Types of Infographics

Infographics come in various forms. They are categorized based on purpose, types of objects used and the flow of information. Not all infographics will strictly fall into a specific category. Most infographics will have elements of multiple types. The type of infographic that will be most appropriate in a given situation will depend on the objective of the data visualization.

Statistical infographic 

A statistical infographic puts the focus on your data. The layout and visuals will help you tell the story behind your data.

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Informational infographic

A informational infographic template is ideal for if you want to clearly communicate a new or specialized concept, or to give an overview of a topic.

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Timeline infographic 

A timeline infographic is an effective way to visualize the history of something, or to highlight important dates, or to give an overview of events.

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A process infographic is ideal for providing a summary or overview of the steps in a process.

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Comparison infographic

A comparison infographic is for when you want to compare options in an unbiased way, or you want to make one option seem better.

When to use an Infographic

  • Illustrating data: You can take data from surveys and make it more interesting than your average chart.
  • Simplifying a complex subject: If you’ve got a rather complex concept, and need a way to break it down quickly and easily, infographics are the way to go.
  • Making comparisons: Infographics are great at showing when two things are incredibly similar or different.
  • Awareness: Whether it’s related to business, politics or any other area, you can quickly raise awareness of a brand or cause with an infographic.

Infographics will continue to be used frequently by businesses, educators and the media, but there’s a good chance they’ll evolve like our technology does. Possibly in the future we may start seeing more interactive, as well as 3D immersive ones incorporated into virtual reality experiences.

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Paul Rand

Peretz Rosenbaum (born August 15, 1914, in Brooklyn, NY) would later change his name to Paul Rand and become one of the most famous and influential graphic designers in history. He is best known for his logo design and corporate branding, creating timeless icons such as the IBM and ABC television logos. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

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Early Life

On August 15, 1914, in Brooklyn, New York, Rand was born as Peretz Rosenbaum and was raised in a strict Orthodox Jewish home. Orthodox Jewish law forbids the creation of images that can be worshiped as idols, but already at a young age, Rand copied pictures of the models shown on advertising displays in his father’s grocery store, and violated the rules. His father frequently warned him that art was no way to make a living, so he decided to enroll him at Manhattan’s Harren High School. While Paul was studying there, his father agreed to let his son attend night classes at the Pratt Institute. Paul attended several art schools, such as The New School for Design, the Art Students League, and Yale University in Connecticut. Even with his rich academic career in arts, Rand developed his graphic sense through self-education.

Career

Rand began his career as a part-time stock image creator for a syndicate. Soon his class assignments and part-time job rendered him to assemble a distinguished portfolio. His work was highly influenced by Sachplakat, the German advertising style and Gustav Jensen’s works. During this time he also decided to camouflage his Jewish origin by shortening and modernizing his name Peretz Rosenbaum as Paul Rand.

Rand went and made a name for himself as an editorial designer, doing work for magazines such as Esquire and Direction. He even worked for free in some cases in turn for creative freedom, and as a result, his style became known in the design community.

Rand’s popularity really grew as an art director for the William H. Weintraub          agency in New York, where he worked from 1941 through 1954. There, he partnered  with copywriter Bill Bernbach and together they created a model for the writer-  designer relationship.

During the 1950s and ’60s, as American corporations were turning to graphic designers to create contemporary trademarks and consistent graphic standards, Rand became a prominent advocate of such visual-identity systems.

Rand’s career spanned seven decades, and in that time his graphic designs, teaching, and ideas broadly influenced several generations of American designers.

Rand’s Signature Style

Rand was part of a movement in the 1940’s and 50’s, in which American designers were coming up with original styles. He was a major figure in this change that had a focus on freeform layouts that were much less structured than prominent European design.

Rand used collage, photography, artwork and unique use of type to engage his audience. When viewing a Rand ad, a viewer is challenged to think, interact, and interpret it. Using clever, fun, unconventional, and risky approaches to the use of shapes, space, and contrast, Rand created a unique user experience.

It was perhaps put most simply and accurately when Rand was featured in one of Apple’s classic ads that stated, “Think Different,” and that’s exactly what he did. Today,  he is known as one of the founding members of the ‘Swiss Style’ of graphic design.

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Rand’s Work

Though best known for the corporate logos he designed in the ’50s and ’60s, it was his earlier work in magazine design and layout that first earned him international acclaim. The reputation Rand so quickly established for himself continued to grow over the years. He produced many extraordinary designs in the ’80s and ’90s. Here are a few of the most well known designs:

In the late 1930s he created covers for a series of design magazines, including Apparel Arts, Direction and AD.

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In the mid-1950s, Rand revolutionized book-cover design using abstraction, dramatic color combinations and his own distinct, thread-thin script.

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He designed many logos, among them the ones for Westinghouse, ABC and United Parcel Services in the 1960s, IMB in 1972, Cummins Engine in 1979 and for Steve Jobs’ Next      in 1986.

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Paul Rand died of cancer in 1996 at the age of 82. At this time, he was living and working in Norwalk, Connecticut. Much of his later years were spent writing his memoirs. Paul Rand will remain one of the most famous graphic designers in the world and his work and advice for approaching graphic design will live on to inspire designers.

History of Vehicle Graphics

In the last decade, vehicle graphics have transformed from an activity normally utilized by businesses with fleet trucks to a popular option for consumers and their cars, trucks, and SUVs. Companies have been using graphics to advertise on their vehicles for more than a century, and the first known examples of automotive advertising occurred around the turn of the last century.

How it All Started

In February of 1900, Milton Hershey became the first to use an automobile to advertise by painting his Lancaster, PA Hershey brand on a vehicle. Later, more embellished designs like Kolb’s Red Label Bread came to surface, incorporating different type faces and imagery. Originally, the only choice was to use paint, but soon something more durable, flexible, and with more design options hit the scene. Paint reigned supreme in the graphics world, and kept its exclusive place for over 50 years. But by the late 1950’s and into the 1960’s a new material began to emerge on the scene and changed the world of graphics forever: vinyl chloride.

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Vinyl for Advertising

At first, only large clients like the U.S. Air Force could afford to use self-adhesive vinyl graphics, but by the 1980’s vinyl production costs and die-cutting technology became affordable enough for small businesses to be able to letter their vehicles without paint.

By the early 1990’s, colorful die-cut vinyl had become the primary method of marking vehicles with lettering and logos for big businesses, while paint remained the choice for customizers and enthusiasts.

In the late 1990’s, new technologies emerged that allowed printing vinyl with a wide format electrostatic printer, but like die-cut vinyl before it, only the largest companies could afford to use it and its capabilities were extremely limited in design, color and image quality.

As the 21st century arrived, an advance in technology happened that not only made it possible for startups to purchase the equipment necessary to print on large format vinyl, but also to make the designs more striking than ever. With piezoelectric inkjet printers, large format graphic design software and computers that could handle over a gigabyte of data, the vinyl wrap was invented.

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Today, vehicle wrapping can be seen everywhere! The industry continues to innovate with better products, strategic printing and installation practices, and more sophisticated designs. If you’re interested in an advertising vehicle wrap for your business, contact Graphic Communications today!

 

Isotype

Isotype, short for International System Of TYpographic Picture Education, showed social, historical, biological, educational, societal, and technological connections in a “picture language,” as Otto Neurath, its creator, referred to it as. Originally called the Vienna method of pictorial statistics, he founded Isotype at the Gesellschaft und Wirtschaftsmuseum in Wien, Austria, in 1925. The team grew to a total of 25 people; it was comprised of the Data Collectors (historians, staticians, and economists), the Transformers (visual editors and conduits between the data collectors and graphic artists, the Graphic Artists (illustrators who drew the symbols and artwork), and the Technical Assistants (assisted in paste-up, coloring, and photography). Their maps, charts, and other visualizations helped people interpret complex ideas about Austrian life. Isotype’s lasting influence can be seen in infographics, computers, signs, and more.

Stylistic Attributes

The main unit in breaking down statistics with Isotype is the pictogram. An object would be simplified from its details to illustrate what its connoting. They functioned as repeatable units and indicated certain values. Gerd Arntz, who got hired at the Gesellschaft und Wirtschaftsmuseum in 1928, produced them from lino-cuts. Color palletes were limited, and they depicted certain details within the statistics. Great care was taken to ensure that the pictograms were distinguishable from one another and could be placed side by side in rows. Small variations can be made to them to give the pictograms a certain context, like a man wearing a cap of a certain industry. Perspective was not used in favor of single dimension. Their simplicity hides the labor it took in creating these pictograms.

How It Worked

Isotype’s most important feature was its ease of communication without the need of language. Economic and social events were visualized to be understood by people of all ages and backgrounds. Otto Neurath has described Isoype as a “language-like technique” characterized in the use of graphic elements. He believed that picture language was effective across a wide range of ages and that a good pictorial chart could speak as clearly to a young child as an adult. More or less was not represented by bigger or smaller symbols, but by less or more of those of the same size. Even if the content changed, viewers faced pictograms and charts drawn with the same design approach which enabled them to better understand the visual language. The themes of housing, social administration, and education were inextricably linked and many Isotype charts were designed to show such relationships.

Lasting Impact

The central themes which concerned the Isotype movement— housing, health, social administration, and education— were also taken up in later periods and in other countries. Health education, for instance, was taken up on an international front in the 1930s with the major publicity campaign to combat tuberculosis, which was promoted by the National Tuberculosis Association of America. Isotype’s pictograms reached a larger audience in the 1964 Tokyo Olympics as well, and the use of pictograms in international events increased. Today we see them on phones, in airports, maps, signs, and more. The Isotype movement has also had an impact on infographics, public space, and wayfinding. Its strongest influence is seen most clearly in the field of graphic statistics.

The Art of Big Signs

Large signs are everywhere we glance. At a normal viewing distance they appear to be small. Since signs are often surrounded by visual clutter, simplicity is the key to a good design. A simplistic approach such as one image, few words, and simple typefaces, works best.

The Art Of Big Signs

Edit your message. Keep it simple, so the sign is condensed to its essential minimum. A generous amount of white space (negative space) balances a sign with its surrounding elements and sets a clear stage for the message to be seen.

Start with a short headline. Think short and simple. One to three words is ideal. The fewer the words the larger the letter size can be. This allows for the message to be read and understood quickly.

Use clear images. Good signs have images that are clear objects with little detail and distinctive silhouettes.

Design for close-up reading. Most big signs will also be seen up-close. For this distance, signs can include smaller type and more complex graphics if needed. Informational signs are for up close reading, not for attention getting. They can be designed like simple over-sized pages.

Establish a look with a series of signs. A series of signs looks best when they all look alike. The size relationship doesn’t have to be psychically identical, but they must feel the same.

Sales signs or P.O.P. signs get attention and sell at the same time. Most sales or P.O.P. (Point of Purchase) signs are seen mid-distance and at close-up range. Such signs need to succeed in making the most effective use of space, color, images, and words. These signs must stimulate the buying instinct for shoppers. A good attention getting and visually harmonious design is critical for a successful sale or P.O.P. sign.

Announcement signs are designed for quick, brief attention, and are usually seen at mid-distance and up close. Use bold letters to establish a focal point with the headline.

Way-finding signs such as large highway signs or in-store directional signs are about giving directions. Highway signs are huge so they need to be simple with a clear typeface that has a larger percentage of letter spacing (see guidelines). This adds enough air between letters to easily distinguish one letter from the next.

Indoor signs must be read easily but can be more decorative and reflect its surroundings.

Why Offer Coupons
No one can resist a coupon! Coupons can be an enticing form of advertising. They are appropriate for all businesses, especially those with special promotions during the year. Restaurants use coupons to build traffic on a normally slow day, amusement parks use them to reduce the price of admission for people who buy their tickets in advance, and dry cleaners use them to lure business. They are versatile ads that entice people to take advantage of a sale, urge them to visit a new location, or reward them for shopping in your store at any time.

Coupons can be found in newspaper ads, stuffed into customer’s bags to give them an incentive to return, on a website for people to print out and redeem, or inserted into mailed publications. The disadvantage to coupon packs are that they can get lost in the pile. A bright and intriguing coupon can help avoid this.

Coupons are great to track advertising. Different offers or different designs, in various publications, will help track the ones that are working and which ones aren’t. Be creative and find a way to use coupons in any advertising mix that can help benefit your business. Include an expiration date on all coupons. Consider all possibilities in choosing a wise offer. A coupon that offers something for free will get the people in, but they may not return. It’s better to offer something free with an additional purchase or give a 50 percent discount on the purchase of one item.

Did You Know? The latest trend for large signs is solar powered LED signs. Improvements in efficiency of today’s solar panels, both in the amount of energy they can collect and the ability to store that energy, have led to an increasing number of sign related applications including solar powered LED signage which presents a greener choice for our environment.

A-Frames and Sandwich Boards


Do you want to inform your customers about the latest and greatest news that is going on with your business? A-frames and Sandwich Boards can come with changeable letter sets that allow you to change the written message as many times as desired. If one week you want to promote a sale and the next week a special coupon, A-frames and Sandwich Boards make it simple.

Benefits
A one-time purchase of an A-frame or Sandwich Board is an excellent solution to advertising different messages every day. Affordable A-frames and Sandwich Boards are geared towards helping your business get noticed! These signs fit any business type, whether it’s a restaurant that is advertising happy hour, or a retail store promoting a sale. You can reach multiple target markets with unique messages using a one low-cost investment.

  • Versatile and portable
  • Lightweight
  • Double-sided
  • Creates impulse sales
  • Attracts more foot traffic and vehicle traffic
  • Changeable letter sets

These signs are designed to be able to handle all weather types so they are perfect for the great outdoors. Businesses can put these signs outside and be confident that they will not be destroyed. They are a very smart investment when it comes to advertising, guaranteed to be durable and capture attention.

Maximum Marketing, Minimum Dollars
Advertising messages go anywhere and everywhere people do. The industry calls this alternative out-of-home or placed-based media, and it’s a bonanza for small businesses because there is something for everyone. While there are virtually limitless places to put your ads, here are just a few ideas to get you thinking:

  • Shopping cart returns
  • Dry-cleaning bags and hangers
  • Commercial restrooms
  • Vending cart umbrellas
  • Campus laundry rooms
  • Health clubs, spas and salons
  • Public tennis courts and swimming pools
  • Stadium and arena food carriers

Did You Know?
Businesses need to understand that impulse shoppers are out there and therefore, they should be merchandising their displays to target this audience. Keep in mind; if the impulse shopper is happy with their purchase they will be back and maybe even become a loyal customer. With A-frame signs and Sandwich Boards, you can be furthering your business and creating a prosperous future for yourself, as well as, attracting consumers who may not have intended to visit your store. If you put the time into using the right displays to get people excited about your offerings, increased sales are sure to follow.

Don’t Forget!
For your next project, let professionals help with concept development, execution, and installation!

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Reflective Advertising


During the night road signs, police car, fire trucks and ambulances are highly visible because their graphics are reflective. You can have the same extremely noticeable graphics on your business vehicles. The nighttime reflective graphics stand out at night and sparkle during the day.

Reflective Vinyl
Reflective vinyl is similar to standard vinyl because it can be cut to shape & applied to any non-porous surface but it has a metallic, reflective base that causes it to reflect back light when light is shone at it. Here are some advantages of using reflective vinyl for your vehicle signage:

  • Highly visible after dark
  • Captures attention
  • Long lasting premium vinyl
  • Able to cut vinyl to shape
  • Applies to almost any surface

Depending on your type of business, vehicle fleet travel, it’s locations and hours of operation, reflective vinyl may be an excellent advertising decision and investment.

Did You Know?
Not only does reflective vinyl graphics  decorate vehicles and promote businesses but, they also help prevent accidents. Reflective graphics will reduce the chances of collisions during the night by increasing visibility.

Don’t Forget!
For your next project, let sign professionals help you with concept development, execution, and installation!

Like us on Facebook at https://www.facebook.com/GraphicCom

Visit our website at http://www.graphiccom.com

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