I originally started out wanting to create an infographic on waffles, but I ran into a dilemma: what is there really to say about waffles? This is when I realized that there is so much to be said about breakfast. In this infographic, I wanted to build awareness that breakfast is essential for a healthy life and I also wanted to try and encourage those who don’t eat breakfast, to eat breakfast. Furthermore, towards the end, I wanted to stress that it’s not just eating breakfast that is important, but what you eat for breakfast.
I start my infographic out with a timeline, which I feel slowly invites people in, especially when they see the “Eggo shortage” point. After I get my audience’s attention, I share the statistics of the percentage of people who skip breakfast by age groups. These statistics are then followed by what percentages of those skippers are obese. I believe that these statistics alone will shock and draw attention to the changes that need to be made. Towards the end, I have “building blocks” about nutrition, followed by lists of ways to create, and help any individual stick to a healthy breakfast. I think these all flow together to help support my goals in educating the world about a healthy breakfast.
I think if I had to write a paper on this topic instead, it wouldn’t be as inviting or as easy to understand. I wanted to show statistics, but not in a way that was boring or repetitive. However, this assignment did pose some challenges and issues. First, Piktochart separated everything into blocks which allowed for a lot of issues to occur when attempting to move things around. Second, it offered a limited amount of icons that didn’t really apply to my topic. For instance, after we spent a whole class deciding that a coffee cup would suffice for my chart, I had come home and I did not have the coffee cup available any more on my screen (for reasons unknown). In my other chart, I had different color circles represent the amount of favorite breakfast foods, yet Piktochart made the key displayed as boxes. While I was able to cover these boxes with my own circles, this was a lot of unnecessary work that could’ve been avoided if Piktochart created a better presentation.
In the end, I think this might’ve been easier if I was a designer with some experience on how to put things together in a way that creates a good flow. However, as an experienced writer, I think I was able to create a good piece of writing. A piece of writing is about good content and the presentation of it, not just one or the other.
Before I even started putting things on my infographic, I realized that Piktochart was already separated into blocks, which made it easy for me to think about it in terms of grids. As Lupton writes, grids “break space or time into regular units,” (p. 151). On each block, I tried to figure out how I could create grids. For example, the title and explanation (at the top of my infographic) is broken into two grids, while the one that follows (the timeline) is displayed in one grid. I tried to alternate grids to create a better flow, but it also depended on the type of information I planned on displaying.
The information I used in my infographic varies on how it needed to be displayed. The timeline is a great example; it needed to be displayed in a whole block to show the distance of time from year to year. Furthermore, it was shown across the page, because according to Tufte “reading across describes sequence of movements,” showing the movement of time from left to right (p. 33). I originally had my timeline going downwards, showing movement from an older year to a newer year, but I decided to change it as it didn’t match our metaphor of time. As humans, we often view time as across the horizon, moving towards one year and away from the other.
In the next grid, I display two statistics, which were crafted around both Tufte and Lupton’s theories on information design. Lupton writes that “design and text gently collaborate to enhance understanding,” (p. 7). I put the percentage in a circle and had it displayed larger than the text it collaborated with in hopes that it would draw more attention to itself, and I believe this technique worked. The number and the text are not directly together; instead the text lies parallel to the number, but in a way that is not directly connected. As Tufte argued, most graphics that have nouns are connected by arrows or links, because “the evidence in variation in connections is stronger than evidence for sameness,” (p. 79). From this, I was able to pick out an arrow/link to connect the two together that provided a strong connection without distracting my audience. When I first came to these two statistics, I wasn’t sure how to display them. Originally, I had just thought that by writing it out as “22% are obese”, it would come off as boring and ineffective. I had remembered how I once read statistics in a magazine that was similar to the way I presented it, and then I recalled the theories presented by Lupton and Tufte, which were right on point. Tufte claims that there should be “no distinction among words and images” (p. 49), and I think by using arrows and links, there is no distinction between the two, at least in this case.
Next to this grid, I show more statistics; the percentage of people who skip breakfast, varying from male and female and from age group. This was originally displayed in a bar graph, which was what Tufte defined as chart junk. It was chart junk because it took information and made it into a bunch of junk that really had no effect on my audience. As Tufte argued, mapped pictures should “combine representational images with scales, diagrams, overlays, numbers, words, and images,” (p. 13). In this grid, I attempted to do just that. I used the icon of a plate and utensils to display a certain percentage of people. This is what Tufte refers to as a sparkline, or a “data intense, design simple, and word sized graphic,” (p. 47). By displaying this information in this way, instead of the original bar graph way, it provides a greater level of understanding.
Understanding is the main goal of any piece of writing, so it’s important to involve metaphors in the way information is presented, as that’s how humans relate to things. In the next section, I used a squiggly boarder to make the grid appear as a chalkboard. Inside of the “chalkboard” I put blocks, and labeled them as “the building blocks of breakfast”. I thought that this was a dead giveaway to the metaphor of building up your life to a great one. Furthermore, I really wanted to incorporate movement arrows in among these blocks, to show the relationships of the blocks. Tufte argues that “important comparisons among images should be pointed out by arrows, labels, and other methods of directing attention,” (p. 45). I added the circular arrows and other arrows to draw attention to the importance of each, but also to show the relationship among them.
In regards to relationships among the design, the text relationship to the design further enhances understanding. Although I was limited to the types of fonts available, I made sure each font correlated to the words. As Lupton writes, the goal is “to find an appropriate match between style of letters and the specific social situation and body of content that define the project at hand,” (p. 32). In other words, I viewed each portion of text as a human. Lupton claims that “words originated as gestures of the body” (p. 13) and that they give “language a physical body” (p. 13). I selected certain fonts depending on how they appeared, much like how we judge humans on how they appear. Furthermore, Lupton argues that the contrast between big and small type “creates drama and surprise,” (p. 45), so I attempted to use this technique to my advantage at certain points in my infographic. Overall, I think it’s safe to say that without Lupton and Tufte’s information design techniques, I may not have created a beautiful infographic that enhanced understanding on healthy breakfasts.
Lupton, E. (2010). Type (2nd Expanded ed.). New York, NY: Princeton Architectural Press.
Tufte, E. (2006). Beautiful evidence (3rd ed.). Cheshire, CT: Author.