JASONLANKOW1JOSHRITC HIE1ROSSCROOKS o ColumnFh' @ Wll.EY Jobn Wll ey & Sons. lnt. Copyright 2012 by Column Fivc Media. Al! rights rcserved. Published by john Wilcy & Sons, lnc.,Hobokcn,New jersey. Published simultaneously in Canada. No pan of this publicadon may be rcproduced, storcd in a rctricval system,or trans-mitted in any form or by any means, electronic, mechanical,phorocopying,recording, scanning,or otherwise, cxcept as permitted under Section107 or 108 of che1976 United Sta tes Copyright Act, without cither the prior wrirren pcrmission of che Pub-lisher, or auchorizationthrough paymem of the appropriatc per-copy fcc to che Copy-right Clcarance Ccmer, lnc., 222 Rosewood Orive, Danvcrs,MA O1923, (978)750-8400, fax (978)646-8600,or on che web at www.copyrighc.com. Rcqucsts to the Publishcr forpcrmission should be addressed to the Permissions Dcpartmem, john Wiley & Sons,lnc., 111River Strcet, Hobokcn,NJ07030,(201)748-6011,fax(201) 748-6008, or online at http://www.wilcy.com/go/ permissions. Umit of Liability/Disclaimer of Warramy: Whilc thc publisher and author have used their best efforts in prcparing chis book, thcy makc no represemations or warramics with respect ro thc accuracy or complete-ncss of che comcms of this book and specifically csclaim any implied warramics of merchantability or fitncss fora particular purpose. No warranty may be created or ex-tended by sales represcntativcs or written sales macerials. The advicc and strategies comained herein may not be suitable for your siruation. You should consult with a professional whcre appropriate. Ncithcr che publishcr nor author shall be liable for any loss of profit or any other commercial damages, including but not limited to spe-cial, incidental, conscquemial, or other darnagcs. For general information on our other products and services or for technical suppon, pleasc contact our Customcr Care Depamnem within cheUnited Scates at (800) 762-2974, outside cheUnitcd States at (317)572-3993 or fax(317)572-4002. Wiley publisbes in a variety of print and electronic formacsand by prim-on-demand. Sorne material included with standard print versions of this book may nor be includ-ed in e-books or inprim-on-demand. lf this book refers ro media such as a CD or DVD that is not included in thc vcrsion you purchascd, you may download this mate-rialat http://booksuppon .wilcy.com. For more information about Wilcy products, visir www.wilcy.com. ISBN 978-1-118-31404-3 (papcr); ISBN 978-1-118-42006-5 (ebk); ISBN 978-1-118-42159-8(cbk);ISBN 978-I-118-43164-1(ebk) INTRODUCTION The worldaround us is changing.The InformationAgchasfundamentally changed the way wc think and communicatc. Wc arenow aculture thatthrivesonlcarning and sharing- muchof this isfacilitatedbythcincreasingubiquityof socialmedia. This influx of information needs to beconsumed and processed,whichrequires new methods of communication.Infographics,inmany diffcremforms,areat the fore-fromof thisncw way of thinking. Thevisualizar ionof information isenablingus to gaininsightandunderstanding quicklyand cfficicmly,utilizing thcincrcdiblepro-ccssingpower of thehuman visualsystem.Accessingand harnessing thispoweris not only valuablc,but nccessaty,as we navigatcthe vast amoums of data prcsemed to us daily. This is an cspecially prevalcnt need in the business world.Consumcrs are increas-ingly cynical with regard to advertising and marketing cffons, an attitude whichbor-ders on callous.In order to communkate their messages, brands must appealro con-sumers in anew way.Hard-selladveniscmcms areno longer cffective.Brandsnow ncedto provideaunique valucto thcir audiences,bcyondthe propositions of their producrs and services. This valuc comes in the formof information presemation.In order to build and engagc an audience, an increasing number of companies are find-ing success in taking cues frompublishers-prcscming purcly editorial coment with the aim of informing and entertaining readers.How do infographics fit imo this pie-cure?With amassivcamount of comembeingcreated and distributed dailyonthe web,it has bccome muchmore challenging to catch and keepthe attcntion of vicw-ers.Infographicsprovide aformarthat utilizcs cngaging visuals that noronly appeal to an audicncc hungty for information, but al so aidin the comprehension and retcn-tion of that material. "The aim of the poet isto inform or delght,or to combinetogether,inwhat he says, both pleasure and applicability to life. Ininstructing,bebrief inwhat you sa-yin order that your readersmay grasp it quick-.. ly and retain it faithfully. Superfluouswords simply spill out when the mind is already full." Horace (Epstolas Ad Pisones De Ars Poetica) Though this was wriucn over 2,000 years ago wich rcgard co the role of t he poct, cvcry business canbencfit from chis timeless wisdom as it pcrtains coany communi-cation.Whecher you are informing, delighting, or both, succinct messaging that pro-vides real, imeresting knowledge co consumers is not only che new face of marketing, but of any brand commurcations. ABRIEF HISTORY OF INFOGRAPHICS THE PURPOSE OF THIS BOOK WHAT THIS BOOK !S NOT ANOTE ON TERMINOLOGY HOW TO USE THIS BOOK ABRIEF HISTORY OF INFO-GRAPHICS The design of information isnothing new.From che earlicst cavepaimings to mod-ern-day data visualization, humans have always utilized graphic depictions as a rcpre-scmation of information. Their cfficacy has been preven asfar back as thc Victorian Era,as cvidenced by che infographic in Figure 1.1,created by Florcnce Nightingale to show the causes of monaliry of the British Army during the Crimean War. This was prcsemedtoParliamem,whohadpreviouslybeenunresponsivctoconccrnsof health and hygiene of che troops, and brought about a new way of thinking about the sprcad of discasc (Kopf,p. 390-392). Figure 1.1: Diagram ofthe Causes ofMortality in the Army inthe East. Florence Nightengale . ... llu.&J\AM: ,.,., eAUU S orM&R'VJ,JU Uf TM A.RMY IM 1Ml f.A$T tt'tA..,_,....J., Hw-A-.J.fu _._...'-

.. ........,_,_.,,.._.__......... .....y... _,;.,_,.._._,..t4t111MW*-.UAJ.#- .. A1,ftt'tl ii.I&N-t .u._ .."..'*"'-JJ,J,IJI;-.y.t.4.o..Mw 1.&.-'II ,.....,_Mw,.'Al'"fl: !!S.aoXAI\tJI .lii.U:.Theywcrcpopularizcdforeditorialuseinchelace1930s andearly1940s,wich Fortunemagazinebeing oneof the mosc well-rccognized early purvcyors. These illus-cracionsinFigure1.2arechecmbodimem of cruecraftsmanship,characcerizednoc only by an iconic style,buc painscaking ancncion co dccail. Figure 1.2:Fortunc magazine infographics. Back to page 27Page 11 ALTJl OUCU TOJt)l!X"''80 liY lf'fSUI,llliTY. DlSAfPOINTRO Jl\...OR,LD At:VOLOTIOS. IrRJCIJ) IN 'fUBOR;Y, rNCON$1ST"t.NT JN 'fETBOD. TUi SOV18T liXJO;\CROWS 1.\RCBR Page 122 pages left 1nthls chapter

..._... __.... --... -------_..... ___ _ .......--- ......--- ,,_.,..,_ __,.. ___.. ____ _ ____ ...... _ __ .... _.. __ Back to page 27 SOY!IT IECIJIIIICS...... - .. '. .. ' .. Page 13 SOVIETGJOWTB -..-._.....,_ 1'\o.......... ., ._ ....,411L................. _1 "'o- ..... ___ .. _... _...... ........ _.... _ti,._ O ...MI);. " . ........... ,...... .. _ _OU.v ..__ tbl' :.-..,......a...._ __ ......._....,.. CtKCKftOIIt IMAIL1 .... VOUIItDUK. a......,.,.._, ....,....,_....,_..,_..... t.W .... .. ...,.... ,..."'_"'-'_,_.,Wifn,.,..........._ .._,............ .. ................ 1 Page 223 pages left 1nthls chapter Qualitative Graphic Elements Anything nonnumcrcal,this canlnclude both information and illusuation. Quantitative Information Informationthatinvolvesameasuremem of anykind,cypicallytaking anumerical form (Figure 1.4). Figure/A: Example ofquDJIIilali>"< infonrvuion display. Back 1pagel p 23

1ll.I.UI!'rHA'I' IONOF'TliETCU:OlU'OF RADICt\l,S. = ...__ ......... - toouru = a ................. ._...... .o. .,........,... ..... t,Crt .. = lh'tn..._,_ .,. .Arun.&. ........TUEOIIYOFC'UE.\JIC.\LTYI'ES-I>OCTRD.'EOFSUDSTlTOTlON. o ... ........ :1""--.0.ylt ..,.,... .. _.t .. :;.,....... DowI..UUllL o 'riiiQJtYOf'L'AIIHNQ-EX..Uil'LEOt'COOJ."LEDACIDS. 11 =. = 11 ...... l"'-".,. rvn'" --Page 241 raoee11 Narrative An approach ro information desig,n rhat secks ro guidc rhe viewcrs rhrough a selecred ser of informationrhar rclls a story. This is bcst used forinfographics thar communi-carc valuc judgmems and are dcsigned ro lcave rhc vicwers wirh a specific message ro rakeaway. Back to page 27Page 25 HOW TO USE THIS BOOK Thcre are countless applicarions forinformarion dcsign and visualizarion inrhe busi-ness worldtoday.However,rhe needs of each company are uniquc, so it is ncccssary rocrearecusromsolurionsrosalvecommunicarionproblems.Wchavcsrrucrurcd rhis book ro enable youro consume and lcarn rhc informarionrhar is relcvanr ro your ncedsandgoals,whilcgiving yourhcfreedomroleavebehind secrionsrhar donor apply. Youcanrhink of ir asa resourcero rcfercnccregularly,asyou idemify necds and scek opporruniries fornew applications. justas one designs a visualizarion based on the information ir displays, so should you craft a visualstraregy to firyour compa-ny's needsand opporrunirics. Thisbook servesasa guiderorhese varioussaaregies and applicarions. Wc'vc ourlinedrhebook'ssrrucrureinrhissecrionro give you an idea of what ro expectineachchaprcr.Youcanuserhisro determinerherclevanceof a particular chapter ro your company. Whcnin doubr,please explorea chaprer furrher. This isa greatwayroidemifynewopporruniricsforvisualizinginformarion,andcanhelp evolve and rransform your overall communicarion and marketing srraregy. Sorne scctions of rhis book will be esscntialreading in arder ro undersrand rhe un-derlying conceprs thar will be discussed in furrher derail wirhin each application. Howevcr,you canread(or nor read)orher chaprersbased on your imcrcst and/or need.The applicarionschaprerswillcontain sorneexamplestharyouwillfmdrele-vanr,andsornerharyouwillnor.Wedocncourageyouroexploreevenrhoscrhar might nor apply ro your current nceds,as rhcse chaprers can also providefreshideas forusinginfographicsinnew srraregies.And of course,younevcrknow whcnyour needs are going ro change. The following are brief explanarions ofwhar you can expecr from cach chapter. ESSENTIAL READING CHAPTERS Page 263 pages left 1nthls chapter CHAPTER1:IMPORTANCE AND EFFI-CACY: WHY OUR BRAINS LOVE INFO-GRAPHICS This chaprer willprescm thc sciencc bchind thc efficacy of visual communication and will cxplainhow best touseit.Whilethe valuc of visualization can secm somewhat intuicive in cenain senings, it is important that we understand cxactly what makes it so effective in ordcr to execute properly. We look at the various objectives one might have in creating aninfographic,and establish correspondent priorities of the various values infographics provide. CHAPTER 2: INFOGRAPHIC FORMATS: CHOOSING THE RIGHT VEHICLE FOR YOUR MESSAGE This chaptcr willexplorethc various formsthat information design and data visual-izationtakc,including static,imeraccive,and motion graphics.We'lldescribeeach formar in dctail, and cite sorne applications whcre it may be u sed. CHAPTER 3, 4, 6, AND 7:APPLICA-TIONS These chapters willaddressthe varioususes of infographicsinthe business world. Chapter 3outlincs The VisualStorytclling Spectrum, aframework by whichwccan consider thc following thrce applicarions: Chaptcr 4: Editoriallnfographics Chaptcr 6: Brand-Centric lnfographics Back to page 27Page 27 Chapter 7: Data Visualizacion Interfaces Wewilllook at each applicarionas an opponuniry tomoveaway fromrhe status quo byshowing youhowto creareengagingand intelligem visualcomem.Inarcas whcre visualcomem is fairlycommon, such aspresemacions or dashboards, we will consider sorne of the opponunicies ro improve and innovare with your comem to en-sure that your visualizarionsprovide clariry and excite your audiencc. CHAPTER 5: CONTENT DISTRIBUTION: SHARING YOUR STORY Inthis chapter,we will discuss the bcst approachto spreading your comem farand wide.You'renot doneonce you'vecreated great visual comem; youneed peopleto see it,too. Herc we will discuss thc strategies involved in distributing and promoting yourcoment usingsocialmediato make surcpeoplesceit- and,more imponant, share it. CHAPTER 8: WHAT MAKES AGOOD IN-FOGRAPHIC? This subjecrive and controversia!topicishigh on our FAQ!ist. Therefore,this chap-ter will outline a critica! framework by which we can judge information design across various applic.ations. CHAPTER 9: INFORMATION DESIGN BEST PRACTICES This bookisnot imended tobeaninstruccionalonhow to designinfographics,but rathcr how to best apply themto your communication stratcgies. However,it is ncc-Page 281 page left m 1hos chapter essary chac yo u have a sound understanding of che basic principies of information dc-signif youare goingto beinvolvedin cheproductionprocesswith adesigneror in chepublicationproccssasaneditor.Assuch,Chapter9willgiveyouacursory knowledgeof the dosand don'ts of infographics,so chat you can idemifycheirmis-use and guide che process of making chem imeresting. informacive, and cffcccive. CHAPTER 10: THE FUTURE OF INFO-GRAPHICS It is essential in allarcas ofbusiness ro stay ontop ofche latesctrends and technolo-gies.The world of informationdcsignis no differem,especially as itrelatesco your particularorganizationandindustry.Thisfinalchapterwilllookacsorneof che emerging applicacions of infographics in che not-so-discant future. Back to page 27Page 29 CHAPTER 1 IMPORTANCE AND EFFICACY: WHY OUR BRAINS LOVE INFOGRAPHICS InDe Architectura,RomanarchicectandengineerVitruviusstateschatchereexisc chree scandards to whichal! structures should adhere:soundness, utility, and beaury. Incheir paper, On the Role ofDesign in lnformation Visualizatwn,auchors Andrew Vande Moere and HelenPurchase poim out chat chese standards can and should also be ap-pliedcoinformationdcsignandchevariousapplicacionschatservethispurpose. Thcystatechatagoodvisualizacionshouldbesound;thatis,chede.sign'sform should besuitablc forcheinformarionit depiccs.It should be useful,cnabling the viewerco derivemeaning fromit.And of course,as wichalldesign,irshouldhave aeschetic appealchat anracts che viewer's attencion and provides a pleasing visualex-perience. This framework provides a salid basisthat anyone can use to judge che valueof vi-sualization.However,wc willuse aslightly differem caregorization forthc purpose of discussingthepositivc effcccsof infographics.Wewillreferrobeauty as appea/, and divideutility into thc arcas of comprehension and retention-asthese arechethree basic provisions ofall effeccive verbal or visual communication mechods: l. Appea./ Communication should engage a volumary audiencc. 2. Comprehension Communication should cffectivelyprovideknowledgethat enables aclear understanding of che informarion. 3. Reten/ion Page302 pages left 1nthls chapter Communlcatlon should impan memorable knowlcdge. Wewilladdresslhcnccdrohavcasound designonamorepracticallevelin Chaprer9(lnfonnationDcslgnBestPractices)when we discussprincipiesforlhe practice of information deslgn. lmagesand graphics should alwayslookappealing and encourage viewersro en-gage inrhe conrent. ltls important lhat we examine why this is lhe case and identify lhe primary clcments that lcad to this appeal. This is certainly lhe first and porential-ly mosr challcnging srep in convcying amcssage:getting lhe redpienr ro commir ro hearing what yo u have ro say. Peopleha ve long acccptcd lhe notion lhat a picture can replace alhousand words, and similarly,lhat a simple graph canreplace atable full of nurnbcrs. Basic visualiza-don allowsusto immcdlately comprehend amessageby detectingnotable panems, trends, and outliers Inlhe data. This chapter wiUlook at how visualization acllleves lhis featso easily whlle olher forms ofcomrnunication fallshorc. Furlher, we'll determine how wecanmakclhose visualizationsmore memorable. The democrarizationof media,espcciallyonline,hasgivenus agrearvariery of op-tionsrhat we can usero consume our news,videos,and funny pictures-and general-ly educare ourselves onmyrlad copies.However, thc downside rolhis exponenrialin-crease in stimullls that wc tcndro lose much of chis knowledge shorcly afrer we gain ir.Whileno one s houldlamenr forgertingamediocreLOLcar,irpaysrobememo-rablc-cspecially in the business world.Fortunatcly,connccrionshave been madc re-cently berweenthcillustrativc elemenrs of graphics and lhe rercntionrarcsof thc in-formationdisplaycd-andthesc connectionscan helpusal!figureout how ro have pcoplcrcmcmber our material. Thischaprcrwlllalsodiscussthcfactthatinformationdesignlendsirselfro achicvingthcsc objectlvcs, and willscck toundcrstand cxactly how and whyit docs chis,bascd onthewayour brains proccss information.Wewillnorbe gcrting imo roo much heavy science; ralher, our main goalis ro understand which elements ofde-signhelp us reach our spccific communication goals,and ro leave behind thoserhar do nor.For mis wc willleanheavily on severalkey workslhar have covercd me sci-enceof visualizationexhaustively,mostnotablyColinWare'slhoughrfullywrinen Informal ion Ptruption for Design. Back to page $ TO OO.WM.III ICATE INI'OfiMAliOIC oSUJ($ TOPI'tAL TO VIEWUI WITH YI$UAI.$IN TNE MOST CLEAII, CONQ:SE MAHNER INF()RY.$ A)ll) EN1ERTAINS 4PPliCAfiOII$ f'U8UCATIONSSCIENU oBLOGS8USINESS lltlElUGENCI COifWff MAEtkETUfGDAtA AliAU'SISo Figure 1.1: Example ofexplorative graphic approach u.sing minimalist design. Back to page 27Page 37 .. /\ ,"'\ /\ - .012/ \, Haw l'otk Stock Prlcts, \ - .DIO / ' ../ \o --- / - \ -.008 \ 168 - \500o D

\ - .006/..164 u -/\ \ 450 " - .' \ ::-.004......./ \ \ 160 .. l( '- --o.........,_ ___. 4()0 "'g \ - .002lcndoo Stock Prlces156 _, .2 350 .:> ' Normal \ !52 +.002' \ 148 Jon.Fob.Mar.Apr.MayJaooJulyAAIJ.Sopt.Oct.Nov.Dec. The work and wricing of Britishgraphic designcr NigelHolmescharaccerizesche opposite end of che spearum, which supporcsrhe heavyuse of illusrration and deco-racion to embellish information de.sign(Figure 1.5).Holmes isbese known for his il-luscrationofeditorial'"explanationgraphics"inTimefrom1978to1994. Theper-specriverhatHolmcs'worksupporcschenocionrhatusingillustrationandvisual mecaphorcosuppon and reinforce the copie makcs chegraphic appealing to viewers. Recemstudics show that these decorativeelements can also aid in cherccentionof che informacionpresemed, whichwe will examine lacer in rhe chapcer. Figure1.5: The Tipsy Turvy Republic ofAlcohol. Nigel Holmes. Page 381 page left '" 1h1S chapter -Thc Ti)' 'rurvy Republic of Alcohol -= - = -- ... ......::. t=.... - -=J:: - , . =- - - ~---- ...1 -- ------- 1 --- .~:::....:=. --=--;==: ,-- :='!"'-= ' --- .. tfl =.:::- - --- ====:-..:: ==- ~ . --- 11= ...... ... e::-- .__.._- 1:: ':... ..... ==--=-=---()--=----.:::.... .. '-="'---- ="' -.. -- ~ = . - . ~- -- ----- -- .. ---- ... --------:..e;: So which is the correcc approach?Both are.What peoplc often overlook inthese debatesisthemostcentralissuetoanydesign:theobjecrive.WhileTufteand Holmesmight wam co represem che exact same data set,they likely wouldbe doing it forvery differemreasons.Tufte would aimcoshow 1he informationin thc most neutral way possible, 10 encourage bis audience 10 analyze it withoul bias. Converse ly,Holmes's job is co edicorialize chemessage in ordcr coappealco che vicwer while communicating the value judgmem he wams readers to cake away. Tufte's communi-cacion is explorative; that is,it encourages che vicwer to explore and extrae e bis or hcr own insights. Holmcs's, on cheothcr hand,is narrative,and prescribesthc intcnded conclusionto che viewer. The differcnce is inherent in their arcasof work,as the ob-jectivesof scienceandrcsearcharemuchdifferemthanthoscof chepublishing world.There'snonccdcocstablishauniversalapproach10governal!objectives; rather, differemindividuals andindustriesshould dcvelopbesepracticesunique10 each applicacion's specific goal. Back to page 27Page 39 OBJECTIVES OF VISUALIZA-TION Of course, we musl first look at whal each infographic istrying to achievebefore we canestablishthcbesepracricesforitsapplication.Bydefinition,allinformation graphics are aimed at communicating information. What vares is che purpose for do ingso-and understanding lhispurpose iswhal determinesagraphic'spriorities. These priorities accoum for a necessary difference in approachcoeach design. For example,if aninfographicisimendedcocommunicaceinformationinthe most clearand unbiased mannerpossible,thenchefirstprioricyforthe designer is compreheniotl,then retmtion,followed by appeal(Figure l. 6). This is common in acad-emic,sciemific,andbusinessintelligenceapplications,asthese arcas typicallylack any agenda aside from conveying and having viewers comprehend knowledge. Appeal isless necessaty inchissetting,ascheviewermosttypicallyneeds cheinformalion and seeks it out asarcsult.Appealis onlyuseful when it kceps cheviewers'anen-tion co enable furcher comprehension. Such agraphic typically would be used as a re-sourccforinformalion- whichis why relentionisalso asecondarypriority.Ifche viewerneeds theinformation andit isareadilyacccssibleresource,thcnhe or she can revisit itas necded co retrieve it again. There's no necd for it to take up any more valuable brain space than nccessary. Figure1. 6: 1nfographic priorities by application. Page 402 pages Jeft 1nthls chapter 1 COMPREHENSION APPEAL 1 Key RETENTI ON Acade mi c/Sci en ti fi e Marketing Editori al However, a graphic creatcd with a commercialimerest in mind will have much dif-ferentpriorities.Brandsprimarilysecktogetviewers'attemionandevemually Back to page 27Page 41 (hopefully)conven those usersinto paying customers. Asevidenccdby Super Bowl commercials,companies will go to almost any lengthto get this anemion. The order of priorities of a commcrcialmarketing graphicwouldbeappeal, retention,andthen comprehension.Brands are lookingto catchviewers'anendon andmakca lasng im-pression- whichusually mcans that viewcrs' comprehension of comem is frequemly thebrands' last prioriry.The exceptionto thiswouldbe infographicsthat are more focusedenthcdescriptionof aproductor service,suchasavisualpressrelease, since designersin these cases would want the viewcrto clearly understand themate-rialasitrelatestethecompany'svalueproposition.Howcvcr,beingappcaling enoughto prospective customers to get them te listen is always goal number ene. Publishersthat creare editorialinfographicshavea slightly differemmix: appeal, comprehension,andretention.Sincetheappealof amagazine'scomemiswhatwill make it flyoff the newsstand,it shares this top prioriry-improving sales-with com-paniesinotherindustries.A publisher's survivalis based solelyuponits abiliryto sparkreaders'imerest. The quality of comem or graphicsproduced en a consistent basishelps drivethisimerest by making a strong impression en readcrs- and this is where comprehensioncomesinto play. A publication's qualiry isbascd en thc comcm itproduces,whichisimendedte helprcadersunderstand agiventopic. Howcver, whcther or not thereader canreca/1that topicwiththe sarnc leve]of understanding ene weeklater is of littleimponance te apublishcr's bottom fine. The common de-nominatorbetweencommercialandeditorialimercstsisthattheybothdesireto compel thc consumer to take a specific action. Page 42No pages left In lhls chapter APPEAL In 2010, Google CEOEricSchmldtfamouslystated that we now creatc moreinfor-maton intwo daysthan we created from the dawn of manup untiJ 2003. This stag-gerngstatistic obviouslynecessitatesclarificatonof whatconstrutesinformation and its crcation. Regardless, themessage is clear and uncontested:humanty is creat-ing and consumng (armore lnformaton than it ever has before. As aresult, it isin-creasingly difficult to get people' s attcntion, since they're constandy bombarded with various stimuli throughout the day-material that ranges frombreaking ncws to fun. nyphotos roFacebookupdates. Marl-z PASS I VE Onc advamagetothisimernal-use-only,brand-cemric repon is that youare com-municatingto asmallcr audience-likely agroup that youknowwell.Bccauseyou don't have to think about how complete strangers will receive the message, you don't Back to page 27Page 77 have to worry as much about emotional or mass appeal; you just havctothink about howto appealto theinvesrorholdingyourpurse strings or thepcrson who signs your paycheck (no pressure). The ultimare goal here is to give a clear, easy-to-digcst explanation of the informa-tion that you need to sharc throughout your organization or to a trusted group of in-siders. As yousaw inthis chapter's imroduction, the ourput of astatic image atagiven poim intime does not necessarilymeanthat theunderlying information isfixed or manuallyinput,because wc can creare an interfacethat allowsus roprocess an up-to-the-second static snapshot of real-time data. Youcouldrun these reports atnter-vals of every minute, day, or momh. Anexample of this would be ananalytics repon withannotationof milestonesandcompanyevemsthatprovideexplanationsfor spikes and dips intraffic or convcrsions. lt wouldn't require muchmanuallabor(de-pending on your analyrics platform)to simply run anupdatedrepon each momh for your boss or your own reference. The key takeaway here isthat whiletheunderlying datais not permanemly fixed, the ourput-or presentarion of it- isastaticsnapshot of thc dataat aspecificmo-mem in time. The advamage of this approach is that you cantell a story (for intcmal or externa]purposcs)that shows thc data as of aparticular date or withinyour de-sircd date ranges. The disadvantage isthat the viewcrmight not necessarily be able ro gct acccssto refreshcd information inreal-time,and mightnot realize that more currem informa-tion isavailable. A static infographicwon't be enoughforlargegroupsthat require access to real-time information. lf you have such a need,yo u will either need to build aninterface that allowsmultiplepeopletoprocess and output updated information imo reporrs,or at Ieast have asysrem forensuring that people know how ro fmd up-dated information. Becauseusingthcstaticinfographicasanimernal,brand-cemricpieceismore likely to be narrativcthan explorative,you want to cnsure that the information flows in alogical ordcr to tell your story (Figure 2.4). This repon likely would bebest cre-atcd in landscapeoricmation so that it also couldbeused in aprescmation deck,al-though you could certainly create aPDF in portrait layout. This might sound ciernen-Page 7811pages left 1nth1schapter cary, bue it is accually a vecy imponam early consideration. Figure 2.4: Example ofbrand-centric report for interna/ use. JOEYDONUT'SYEARIN REVIEW SAI.ES$292,200.00 AlfrtU.. UII[VUHIC: tY DOIItllllP! SPitJIKU$SU ,SU$10,1U J. 8UACUW540.752 J. OIOfASIIJ:III'O W.l1& tli$1 QAl$l){tlr\ll SAIU '" ,.. " '"' ,,. ....... '"' ... flll "" '""'" .. "JAMIIlUO SSM40 ... lriOMOILY OOI'tUT SAl l S 00111\11 UHS I:JY HH "''"' . "" IWUQAR 24t> SI'RIN!I:ll$ "" J.,llii FJI.Ltb-111,. "'"""' -'"' OlO.FASHIOIEO2011NJ(jtu.sr PUifO.flltUIMAKlt.Ut U3.504 o 1.100,000 t OWUT PltfOIIIfEit OlDfASNit'4,lf\Cif'lll.OCO .., ..Clh&eout YO\I' f'liMII"'" folkrw --ff PCI MAC NEITHER* .._ 521t .. 111 IEOPU lllllliiiWlY-Page27 pages leftlhls chap CORE OEMOGRAPHICS - PERSONALITY Back to page 27 PC people are9k81y lt'll" Moe poop. 10be egu 35-41. !oll'tbof PC hen: complried rout..,... co1efto dto;ree or Hghotr. Pe'"'.,...,. to prerer tltlfftg In w.00olo,.. llbo ... .l '>''"'! - .... nclbowl8 (DOt-pnperorplutk) SON OS Page 1571 page left m lhos chapter Fgurt 3.11: lna. 1 1 l INSIDE THEMINOOF ...... -.........-...-.. .................................... -... ... . . . . . 1 1 1 . 1 : ~ .... """"-'-P..................llilt ----i(oliiiiM..-1..... ,_ ___ ~ .............................. . . . . . . . _ 0 ~! _ _ Bck to pa< e 27Pago 157 J 1 Ir's imponamro note lhal viral content has its limitations 100, in so faraslhey are no1 as useful in reaching rargeted audence who may in fact be looking for contcnl re-laling 10!he brand,or evenexpertlcvel contcnLSo as wilh any dccision,youmus1 identify your objectives before youidcntify your melhodology. Inlhischap1er weillustrated 1hcdHTercncesbctween brand-centricand editorial comcm and cxplaincd how each 1ypehasitSplace,bu1 also i1slimilations. lt lsncc-essary 10undcrstand how eachcomcn1rypcrelatesro and shouldbe used 10rcach variousaudience sizes and 1ypes.Althispoin1 you shouldhavc abctter undcrsland-ingof !hemelhodologyby whichyoucanreach your communication objectvcs.In !he following four chap1ers wc willgo lmo dctail about !he applications of 1hcse con-tcnt rypes, as well ashow 10 share your s1ory wilh !he world. Paga158No pagos left In lhls chapter