Data visualization - uses large data sets with less manual design work; based on algorithms. For example, the interactive work of the New York Times.

Visual art - unidirectional coding. Beautiful but difficult to decipher visualizations, such as the computational art of Kunal Anand.

What is the problem?

As a result, many works attract only sophisticated users, but do not allow uninitiated readers to understand the essence of the issue, thereby defeating the purpose of visualization - to inform the public. This is why it is so important to recognize and understand the problem of visual literacy in the context of visualization.

A new “visual grammar” of journalism

Here are three works that experiment with ways of presenting interactive journalism. They look impressive, but their interpretation can be a difficult task for many.

Gay rights in the US, state by state

We need the above data in order to understand and predict when an online discussion will result in an influx of visits to the Times website, and when this will not happen. It is important for us to know how word of mouth can bring readers, subscribers and income to the site; how The Times can improve its participation in online discussions to encourage reader engagement; how we can identify truly influential users or opinion leaders who motivate users to engage with the publication's content and how the Times can engage these influential users while satisfying their own needs and interests. By doing this work, we can turn the statistical analysis you'll see below into elegant, artistic, real-time data streams.

Processing streams, archiving sessions, storing and managing information is Herculean work in itself. But the bigger challenge is transforming beautiful big data into actionable, meaningful, decision-making knowledge. We have found that visualization is one of the most important guides in this quest for the knowledge needed to understand where we should be looking and what exactly we should be looking for in our statistical analysis.

For example, here are three visualizations that helped us gain certain knowledge. The lines and dots show cascades of tweets and retweets associated with three different Times stories. We combined this data with information about the click-through rate of each article; it is synchronized in time with tweets and looks like a black diagram under each cascade. Each graph tells new story about interaction with content.

The first article generated a lot of discussion on Twitter and several big spikes in traffic. But click-through rates didn't seem to be influenced by Twitter conversations: The biggest jump in traffic highlighted in the graph blue, occurred when there was very little activity on microblogging sites. In this case, it was probably not the Twitter discussion at all, but a prominent link to our post on a third-party blog or news article that drove a lot of the traffic.

On June 1 and 2, 2013, the third All-Russian conference “Information Graphics and Information Design” will be held in St. Petersburg. Russian and foreign experts will speak at the conference. As usual, we will gather to listen to each other, talk about the latest trends in infographics, and recharge ourselves with the general energy of infographics. Conference organizers: Russian branch of the Society for News Design (SND Russia), New Eurasia Foundation.

Reminder! The conference will be held on Saturday and Sunday, June 1 and 2, 2013. Her program:

10:00 – 12:00	Javier Sarrazina, The Boston Globe,Head of Infographics Department Inside newspaper graphics. Graphic stories in The Boston Globe: from a snowstorm to a terrorist attack at a marathon.(Inside Globe Graphics: Visual storytelling at The Boston Globe, from Snow blizzards to the Marathon attacks)
12:00 – 12:30	Coffee breakTo
12:30 – 13:30	Alexander Timofeev, Anatoly Timofeev“Three stories from the authors about “One Hundred Stories” about the underground city"
13:30 – 15:00	Dinner
15:00 – 16:00	Alexey Novichkov, "RIA News",Deputy Head of Infographics Department“Infographics should be...”
16,00 – 17:00	Mikhail Simakov, "Moscow news», Lead Infographics Designer"Yo! Infographics are hockey!”

10:30 – 12:00	Fernando Baptista, National Geographic,Senior graphics editor How to make graphics in National Geographic (How to make a graphic in National Geographic)
12:00 – 12:15	Break
12:15 – 12:55	Nadezhda Andrianova, "RIA News"“How we made the Ostanski tower”
13:00 – 13:40	Pavel Shorokh, "RIA News",Head of infographic studio“Creating complex interactive projects in the RIA Novosti infographics studio”
13:40 – 15:00	Dinner
15:00 – 16:00	Maxim Gorbachevsky, Irina Dobrova, Infographer. ru Founders of “Infographics in Business. Clients: training cannot be hidden"
16,00 – 17:00	Nikolay Romanov, Magazine "Infographics",Chief Editor“The Other Side of Infographics: Serving the Marketing Department”

Participation in the conference is free, but pre-registration is required.

Galina Kontsevaya, associate professor, candidate of philological sciences, associate professor

Mikhail Kontsevoy, researcher

Brest State University named after. A.S. Pushkin, Belarus

Conference participant

The report examines the use of multimedia interactive infographics in modern journalism. The problems and opportunities of journalistic infographics are analyzed in the context of the formation of visual culture.

Keywords: infographics, multimedia, interactivity, semantics, linguistics

The report examines the use of multimedia interactive infographics in modern journalism. Analyzes the challenges and opportunities of journalistic infographics in the context of developing visual culture.

Keywords: infografika, multimedia, interactivity, semantics, linguistics.

A stable and growing trend in modern media has been the increasing role and importance of infographics, which allows, in conditions of information oversaturation, to convey a large array of data to the user as concisely and quickly as possible. The phenomenon of infographics requires not only immediate practical mastery by journalists, but also theoretical understanding. The latter is especially important due to the fact that the phenomenon of infographics is actually a superposition of key transformations in the information environment, social and psychological changes in the target audience of the media and, accordingly, the final embodiment of all the main trends in the development of modern journalism.

Journalistic infographics are the ultimate answer to the fact that the modern mass media addressee:

· looks differently and sees in his usual situation of oversaturation with visual visual images;

· reads differently, with difficulty maintaining attention within a homogeneous range of information, but easily and habitually switching it; more than ever, becomes capable of multitasking and gestalt;

· dynamic, mobile, technologically equipped and, having powerful information retrieval tools, in an open information environment, easily overcomes dependence on specific media in satisfying its information needs (news, analytical, literary and artistic);

· does not experience information hunger at all; on the contrary, he lives in conditions of information redundancy, which, with a constant lack of time, makes his attention the most important limited and irreplaceable resource, for which there is a decisive struggle between numerous media;

· is no longer a passive consumer of professional content, finds his own voice in the media and the opportunity to form and express his own, even incompetent, opinion, etc.

There is a widespread contrast between infographics as a graphical way of presenting information, data and knowledge and text, which may occur in technical operational definitions. But for understanding the essence of the phenomenon, such a opposition is unacceptable and unproductive, since, for example, it ignores the existence of typographic infographics, when only information is conveyed in a visual image, presented exclusively in words, but using the visual capabilities of the font (color, size, style) and composition. The online service Wordle is a tool for creating “text maps”. Wordle analyzes the text proposed by the user, forms its frequency dictionary and displays the most significant lexemes in the form of typographic infographics according to the principle “the higher the frequency of the word, the larger the font size in which it is depicted.” The result is a visual, colorful image that allows you to evaluate the semantics of the text at a glance.

At the same time, the erroneous opposition of infographics to text is valuable in that it allows us to identify the cause of the error, namely: a linguistic approach to understanding the phenomenon of infographics, when the text is understood only as a sequence of verbal signs. With this approach, in connection with the tasks being solved, we abstract from the visual aspect of the written text, and type graphics become the most invisible of the arts for a linguist (a good font is one that is invisible itself, but effectively allows the reader to perceive the semantic part of the information message). Journalistic infographics, developing in the context of the convergence of various technologies and sign systems, require a broader, semiotic approach to its description. It is the semiotic understanding of the text (as a coherent and integral sequence of symbolic units of arbitrary nature) that opens up opportunities for an adequate study and assessment of the infographics phenomenon. On the other hand, the semiotic paradigm allows us to preserve the significance of linguistic developments for infographics, makes the potential of linguistic science and its research tools in demand, overcoming attempts to reject and belittle them in the prospect of the formation of a certain “visual culture”.

Infographics do not symbolize the rejection of verbal text, but its integration into more complex heterogeneous sign systems. Each component of such systems is in complex interaction with everything else. Thus, the verbal text not only does not lose its role, but acquires many new roles in the formation of the emerging figurative language. And everything that relates to the art of mastery of words (at the level of stylistics, rhetoric, pragmatics, semantics) in infographics not only remains in demand, but acquires additional meaning and value. It is no coincidence that the origin of modern infographics lies in the Isotype (International System of Typographic Picture Education) language created by Otto Neurath. As for the formation of “visual culture”, which supposedly replaces the culture of the Word, which is marked by the disappearance of Homo Legens (the person reading), it is obvious that such a change is really happening, but is not of a universal nature and affects only certain, albeit broad , social strata. It is possible that the culture of language, writing, words, and reading will again become an elite culture for a few, but we can seriously talk about replacing it with something else in the cultural matrix of modern civilization only on the basis of very naive ideas about it. The role of fundamental language training in the qualifications of a journalist is only growing.

The quality of media infographics is determined by many factors, among which the knowledge, talent and work of its creators play a significant role. However, the efficiency of converting labor, talent and knowledge into the simplicity and clarity of an infographic solution is largely determined by the level of modern information technology equipment and competence of the journalist, especially if the subject of his consideration and analysis is a complex, multifaceted and developing phenomenon.

Modern information reality is rapidly becoming more complex and expanding. According to IDC (International Data Corporation - an analytical company that studies information technology markets), in 2011 the total size of information stored on electronic media reached 1.8 zettabytes (a billion terabytes), which is 30 million times more than the amount of information contained in books written over the entire period of human existence. There were more than 500 quadrillion files in the digital universe by early 2012. These, of course, are exclusively technical characteristics of information volumes, and not at all the semantic diversity of information, because, according to various estimates, more than 90% of news in online media is copy-paste. At the same time, the transition to digital media and technologies clearly correlates with the immediate semantic aspect of information, once again confirming M. McLuhan’s thesis that media is the message. In the context under consideration, this correlation is expressed in the fact that in modern journalistic materials, factual presentation is beginning to increasingly dominate over value judgments and reflection. The most striking manifestation of this trend has been the rapid development of Database journalism, in which a central role is given to high-tech research work, when, after processing large amounts of structured information, conclusions are drawn that seriously influence the understanding of economic and social processes and phenomena by a wide audience. Such studies determine the trend towards expanding the use in journalistic infographics of a whole arsenal of specialized infographic and analytical software tools (Business intelligence, Data Mining) that allow finding, collecting, filtering data and analyzing and processing them accordingly. The prospects for the development of “database journalism” are no longer seen so much in the creation of complete information products, but in the organization of providing readers with a special information environment in which they, without special skills, will be able to create an information product and choose for it the form of presentation that they deem necessary.

The development of multimedia technologies allows a journalist to adapt the final information product to the needs, capabilities and expectations of the target audience at a qualitatively new level. The trend of replacing traditional print media with electronic ones is accompanied by a transition from static and constant infographics to multimedia, dynamic, interactive infographics, which also requires the use of special software tools.

Online publications allow you to offer your readers a qualitatively new level of information presentation when:

· information structured in database systems is hidden from the user on the server side,

· based on mashup technology (web technology for combining data from several sources into one integrated tool) data is summarized on one page different types and from different sources with the ability for the user to select the form of their presentation (text, list, tabular, graphic, heterogeneous),

· the user sees a report that is easy to understand, but enriched (with interactive maps, video materials, etc.) with the ability to search, obtain additional reference data, filter content and express one’s own opinion through voting, reviews, comments, recommendations.

Here we are talking about the integration of journalistic infographics and UI (user interface) with new interfaces for accessing information. A good example of presenting financial information in an engaging way with the ability to provide intuitive user interactivity is Mint.com.

In journalism, the relevance of the topic and the efficiency of its coverage by a direct witness or participant are of utmost importance, which comes into clear conflict with the need to use complex software and hardware tools in the long multi-stage process of creating effective infographics. A way out of this contradiction has been found in the use of SaaS (software as a service), a software access model in which the supplier develops a web application that provides customers with the opportunity to use the software via the Internet. SaaS solutions include ready-made professional development of infographic templates, which not only make available the necessary tools for creating interactive graphics for a mobile journalist anywhere and at any time (with access to the Internet), but, in some cases, allow him to visualize data in real time.

For journalistic coverage of events occurring directly on the Internet, additional opportunities open up to track processes occurring at the current moment in time and obtain relevant social analytics (immediate dynamics of social presence in social networks, discussions that are popular at the current moment in time, etc.).

Modern interactive multimedia infographics can be created using a number of specialized network services. Free online services for creating infographics are popular: StatPlanet, Creately, Many Eyes, Google public data explorer, etc. All of them have quite rich functionality and the ability to use your own data for substitution into ready-made templates in order to instantly obtain professional infographics. Standard functionality makes it possible to visually explore the economy, education, environment, healthcare, etc. These services are used to create interactive maps and diagrams by many leading organizations and companies in the world, including: UNESCO, UNDP, Global 500, NASA, Dell, Siemens, Samsung, etc.

Let's look at the standard rules of use using ManyEyes as an example. To start working fully with the service, you need to register by specifying your e-mail (to which you will receive an email with a confirmation link) and enter the captcha. By clicking on the link in the letter, you need to set a password. The first step in working with ManyEyes is to load unformatted tabular data, which immediately appears in the rendered table, for which you need to specify which data is text and which is numbers. Then the name, description and tags for the created database are indicated, but you can limit yourself to only one name (must be in English). To visualize data, you need to use the tools in the Visualize menu. For example, the Word Cloud Generator tool creates the desired “word cloud”. By adjusting the settings, you can change appearance graphs and charts - color, position of words, font, etc. The ManyEyes service allows you to create the following types of data visualization: relationship and correlation, positional comparison, temporal, quantitative data on maps, world maps and different countries(including Belarus), text analysis tools (word tree, tag cloud, phrase network, word cloud).

It is important to note that many services have limitations in supporting various languages ​​and encodings, which significantly complicates the use of the Belarusian language in infographic materials.

In the context of the development of web journalism for mobile users, interactive infographics built on flash technologies, which have dominated until now, are losing their significance. It allowed journalists, developers and designers to visualize numerous layers of data in a single interface, and users to interact with the data. However, the widespread use of mobile Internet access devices has given impetus to the development of online tools that allow the development of interactive infographics adapted to their capabilities. The most promising technologies are HTML5, CSS3 and XML.

An example of a multimedia interactive infographic built on HTML5 is a visual history of the development of technologies and programs for web browsing. This infographic was created for the third anniversary of the Chrome browser by Google with the participation of Hyperakt, Vizzuality, mgmt design and GOOD. It reflects in chronological order the main versions, appearance and functionality of popular browsers, Chrome OS, key programming languages, methods and software solutions. It is characteristic that, although Google Chrome and Chrome OS are the youngest products shown in the infographic, the round of development of the Google Chrome browser contains the greatest concentration of events, which the infographic subtly tells us about their prospects.

This example clearly demonstrates that high-tech interactive infographics embodies the global trend of replacing the function of reflection with the function of shaping reality. Infographics not only preserves the ability of journalism to update given ideological constants of social groups by means of selecting facts and processing data, but also allows you to do this latently, without explicit assessments and comments, subject to real user activity in working with the information resource. All this indicates new possibilities for manipulation target audience from the digital media and updates the issue of information security in the context of modern infographic tools. Not only the reader (viewer) of a certain information product falls under the influence of intentions and assessments preset in it (by the selection of data, their structuring and method of presentation), but also a journalist using an external infographic service can become an unwitting hostage of a hidden semantic message. Such a message can be organized not only at the level of factual material or connotations, but also on the basis of the very thematization of the information message. In the modern information environment, in conditions of attention deficit, highlighting one or another topic of a journalistic message is the strongest means of manipulating the target audience. The specific positions of the reader (viewer) in relation to the issues raised in a certain topic are often of absolutely insignificant importance in comparison with the very fact that the audience is addressing this particular topic and, accordingly, ignoring any other at the moment. That is why the world's leading media and news agencies are striving to create their own online infographic services.

The problems and software tools of multimedia journalistic infographics are studied at Brest University named after A.S. Pushkin as part of the course “Software of multimedia technologies” for students of the specialty “Journalism”.

Infographics have evolved from a content marketing tool to a PR tool. Companies are increasingly presenting news, information about themselves, and final reports not in text format, but in the form of infographics, which are then sent to the media or posted on their websites or blogs. The London School of Public Relations has identified 9 types of infographics. And we will tell you for which PR purposes this or that type of infographic is better suited. And as a bonus - the best ones for creating infographics.

One of the most common types of infographics is statistical. It works well if you have done some unique industry research, which in itself is a great news item.

This, strictly speaking, is not a service for creating infographics, but a catalog of ready-made templates that you need to download and then adapt to your goals in Photoshop or Adobe Illustrator. For someone who is well versed in these programs, this solution may seem more convenient than creating infographics in various services. Therefore, we thought it would be useful to include the site in our list. Moreover, we ourselves use it with pleasure.

Not all templates are free - look for those with the Free icon. In addition to the infographics themselves, on the site you can download ready-made icons, logos, and even templates for creating inscription designs on packages. All free templates are collected in

Send your good work in the knowledge base is simple. Use the form below

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© Smirnova E.A., 2012

UDC 070 BBK 76.120.4

INFOGRAPHICS IN THE SYSTEM OF JOURNALIST GENRES

E.A. Smirnova

The article discusses the features of infographics as an information genre of journalism. The methodology for creating infographic materials and the requirements for them are presented.

Key words: design, infographics, visualization, genres of journalism, design of periodicals.

One of the priority areas of modern periodical design is the tendency towards maximum visualization of content. Visual communication is the transmission of messages that are aesthetically attractive, informative, and capable of evoking emotional response at the audience. Visual communication combines speech (text when reading is “voiced” - spoken out), objectified with the help of symbols (font, the design of which is also capable of creating a certain level of perception), graphic elements (illustrations and decorative elements the most varied plan), color solutions (it must be taken into account that color is symbolic both on its own and in combinations). Such a syncretic association created by the designer gives rise to images, which in turn are decoded by the audience. Successful communication depends on the correlation of knowledge (“codes”) of the journalist, designer and reader.

Relatively stable graphic tools used in the design of periodicals include fonts. As a rule, their set is limited in the structure of the publication and is constant over a long period of time. Selected based on various considerations (reader audience, type of publication, taste of the editor or designer), fonts, both text and heading, become business card publications

The most striking marker that attributes the content of a publication is illustration. In addition, according to the observations of psychologists, it is she who is primarily perceived by the reader. Among the types of illustrations, researchers distinguish drawings, photographs and infographics.

The publishers of the USA Today newspaper were the first to use a combination of graphics and text, launching their project in 1982. Over the course of several years, the newspaper became one of the top five most read publications in the country. One of the most noticeable and popular innovations of USA Today readers was detailed, well-drawn pictures with explanatory comments - infographics. American readers quickly understood and accepted the advantages of this method of conveying information: infographics conveyed a message faster than text (one well-made drawing replaced several pages of text) and in more detail than a standard illustration (thanks to the detail of the drawing and precise thematic comments). Over time, it became clear that infographics are not only technology, not only business, but also art. Moreover, the degree of mastery of this art directly affects the profitability of the publishing business. That is why today magazines such as Esquire and New-Yorker assign three leading designers and one journalist - the author of the core idea - to create infographics.

Infographics are traditionally considered in the illustrating (bill-editing) system of a periodical.

V.V. Tulupov, defining infographics, says that these are maps, tables, diagrams, etc., while clarifying that its purpose is to clearly illustrate the publication. However, in our opinion, the essence of infographics goes beyond just illustration: it is a synthetic form of organizing journalistic material, a message that includes, firstly, visual elements, and secondly, texts that explain these visual elements. Infographics as a way of presenting information have a number of advantages. Firstly, infographics are a message visualized through graphic objects. Taking into account the fact that modern readers are mostly visual, that is, they better assimilate information embodied in visual images, communication from the sender of the message (in our case, the media) to the recipient (reader) becomes the most successful. Secondly, infographics in their essence are a useful information load that eliminates information noise as much as possible. Finally, any infographic provides a conceptualization of the topic, since the choice of one or another image that visualizes the message presupposes a precise selection of graphic solutions.

In our opinion, infographics exist in two forms: as a type of illustration and as a special synthetic journalistic genre (most often informational).

Infographics should be considered as a type of illustration if they perform the appropriate function. As a rule, in this case, infographics accompany analytical texts, explaining them, and the text prevails over illustrations.

Infographics as a special synthetic journalistic genre can be distinguished according to the following criteria. The subject of infographics as a genre is an event or a set of events, most often including a large amount of similar information (quantitative and qualitative data). The goal is to provide a visual representation of information, data and knowledge.

The method of creating infographics is quite specific, since it requires the combined efforts of a journalist providing information and a designer visualizing this information.

Any image - from tables to graphics - represents an interpretation of ideas or data. On the one hand, when creating infographics, you need the ability to present facts in such a way that the reader interprets them himself and draws conclusions on his own. On the other hand, the combined efforts of the editor and designer should be aimed at updating the essence of the information contained in the infographics, using various kinds of accents, in order to initiate this interpretive activity and push the reader to certain conclusions. Moreover, this should not be a manipulation of facts, but a publishing strategy - the desire to convey the meaning of the publication as quickly and clearly as possible. In other words, infographics are a read for non-readers who are too busy to read a lot of text but still want to be well-informed, and the solution here is to visualize the information as much as possible.

From a functional point of view, any infographic should provide answers to traditional questions: what? Who? Where? When? How? For what? Why? In this way, infographics come closer to traditional journalistic genres, primarily information ones. However, among the genre-forming factors it is necessary to name such as symbolization of the designated (the ability to convey holistic content through a system of visual images), the integrity of text and image (since infographics is a synthetic genre, representing the unity of text and image), decodability of components (the ability of the audience to interpret infographics in in accordance with the author's intention) and a game (infographics should not only be informative, but also attractive, and, in the end, not boring).

Thus, the following features of infographics can be noted:

Availability of graphic objects;

Colorful presentation;

A clear and meaningful presentation of the topic.

Infographics are visualized articles in which the main role is played by facts.

tic information. All elements of graphic design can be used to create a graphic interpretation of complex information so that it can be quickly viewed and easily grasped: typography, drawings, photographs, color, rulers, frames, etc.

Practitioners name among the basic rules for creating infographics the following:

Simplicity (= speed of perception and readability);

One idea in one work (= updating information);

Hand graphics (= interpretation of information, facts + opinions).

Creating infographics involves its development at two levels: conceptual (strategic) and implementation level (tactical).

Concept level.

1. Formulate the purpose of creating infographics and - most importantly - determine the audience for which it is intended. This will determine the choice of graphic (typographic, color, etc.) solutions, the system of images used, and information content resources.

2. Collection of a certain amount of data, material on the topic. Data can be presented in various formats: it can be text content, graphics, video materials, pages of tables, etc.

3. Analysis and processing of information. The collected material must be analyzed and processed, brought to a single denominator, which will determine the integrity of the graphic idea - usually these are unformatted graphs, histograms, etc.

4. Selection of available visualization. All material is compiled and presented in a beautiful visual form. The format is selected (depending on the goals and amount of data, publication format): presentation, slide cast, one-page picture, video.

Implementation level:

Break the text into elementary components: data, numbers, time, place, referents, opinions, comments, etc.;

Assess the possibility of visualizing them or saving them in a verbal format;

Decide whether the image will be concrete or abstract; how does it compare with

stereotype; how familiar it is to the audience;

Stylization of images (harmony between form and content is important);

Converting statistical information into graphs and diagrams, finding ways to combine diagrams in terms of composition;

Linking events to time (creating timelines, choosing a symbolic or digital expression of time). Historical reference points are needed to help the reader relate images and time;

Layout of the space of future graphics (identification of cause-and-effect relationships between various parts text, arranging events in order, setting reader priorities: what is important and what is auxiliary, selecting or writing text inserts that are short and clear, checking the accuracy of information);

Final assembly of graphics (sketch preferred);

Creating a title and subtitle (nominative, non-metaphorical);

Checking and editing infographics (text and images, as well as copyright). A good infographic that serves

interests of the reader, is one in which all parts are integrated and present:

Title (preferably complete);

A sentence or paragraph immediately below the title explaining why this information is important and what the graph is about;

The body, which is the graph, table, map or diagram itself;

A source line that states where all the information came from. A title or explanatory subtitle is not always necessary, for example when it is clear from the context what the infographic is about. The source line is also sometimes missing, but every effort should be made to disclose the source and make the information more credible.

E.A. Smirnova. Infographics in the system of journalistic genres

The basic principle of creating any infographic is simple: you should not puzzle the reader by forcing him to decipher the symbolism of colors, the meaning of figures, the significance of numbers, etc. In this regard, the press design rule continues to work: “ Best Design- the one that is not visible." The entertainment value of an infographic should never hinder the communication of information.

When creating infographics, both journalists and designers need to adhere to certain rules.

1. Use exact numbers. Always check and double-check. At the same time, both journalists and designers must use the same numbers so that the visual and verbal components of the story are guaranteed to form a single whole.

2. Designers must accurately understand the importance of information facts and interpret them accordingly, for example, highlighting some numbers and omitting unimportant or misleading ones.

3. If necessary, translate or adapt information facts, making them as clear as possible for the consumer of information. If dollar amounts are subject to inflation, if figures are per capita or specific, if figures are rounded, tell readers this with explanatory notes.

4. Make sure that the values ​​(proportions expressed in numbers) in tables or diagrams are correct. The original unit of measurement must be the same so that quantities can be compared normally. If the units of measurement are different, convert the values ​​accurately, for example, miles to kilometers.

5. Use space wisely. Too much white space in an infographic leaves a gap on the page (this is especially bad in newspapers because they are constantly competing for valuable space).

6. There should be as many information facts as needed to tell the story; infographics should not be overloaded with a lot of information. If necessary, you can provide several infograms, information diagrams, etc.

7. When creating the design of all headings, subheadings, explanation blocks, numbers, it is necessary to take into account the readability of the font.

8. Illustration or visual representation of images in infographics should not hinder the understanding of information by being too prominent or creating a crowded background.

9. When captioning illustrations, you should use color carefully (even minimally) (except in cases where it is absolutely necessary for understanding). Color, like any element that makes up an infographic, should be used functionally.

Thus, the combination of genre-forming factors allows us to talk about infographics as a genre, and an informational genre, the task of which is to report, give an idea about an event (chain of events), a situation in a specific space-time continuum. Note that materials made in the infographic genre are autonomous, go under their own headings and, as a rule, have a fairly large area on the page. Most often, such infographics are found in magazines and online media. Moreover, the latter actively use this genre, enriching it with their specific capabilities (animation, 3D images, etc.).

BIBLIOGRAPHY

1. Equipment and technology of the media: print, television, radio, Internet / V. V. Tulupov [etc.]. -SPb. : Publishing house Mikhailov V. A., 2006. - 320 p.

THE INFOGRAPHICS IN THE SYSTEM OF JOURNALISTIC GENRES

The article is devoted to peculiarities of infographics as information genre of journalism. It also reveals the methodology of creating infographic materials and requirements to them.

Key words: design, infographics, visualization, journalism genres, editorial design.