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Information Graphics, by Sandra Rendgen
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Seeing is understanding: How complex ideas can be communicated via graphics “If you can’t explain it simply, you don’t understand it well enough.”
—Albert Einstein
Our everyday lives are filled with a massive flow of information that we must interpret in order to understand the world we live in. Considering this complex variety of data floating around us, sometimes the best — or even only — way to communicate is visually. This unique book presents a fascinating perspective on the subject, highlighting the work of the masters of the profession who have created a number of breakthroughs that have changed the way we communicate. Information Graphics has been conceived and designed not just for graphics professionals, but for anyone interested in the history and practice of communicating visually.
The in-depth introductory section, illustrated with over 60 images (each accompanied by an explanatory caption), features essays by Sandra Rendgen, Paolo Ciuccarelli, Richard Saul Wurman, and Simon Rogers; looking back all the way to primitive cave paintings as a means of communication, this introductory section gives readers an excellent overview of the subject. The second part of the book is entirely dedicated to contemporary works by today’s most renowned professionals, presenting 200 graphics projects, with over 400 examples — each with a fact sheet and an explanation of methods and objectives — divided into chapters by the subjects Location, Time, Category, and Hierarchy.
- 200 projects and over 400 examples of contemporary information graphics from all over the world—ranging from journalism to art, government, education, business and much more
- Four essays about the development of information graphics since its beginnings
- Exclusive poster (673 x 475 mm / 26.5 x 18.7 in) by Nigel Holmes, who during his 20 years as graphics director for TIME revolutionized the way the magazine used information graphics
- Sales Rank: #14371 in Books
- Brand: Brand: Taschen
- Published on: 2012-05-27
- Original language: English, French, German
- Number of items: 1
- Dimensions: 14.86" h x 1.84" w x 10.09" l, 7.72 pounds
- Binding: Hardcover
- 480 pages
- Used Book in Good Condition
About the Author
Sandra Rendgen is an art historian who has worked for both print and interactive media. After completing her studies in Amsterdam and Berlin, she contributed as a picture editor to German magazines and newspapers, such as Vanity Fair, Welt am Sonntag, and to TASCHEN’s Interiors Now! As an editor, she develops interactive media installations for various museums and institutions.
Julius Wiedemann was born in Brazil, studied graphic design and marketing, and was an art editor for digital and design magazines in Tokyo. His many TASCHEN digital and media titles include Illustration Now!, Logo Design, Jazz Covers and Information Graphics.
Most helpful customer reviews
38 of 38 people found the following review helpful.
Data daze
By Robin
Look at all the amazing graphics in this huge book and it's hard to imagine that the original data existed just as numbers and text, in black and probably printed on white paper. Some very clever designers have managed to turn this raw data into beautiful eye-catching images. It's not only numbers into charts though, several pages show diagrams that interpret a situation: Improvised Explosive Devices in Afghanistan (pages 144-145) or the Tour de France (page 193) for example.
The first ninety-six pages (printed on a shorter page width) with four essays, look at the background and history of charts and diagrams. The best I thought was by Simon Rogers of the London Guardian with an interesting overview of data and the press. To go with the essays (in English, French and German) there are sixty-four illustrations as a visual timeline from 1144 BC to 2010. This includes a couple of old favourites: Minard's wonderful flow map of Napoleon's retreat from Moscow; Harry Beck's 1933 London Underground map.
The main section of the book is in four parts: Location; Time; Category; Hierarchy. Each explores graphics with generously sized images on the page and detailed sections where the original was quite large or a poster. The work is from the last ten years with a long caption to explain the concept and an additional caption for technical detail: project info; data source; research; design; illustration. I thought the range of material within the four sections very impressive and incredibly wide ranging, though predictably, some of the graphics really do appear to be unreadable (but still pretty looking).
Once again Taschen have chosen a subject and given it their usual thorough treatment with a comprehensive editorial in a beautifully produced book. No doubt Edward Tufte would dismiss most of the content as 'chart-junk' but I always thought his interesting observations were more concerned with the visual treatment of data for an academic or technical readership rather than eye candy for readers of magazines and the consumer press where so many of the book's graphics originally appeared.
25 of 27 people found the following review helpful.
History
By David esteban henao
If you need a book to learn how the best infographics have been made, or how to make great info graphic this is not the book.
If you want to know how info graphics begun, how they have evolved across the time, and general history, this is your book.
this book s a must have if you consider yourself a graphic designer data freak, but if you are looking to a collection or real and well made infographics look somewhere else: Malofiej books are a great example of great info graphics published in real world about real problems.
16 of 17 people found the following review helpful.
An excellent survey of the field
By Rom
Let's get the obvious out of the way: The 480 page book is beautiful and packed with dozens of very good info graphics. Only 10% are worthy of return visits, and that critique is meant for the field itself. It's very difficult to make a convincing, data-rich infographic and this book makes that problem painfully obvious.
The problem with so many of the infographics is their inability to convey a meaningful concept within a few seconds. This problem is compounded by vague rules of interpretation where you spend considerable time mentally mapping the relationships. For some people this may be fun, but infographics need more discipline as Tufte preaches, if we are to use them purposefully. The simpler the rules are, the faster you can start playing with it to draw your own conclusions about the data. Many of the infographics appear to be more focused on aesthetic treatments than showing information convincingly.
The book misses an opportunity to present data-similar infographics but with different concepts, sequentially. This would allow readers to see how data can be manipulated rhetorically. More often than not, the data we want to show has some kind of skew that needs attention.
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