Meet our speakers!
SNDE / University of Navarra. Pamplona, Spain. / March 25-29, 2019 / malofiejgraphics.com / #Malofiej27
Let’s meet a few of our speakers to find out more about them, their work, and what you can expect from their talks. Page 3
If you weren’t a graphics guy, you'd be a…
Now in print
1,200 years of visually transferring knowledge We speak to Sandra Rendgen about her new book ‘The History of Information Graphics’. Page 10
Exhibitions
John Emslie Innovative diagrams from mid-nineteenth century London John Emslie, an amazing pioneer in modern infographics, best known for his innovative and inventive series of educational charts and diagrams. Page 8
101 films in 5 seconds by Matteo Civaschi It is possible to sum up a film in five seconds? What links does infographics have with cinema? Page 14
Do you have any particular goal What kind of data ahead for 2019? or information do you dream about visualising in a graphic?
Our new logo The 27th edition of the Malofiej will be presented with a new graphic identity. Page 13
How was your first “immersion” in the world of visualization?
Is there any project that you would like to stand out?
Welcome!
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We are delighted to welcome friends and colleagues to our home city of Pamplona for the Malofiej Summit and Workshop, which annually bring together the best infographers from media, newspapers, magazines, and agencies from around the world. Today, the Malofiej events are an essential point of reference for their prestige and drawing power: the Awards, unanimously considered the Pulitzers for infographics, the professional workshop Show, Don't Tell! and the World Summit in Pamplona. World Summit WEDNESDAY 27 Planetarium of Pamplona
18:30 Registration 19:30 Opening Session Javier Errea Charo Sádaba, Dean at fcomunav Exhibit: ‘1850: John Emslie would be Gold’
Drinks hosted by Map4News
18:15 The New Malofiej
Visual Identity session
20:00Off Malofiej Filmoteca de Navarra
‘Videographics’ (60 min program). A round table with Jaime Serra, Fernando G. Baptista, Alberto Cairo (Spanish).
FRIDAY 29
THURSDAY 28
University of Navarra. School of Communication Building.
University of Navarra. School of Communication Building.
9:00 Antonio Farach.
9:00 Alberto Cairo.
How We Lie to Ourselves With Infographics
9:45 Sandra Rendgen
and Michael Stoll. Presentation of upcoming book “The History of Information Graphics”
10:30Al Shaw. How visualizing
floods can teach us about our past, and our future
11:15 Coffee break 11:45 Gregor Aisch.
The Monsters of Our Own Making — what I learned from making charting tools for newsrooms
12:30 Shirley Wu.
Data, design, code
13:15 Ricard Marfà.
Interactive experiences, things we have learned
14:00 Lunch 15:30 Yosune Chamizo.
To Murder in Mexico: Impunity Guaranteed
16:15 John Burn-Murdoch.
Changing minds with graphics
17:00 Coffee break 17:30 Laris Karklis. The art
in locator map making. Tips and tricks to survive the breaking news map situation
Infographic Research in Oman
9:45 Carol Cavaleiro.
Brazilian elections through Google Trends lenses: what are voters googling about candidates?
10:30 Bern Riedel. Novelty,
Treasure, Trash: Approaches to Strategic Information Design
11:15 Coffee break 11:45 Derek Watkins.
Putting visual journalism in its place
12:30 Brian Jacobs. Exploring
space and time with animated graphics
13:15 Federica Fragapane.
Visual narratives for empathy, emotions and comprehension
14:00 Lunch 15:30 Revolution on Transport.
The Show Don’t Tell Session. With Monica Ulmanu, Jeremy White, John Grimwade, and Michael Stoll
16:15 Coffee break
Map of Pamplona Condestable's Palace Calle Mayor, 2, 31001 Pamplona, Navarra Exhibit: ‘Cinegraphics’
MONDAY 25 University of Navarra. School of Communication Building. Filmoteca de Navarra Paseo Antonio Pérez Goyena, 3, Pamplona Off Malofiej
8:30 Registration 9:00 Presentation
15:00 Work on projects
CIUDADELA PARQUE YAMAGUCHI
TUESDAY 26 Visual Narratives Monica Ulmanu
Planetarium of Pamplona Sancho Ramírez, s/n, 31008 Pamplona Opening session Exhibit: ‘1850: John Emslie would be Gold’
12:45 Narrative Cartography For
Visual Storytelling Jeremy White
School of Communication University of Navarra Facultad de Comunicación Universidad de Navarra Campus Universitario Summit & Workshop
WEDNESDAY 27 9:00 Work on projects 12:00 Presentation:
Showing the final graphics Instructors: Jeremy White (The New York Times) and Monica Ulmanu (The Washington Post)
Map of School of Communication Building
Undergraduate Students will work in groups on set topics. Activities include field research, documentation, editing, sketching, and designing. Students will create an infographic, that will visually explain a subject in a clear and engaging way. There will also be the opportunity to show work to professionals.
WORLD SUMMIT Room 6
FIRST & SECOND FLOOR / ROOMS 1140, 2420, 2430, 2440, 2450 Workshops Team work with instructors
Cafeteria
Hall / Room 6 Store Information point. Registration.
Dates: Monday March 25 and Tuesday March 26. Instructors: John Grimwade (University of Ohio), Michael Stoll (Augsburg University of Applied Sciences)
W.C.
W.C. Way up to the first and second floors
17:45 Jaime and Benet Serra.
Graphic Design Errea Comunicación
A Visual Poem. Live Music
AC Ciudad de Pamplona Hotel Iturrama 21, Pamplona
9:00 Involving the Reader In
16:45 The Winners
Announcement session, presented by the Jury
El Embrujo Restaurant Padre Calatayud, 16, 31003 Pamplona Awards Dinner
9:45 Visit to the VW factory
Coordination Javier Errea, Álvaro Gil, Alberto Molina
21:00 Awards Dinner El Embrujo Restaurant
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Show, Don't Tell! Workshop
Students team Eider Encinas, María Acebal, Paola Arriaza, María Fernanda Callejón, Camila Cote Zapata, Javier García, Silvana Infantozzi, María Marco, Emma Meera Liendo,
ENTRANCE
Carolina Orozco, Gabriela Paños, Mónica Quiroga, César Viguria, and Alicia Arza. Edit SND-E Printing Newspaper Club
Book
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Questionnaire 1 How was your first “immersion” in this fascinating world of visualization?
THEIR VIEWS
Let’s meet a few of our speakers to find out more about them, their work, and what you can expect from their talks.
Thu 28 / 9.00
Alberto Cairo University of Miami
2 Is there any special project that you would like to highlight/stand out?
3 Do you have any particular goal/challenge to face in 2019 interns of graphics/visualization?
4 What kind of data or information do you dream about visualising in a graphic? (something you didn’t approach before, something data is not available about, something unaccessible… or not) 5 Graphics departments at newspapers are evolving. Now they work on more complicated, polyedric assignments, including different tools and narratives. More than a traditional piece of graphics… from this trend? Where our craft is focusing at?
6 Would you dare to say this is not a graphic or this is a graphic? Could you define a clear line?
7 If you weren’t a graphics guy, you'd be a… 8 Say something inspiring about Malofiej. Why it deserves a visit every year? What people can learn in Pamplona?
It’s impossible to be an expert on more than two or three of those areas. 6 No 7 A strategy board game designer or a non-fiction writer (which I am, although if I didn’t design graphics, I’d do it full time!).
8 Malofiej is the
infographics world’s Mecca. You need to visit it at least once in your life. Fri 29 / 12:30
1 La Voz de Galicia in 1997. 2 My ongoing collaboration with the
Google News Initiative, which has produced some experimental projects and free tools that anybody can use (Flourish, Morph, etc.) https://trends.google.com/trends/ story/US_cu_6fXtAFIBAABWdM_en And my books The Truthful Art and The Functional Art, plus the one I’m publishing in October of 2019, How Charts Lie: Getting Smarter About Visual Information. 3 I’d like to make visualization and data literacy more accessible and democratic. First, in the sense of creating tools that can generate data presentations for the visually impaired. Second, in the sense of explaining how to better understand data. I’d also like to write seriously about ethics and moral reasoning in data journalism and visualization. 4 The history of moral philosophy, a network graphic or timeline relating the most influential thinkers to each other, along with a summary (and another network chart!) of how their ideas connect to each other. 5 It’s happening because designing a good graphic is much more than graphic design. It involves deep understanding of data generation, exploration, analysis, domain-specific knowledge of the topic the graphic is about, writing, cartography, statistics, coding, etc.
Brian T. Jacobs National Geographic 1 I was exposed to the world of visua-
lization through maps. I got a job at an academic geospatial data organization as a web designer so I could learn more about the world of geography. I was impressed by the variety of geographic data they stored and the many ways people used it. Being there was a big shift from designing marketing websites--I liked the prospect of being able to make design decisions informed by how to best represent and understand data, rather than driven by the whim of a client or director. 2 Cassini’s Grand Tour:
https://www.nationalgeographic.com/ science/2017/09/cassini-saturn-nasa-3dgrand-tour/ This project was a satisfying combination of data processing and 3D visualization. The challenge was how to express where photos were taken at a particular point in outer space, and accurately represent the visualization of its subjects in time. 3 Having worked with some web-based 3D graphics tools I’d like to be more capable in 3D animation software like Blender or Cinema4D.
4 I want to visualize
the world through non-human eyes. Using multispectral imagery from satellites is fascinating, but how do animals see or navigate the world through distinctly non-human perception, and how can that be represented? 5 I think departments have tried to follow where people consume media, and that’s in a digital space, where the palette of expression broadens dramatically from print. Controlling animation, integration with audio/video, in 3D, in virtual reality; paper can’t do this. So it’s temping to do the thing that moves, that’s “immersive” and multi-media, testing boundaries of what works. I think it’s the responsible thing to do at first, to see what a medium can do, but not everything works. As those
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in the industry get more experienced, we’ll learn to understand where to better use restraint within the new possibilities we’ve seen in the last few years. At the same time, organizations will keep following where the people go, continuing to explore inevitable new forms. 6 I would say that graphics are graphics, but that some shouldn’t exist if they are designed to mislead. 7 If not a graphics guy for news, a graphics guy for movies. 8 First time at Malofiej! Thu 28 / 13.15
Ricard Marfà Ara 1 My first contact with infographics was
even before knowing the word ‘infographics’. We had at home, as a child, a book called ‘The Way Things Work’, (1988) illustrated by David Macaulay. I remember spending hours abducted reviewing hundreds of details and trying to understand how dozens of machines and various inventions works. Over time I realized that those curious ‘drawings’ were infographics that explained the world to children in an absolutely beautiful, interesting and rigorous way. Later and already consciously coincided my university stage with that of Público newspaper. The immense team of talents that coincided there made it become a great reference in questions of design and infographics. Pity of its outcome. 2 The production of the special ‘Leo Messi, all his goals’ was an important milestone for our team. It was only 1 year since the team was created from scratch and at that time (2014), with the little experience we had, it was a challenge both visually and technologically. Without removing it from its temporal context, it was an innovative, daring, functional and visually beautiful proposal. If we did it today, we would probably do it differently, but I have a special fondness for the good reception I received and for the momentum that it brought to our team. 3 For me the challenge, and it is nothing that has not been said before, is to find formulas to transfer all the narrative and aesthetic capacity of a graphic or a special format desktop or paper to a mobile device. The tendency of the audiences forces to reinforce the attention of the designers and infographics in the products that will be seen in screens of less than 400 px in width. Working with such small spaces, in contexts of fleeting consumption, is a new world. 4 Ideally, I would like to work on projects that denounce injustices, big or small, and that their publication helps to bring them to light and solve them.
4
5 Because we have more tools available,
professional profiles are more complex and we have access to more data and ways to process them. In the online world you can add more layers of information, suggest more narrative paths, incorporate dynamic data and use reader’s interaction. In the future will be more specialized profiles and the newsrooms will mutate, as some have already done, towards new models, both staff and internal organization.
type of content they contain to extract useful information for our readers.
4 I would like to
1 How was your first
visualize the history of human beings in a huge interactive graphic (...and I already have traced a 6 I refer to the answer plan on how to do it...). to the first question: 5 This happens because we have access to I would say that more data than ever before and we need tech tools in order to be able to process it would not be a it, that’s why I do not consider this a good graphic that trend. I like to think that an information designer has the tools to translate large did not prioritize volumes of data in useful visualizations, the information. Of as well as the ability to function as an intermediary or link between developers course, to judge and journalists in the implementation of interdisciplinary projects. it is important 6 I consider “always” and “never” are to understand dangerous words, I think it is more valuable to be open to constant reflecthe context of tion about what we do and how we do it, each medium, its accepting that the ways in which we understand the world change though time. registration and the 7 I’m not a guy... but, if I wasn’t an inforprofile of its readers. mation designer, there are a lot of fields Probably a graphic for a popular newspaper would not make sense in a newspaper of reference, but that would not stop being a good graphic. 7 Boat model builder 8 It’s going to be my first time, so I hope to learn, share and enjoy the experience. The prestige of the organizers and the long list of illustrious participants guarantee the success of the congress. I hope we meet there!
I am interested in. Right now, I might incline towards philosophy. 8 This is my first time in Malofiej; it is an honor to have been invited as a jury and a speaker. Comprehending the flows and ways in which other people / organizations work is by itself very valuable, plus being in an international environment where we can understand how people work in other parts of the world make it even more interesting.
1 It was through MigranTIC: Data visua-
lization system on migrants in transit through Mexico, which was my master’s project with the developer Gilberto Leon. 2 Yes, NarcoData https://narcodata. animalpolitico.com/ . This was another project we did in Animal Político in which we managed to explain, in general terms, 40 years of organized crime in Mexico in 2 images. 3 We are analyzing some data bases from the Mexican Government, and I’d like to know more about their structure and the
“immersion” in this fascinating world of visualization?
2 Is there any special
project that you would like to highlight/stand out?
3 Do you have any particular
goal/challenge to face in 2019 interns of graphics/visualization?
4 What kind of data or
information do you dream about visualising in a graphic? (something you didn’t approach before, something data is not available about, something unaccessible… or not)
5 Graphics departments at
newspapers are evolving. Now they work on more complicated, polyedric assignments, including different tools and narratives. More than a traditional piece of graphics… from this trend? Where our craft is focusing at?
6 Would you dare to say this is
not a graphic or this is a graphic? Could you define a clear line?
7 If you weren’t a graphics guy, you'd be a…
8 Say something inspiring about Malofiej. Why it deserves a visit every year? What people can learn in Pamplona?
Fri 29 / 10:30
Thu 28 / 15.30
Yosune Chamizo Animal Político
QUESTIONNAIRE
Bernd Riedel Ellery Studio 1 My first infographic publication was
a double spread in the German paper Welt am Sonntag about tuna. The graphic was the result of a collaboration with a bunch of friends in a workshop at the Hochschule Augsburg. It featured a swarm of fish that I hand painted, with details on fishing methods plus size comparisons and some more infographic-y stuff. It won several awards and, for me, as a design student at the time, it helped to show that a career in infographics was possible. It was quite a boost for my self-esteem. 2 The Infographic Energy Transition Coloring Book was the most exciting,
most rewarding, and most impactful work I have done so far. It was great to be able to work on a project with real implications for policy and the environment. It’s all downhill from here :-D 3 This spring, we will publish another social innovation product that utilizes infographics—it’s called “EQT - The gender equality toolkit.” It’s for workplace teams and it’s stretching the idea of information visualization to take on processes that are really critical. 4 During my research fellowship at the Center for Data Arts in NY I was allowed to meddle with some really interesting applications of information mapping in self-organizing collaborative multi-stakeholder environments. I am convinced the processes we prototyped back then can be expanded into a tool for evaluating and monitoring large-scale international research projects in the renewable energy industry. It would be a ton of work though. 5 As a strategic designer I don’t know too much about the news design business. But my personal experience tells me that the infographic mindset can be a valuable asset in any process that depends on user participation and knowledge transfer between stakeholders.
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6 This I can answer
quoting Star Wars: “Only a Sith deals in absolutes.”
7 … a stay-at-home dad. 8 I am really looking forward to meeting the global community of visual information leaders. It will be my first time at Malofiej, but I’ve heard only the very best things about it over the years. And I very much respect the time, effort, and dedication the Malofiej-team puts into providing one of the very few awards where the entry fee is not defining the field of participants!
Fri 29 / 11:45
4 Eighteen years ago, I was hired to work at the Washington Post by Richard Furno, who taught me much of what I know about mapping the news. Before he worked at the Post, he helped make National Geographic’s 1969 map of the moon (Click here: http://kelsocartography.com/blog/?p=1481 to learn more about this iconic map by another former colleague @kelsosCorner). This being the 50th anniversary of the first lunar landing, it would be fun to ‘tip my cap’ to my mentor and make a map of a moon or a planet. There actually is a ton of planetary mapping data to explore these days! 5 Hmmm . . .I am not sure I can answer this adequately, but I do agree that anyone entering the graphic journalism field today should expect to work in a highly collaborative environment with colleagues who have many differing skillsets and specialties than your own. If you are open to it, today’s newsroom graphics departments are a demanding, yet Thu 28 / 17.30 enriching place for learning and career development. 6 How dare you try to find my snarky side! I would never say that ;-) 7 A drummer in a polka band \m/ (**) \m/ 8 I have never been to Malofiej, but am looking forward to finding out what it is all about and meeting peers in the field of visual journalism.
graphics departments work on nowadays. One useful thing to take away from this trend is that there is a lot of value in building strong relationships between journalists who specialize in different mediums. 6 Sure —a written story with no visuals is not a graphic. A simple photo is not a graphic. But in general, I don’t think this sort of categorization is very useful. It’s more useful to judge a story on whether it communicated information and ideas well, regardless of what tools or approaches the authors used. 7 I have no idea! 8 This is my first time visiting Malofiej. But there’s always value in surrounding yourself with people you admire and trying to learn something from them. For visual journalism, Malofiej seems like one of the best places in the world to do that.
Derek Watkins The New York Times 1 I was hired as an intern in the NYT graphics department in 2012. Once I figured out how to work around being intimidated by the institution and star-struck by the people around me, it was an amazing place to learn. 2 I’m proud of our recent visual project about Yemen https://nyti.ms/2SyuQze. 3 My goals are usually pretty simple: to challenge myself and continue learning new things. 4 There are lots of cultural patterns that I think would be fascinating to put on a map if collecting data for them weren’t so difficult. From simple things like the detailed distribution of regional cooking styles to bigger, more philosophical patterns, like the global geography of fear.
5 Graphics
departments are learning to overcome limitations that they were used to working around in print. At the same time, broader cultural shifts in how people consume information have made readers want more visual explanations. I think those two processes are responsible for the wider range of projects that
Fri 29 / 9:45
Laris Karklis The Washington Post 1 Growing up, I enjoyed reading Asterix
(and Tintin) comic books with my brother and sister. Looking back, perhaps I was subsconciously influenced and inspired by the introductory map that is on the inside cover of each Asterix book. Asterix has been translated for readers the world over, yet this “infographic” sets up the subject of the story and characters in a simple yet inviting way. It even includes a clever inset map magnified on the north coast of France, locating where the holdout village of Gauls are surrounded by the Roman invaders. I love it! 2 Borderline ( https://wapo.st/2tEeLOh ), a flyover map of the U.S.-Mexico border. It involved working as part of a larger team within the department and was executed over many months while we balanced our other projects. When the piece published, it offered our readers a timely and alternative perspective on the border security debate.
3 News tends to
repeat itself... the challenge is trying to find fresh and engaging ways to visualize events that we have covered in the past but continue to be an important part of the national conversation.
Carol Cavaleiro O Globo 1 Six months after finishing the visual
journalism trainee program at Folha de S.Paulo, I needed to create a data visualization about the unusual leadership changes during F1 2010 season. I had some data, such as who was the leader of each lap of every single Grand Prix, and who was the leader of the championship during each GP. I didn’t know any other way of doing a complex visualization, than to copy that extensive data into an excel pie chart, and, to my surprise, it worked just fine. Of course, I had to manually paint each lap according to who the leader was at Illustrator, and, after long long looooonng hours, I got this colorful mandala. Some images: https://carolcavaleiro. com/portfolio/portfolio/f1-2010/ https://www.flickr.com/photos/carolcavaleiro/5186065268/in/dateposted-public/
2 I have two projects which are very
important to me: 1. All the rhythms in Brazil: I had been working at O Estado de São Paulo for six months and I was learning how to
investigate, how to write and how to shape my own infographics. Although I was a junior infographic designer, I was sent to this very important meeting, with bosses from different departments, to brainstorm how we could create a cross-platform approach to “The best Brazilian album” project. It was decided that we would launch a poll on the website, where the readers could choose which was the best album between a choice of 30 albums, from 1940 until 2012. The Estadão radio station would have a special program playing music from the winning album and an interviewing the winner band/musician. The newspaper didn’t know what to publish and I thought it would be really amazing if we could see all of the different Brazilian rhythms and the evolution and changes of each genre, and place a mark where the voting album appeared in this big timeline. I created two secondary timelines: one for international influences, such as Beatlemania and Jackson Five, and another one for the technological evolutions, from phonograph until iTunes. https://carolcavaleiro.com/portfolio/ portfolio/30-records/ 2. Aos Fatos: This is a still work in progress but I’m thrilled to be a visual consultant of Brazil’s first multiplatform fact-checking agency, and to study ways of improving the delivery of verified content on social media. I helped build Aos Fatos’ visual identity and for the past three years and half Aos Fatos has grown so much and has invested in such great innovative projects! I’m truly passionate about this project and really believe that initiatives like Aos Fatos are extremely important. The challenges we are facing in Brazil are huge. Yes, there is always the lack of money in the journalism business and all the damage misinformation has already caused. We need to fight back. https://aosfatos.org/ https://carolcavaleiro.com/portfolio/ portfolio/aos-fatos/ 3 Yes! To closely monitor the violence rates in Brazil, especially related to feminicide, which only became recognized crime in Brazil in 2015. The beginning of this year we already have significant bills that are going to Congress to be voted, one of which is the flexibilization of owning a gun and broadening the act of self-defense. If this bill passes, it creates a justification for the common person to be excused of acts of violence which are grounded in “fear, fright or violent emotion”. 4 I’m dreaming about how it would be amazing if we can make a huge diagram of all political connections everybody in the federal sphere has, divided by the three Brazilian powers (executive, legislative and judicial), and also the people occupying the high management chairs in state-owned companies. By seeing the relation between these people, it might be easier to understand the political negotiations and see what kind of connections these politicians have (like party connections, close friends, relatives). This would be huge: considering that in the Congress only there are 513 deputies and 81 senators and, in our biggest
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state-owned company, Petrobras, there are five levels of management which are open to political nominations. That means there are more than dozens of people for each of the seven sectors in the company. It goes without saying, that this very ambitious project would demand constant updates due to all the craziness of Brazil’s politics.
has changed our habits and the way we read the news, and I think the newsrooms are trying to keep up. I think that this pursuit of innovation comes from a simple problem with no easy solution: the things that we’ve been making – the articles that we’ve been publishing, the infographics that we’ve been developing – have not been consumed or, at least, not consumed in its totality.
chotomy Design or Theatre has been a constant of my university years! (And this is why I’ve also tried to combine these worlds https://medium.com/@ frcfr/data-visualization-and-theatre-a-story-of-mutualism-5e199009cf4b) 8 I think it can be such a great opportunity to learn, get inspired and also meet people! In my opinion these components have a huge value, from a professional but also from a human point of view.
5 Internet
We are researching and investing in new ways to tell stories because we haven’t found the ideal format yet. And we are experimenting new formats for different social medias, such as Youtube, Instagram, Twitter and Facebook. 6 I think that good infographics are those where the text and visuals complement each other and give the other a layer of information that the text or the visual wouldn’t have on it’s own. These traditional forms of infographics are, somehow, easy to identify. We are visually trained to recognize it. But every day, we have brand new forms of “infographics”, from data driven “live” graphics to subtle digital architecture that may be characterized as infographics as well. 7 I’m really into yoga, meditation, organic products and agroecology, so... I would probably be a hippie. 8 I believe that we can improve our work by sharing our experiences. This is my first Malofiej and I’m thrilled to meet amazing professionals from all over the world and to find out more about the challenges they are facing and all the experiments that have been successful (and even more about the ones that haven’t!). We grow by spreading knowledge. Malofiej is a seal of high quality journalistic work and it is inspiring to see the genius of so many professionals up close.
6
7 A theatre actress maybe? The di-
Federica Fragapane Visual & Dataviz Designer
Thu 28 / 16.15
1 My first experience was attending the
Density Design course during my studies at Politecnico di Milano and I have to say that it was essential for me. During those months I really understood how fascinated I was by this combination of contents, information and visual elements. I loved the idea of having a reason for every single drawn line and the possibility of visually talk about topics, especially the urgent and current ones. 2 A project of mine I’m particularly fond of it’s The Stories Behind a Line (http://storiesbehindaline.com) a visual narrative of six asylum seekers journeys. The piece aims at sharing the stories of people who left their country looking for a better life, using data visualization as a way to give them voice. Working on it was an extremely precious experience and I’ll talk about it at Malofiej. 3 I’d like to keep on focusing on my interest on the possible connection between data visualization and empathy. I’d love to work on more humanitarian projects. And, more in general, I just want to explore more ideas, and worlds. 4 I’d like to keep on working on projects similar to The Stories Behind a Line: I’d love to visualize again personal data to give a voice to people who don’t have platforms. 5 I think it’s part of an overall evolution of the information world. I also think that now, more than ever maybe, we need to properly inform people on complex topics, also showing them data, numbers and providing a big picture. Visualizing data is a big responsibility and I’m glad that there is an increasing interest in doing it carefully. So I think – and hope – that our job will be more and more integrated with a proper way of doing information. We are researching and investing in new ways to tell stories because we haven’t found the ideal format yet. And we are experimenting new formats for different social medias, such as Youtube, Instagram, Twitter and Facebook.
6 I think there are
certain rules that allow a distinction between “a graphic” and “not a graphic”. But in general, before judging a piece, I like to understand the context it belongs to and the needs it answers to.
John Burn-Murdoch Financial Times 1 Like many others, I first really caught
the visualisation bug when I was introduced to Tableau. For me, this was as part of my Masters degree in Interactive Journalism at London’s City University in 2012. This was the first time I had used a tool that made visible the process of mapping quantitative information onto aesthetic characteristics, and as soon as I grasped that, I was hooked. Once you can look at a spreadsheet and envisage how it will look in space, shape and colour, the whole process of working with data is changed forever. 2 This depends on whether a big project of mine on bias in AI is published before the conference... 3 Good question! On the technical side, I’ve begun tinkering with WebGL as a new medium for making graphics with, so I’m keen to keep pushing at that and get some work out into the world. More broadly, I’m working on some very ”different” visual communication projects this year, including presenting a new FT data-driven video series and producing some data visualisation on stage for a live audience, so my overarching goal is to continue developing my understanding of how to make graphics that resonate ever more with an audience. 4 Great question! But I don’t have an answer right now... 5 Now they work on more complicated, polyedric assignments, including different tools and narratives. More than just traditional graphics… Why is it that this happening? What we can expect from this trend? Where is our craft heading? This is happening for a few reasons, but these can be broadly categorised as supply and demand factors. On the supply side, newsrooms have got far better at producing graphics of all shapes, sizes and formats quickly and efficiently. At the FT we make hundreds of graphics every day, and due to the tools and templates we have developed, some of these now go from conception to completion inside 10 minutes. This has freed up time
for much more creative, ambitious and innovative visual projects that can deliver completely different experiences for our readers. On the demand side, both advances in visual presentation technology and ever scarcer reader attention mean that audiences are constantly demanding or expecting more impressive visual work.
I would take it back to the aesthetic characteristics I spoke about in my discovery of data visualisation. Where shape, space and colour are used to convey a message, for me that’s a graphic. 6
7 I studied geography at university, so
my alternative career plan came from that route. It was to work in disaster response, preparing for and responding to natural catastrophes. Now I map them instead! 8 This is what I hope to discover this year :-) Thu 28 / 10.30
Al Shaw ProPublica 1 I got my start building interactive graphics for the political news website Talking Points Memo. While working there, I built one of the first opinion poll aggregators to display trend lines on interactive charts. 2 In 2016, we published two interactive projects that warned of the risk Houston, Texas faced from coastal storms. We spent over a year working with researchers to visualize worst-case-scenario storm simulations that were generated with supercomputers at the University of Texas. The project, “Hell and High Water,” https:// projects.propublica.org/houston/ showed how vulnerable the coastal city’s petrochemical complex, low lying suburbs and a major NASA control center were to hurricanes. The follow-up piece, “Boomtown, Flood Town,” https://projects.propublica. org/houston-cypress/ showed dangerous extreme rainstorms could be in Houston. The project won a Peabody Award in 2017 and came a year before Hurricane Harvey dumped 60 inches of rain on Houston, the worst disaster in the city’s history.
Show, Don't Tell!
malofiej27 Fri 29 / 9:00
Participants of the Show, Don't Tell! Workshop will work in teams on projects supervised by instructors Jeremy White and Monica Ulmanu
The Electric Car and the Future of Driving
Antonio Farach Times of Oman 1 It was very hard to reach the desired quality and respective deadlines, given the fact that in those days I was playing the one-man-orchestra, researching, writing, preparing the databases, designing, illustrating, etc. The best data-visualizations we produced were when the team was cohesively working. 2The 2014 Fifa World Cup's On The Ball. 3 To tame some digital techniques. Everything it's changing too fast. 4 Frankly, I don't have preference on topics. The most different the current project is from the previous one, the most enjoyable is. But in terms of conscience, there are some topics in which I still didn't work enough yet: corruption-oppression, society' indolence to global threats. 5 What is happening is a natural process because infographics is science rather than art. Of course, artist should be an important gear of the team but the soul of it are the stories. The more variety of disciplines in the crew, the richer outcome in their narratives. Actually, what is happening is a repetition of history in some way. 6 I don’t dare anymore! Infographics are evolving so fast, that borderlines are being pushed into other disciplines. As the case of data visualization which sometimes is more art than narrative. 7 Archaeologist. 8 Pamplona is the Alexandria of the infographic world! Thu 28 / 12.30
Shirley Wu sxywu.com 2 Legends, a visualization of the 51 female Nobel Laureates. I'm proud that I was able to use that third dimension in a meaningful way. https://christmasexperiments. com/2018/23/legends 3 I'd like to try my hand at physical data installations. 4 I really want to visualize overlooked individuals in history - people that accomplished great things, but were forgotten for one reason or another.
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very year, preceding the Infographics World Summit it takes place the professional workshop Show, Don’t Tell! We’ll talk about the electric car and the future for cars and transportation. We will visit the Volkswagen assembling factory in Pamplona to find out how all this new technology is affecting their processes and the configuration of the car itself and we will then attend a talk with a specialist from Volkswagen and Endesa, one of the main Spanish electricity and gas companies, in order to get more information and materials to work with. We’ll also have two master classes with Jeremy White (The New York Times) and Monica Ulmanu (The Washington Post). The aim of the sessions is to enhance the conceptualization of infographics, their planning and the reporting, as well as fostering teamwork, above the final product itself. Participants work in teams on the projects supervised by the instructors. As a colophon, the students will present their workshop outcome to the attendees of the Summit.
Narrative Cartography For Visual Storytelling with Jeremy White
This class will cover the techniques and implementations we use to create thematic maps at The New York Times. We will cover the different aspects of acquiring data, visualizing spatial information and making maps visually engaging while complimenting the larger story. This class will help you make better maps.
Involving the Reader In Visual Narratives with Monica Ulmanu
There are many ways in which visual journalists can bring stories closer to
Instructors
Jeremy White The New York Times
Monica Ulmanu The Washington Post
Jeremy White is currently a graphics editor for The New York Times and an adjunct professor at Columbia University. He has contributed to projects that have earned several Emmy nominations, a Peabody award, and top honors from the Society of News Design, Malofiej, World Press Photo and Pictures of the Year International. Prior to joining the Times, he created motion, interactive and print graphics for blueshirt, the company he founded, serving clients such as Toyota, Fiat, Sony, T-Mobile and Microsoft.
Monica Ulmanu is a graphics editor for the Washington Post, where she leads a wide range of projects, from breaking news to long-term initiatives. How to make graphics a more distinctive and relevant experience on screens is what keeps her awake at night - along with her two boys. She previously worked for the Guardian UK, Reuters and the Boston Globe. Her work has been recognized with a Murrow Award, and she also received awards from Malofiej, the Society for News Design, the World Association of Newspapers and News Publishers, the Society of Professional Journalists, among others.
their readers and increase engagement. In this workshop we will look at some of the most effective narrative structures and will discuss which of those would work best for a chosen topic, while experimenting with interactive formats and concepts. The workshop starts on Monday, March 25th at 8:30. Followed by a brief presentation and a visit to the Volkswagen
Navarra factory. The participants will work for two days hand in hand with Jeremy White and Monica Ulmanu and will present their projects to attendees during the World Malofiej Infographic Summit on March 29th at 15.30. The projects will be published on the web together with the participants
http://www.malofiejgraphics.com/ show_dont_tell/
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JOHN EMSLIE
Malofiej 26 Book
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Innovative Diagrams from Mid-Nineteenth Century London
The British draughtsman and engraver John Emslie (1813-1875) is best known for the innovative and inventive series of educational charts and diagrams he produced for the London publisher James Reynolds (1817-1876) in the years immediately before and after 1850. Text Laurence Worms
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mslie was born in London on 12th July 1813, trained as an engraver and by 1838 was established independently at 40 Castle Street (now Furnival Street), Holborn. He died at 47 Gray’s Inn Road on the 8th June 1875. Although best known for the educational diagrams, John Emslie was the engraver of a much wider range of material. He regarded himself primarily as an engraver of maps and listed his occupation specifically as “map engraver” and “geographical draughtsman and engraver” on the 1861 and 1871 census returns. The number of maps, as opposed to other material bearing his name, is comparatively small and we have to assume that he may have carried out much uncredited work for others. A collection of some 200 proofs of Emslie’s engravings, donated to the British Museum by his son John Philipps Emslie in 1912, is testament to both the breadth of his work and the range of his skill. The print and map publisher James Reynolds had occupied wellpositioned premises at No. 174 Strand – one of London’s principal retail thoroughfares in the nineteenth century – since 1836. Reynolds’ business was underpinned by the selling of large bundles of prints – surplus stock from the publishers of
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TRANSPARENT SOLAR SYSTEM Hand colored and engraved diagram of the solar system, have tissue paper backings and holes in the card in order to allow the user to hold them up to the light and see the stars, planets or phases of the Moon displayed as light areas against a darker background. The planets are shown with their known satellites, minor planets from the asteroid belt are included, as is the orbit of Halley’s Comet.
THE BOOK
This report is a summary of the original that has been published in the book: Malofiej 26. International Infographics Awards SNDE, 2019. 172 pages. 40€
THE EXHIBIT
If you are interested in the work of Briton John Emslie, an amazing pioneer in modern infographics, we encourage you to visit the Pamplona Planetarium from 27 March as that day, which is also the opening of the 27th Malofiej Infographics World Summit, a selection of his prints will go on display. More info: www.malofiejgraphics. com and www. pamplonetario.org/
annuals and plate-books – at very low prices, but at some point in the 1840s Reynolds began to produce a series of educational diagrams, printed on card for durability. Most of them have a clearly written explanatory text and were intended “for colleges, schools, and private instruction.” Over the years they provided insights into “astronomy, physical geography, geology, botany, natural philosophy, machinery, manufactures, &c. in great variety.” Although the series may have begun earlier, the earliest dated diagram would appear to be the Geographical Diagram of the Earth Adapted for Illustrating its Movements &c. and Exhibiting the Chief Mountains and Rivers in the World, 1844. Described in advertising as a “moveable,” it was drawn and engraved by John Emslie and incorporated two moving volvelles designed to give the time differential from any part of the world and the earth’s “axical motion.” As the numbers of diagrams grew, Reynolds began to issue catalogues for ease of ordering and by the early 1850s, perhaps earlier, they were also available in sets, usually of twelve. The diagrams were universally well received and applauded. In 1862, the diagrams won a Prize Medal at the International Exhibition held in South Kensington. Perhaps the most spectacular of all of Emslie’s productions was the splendid View of Nature in Ascending Regions (1853), depicting the changing vegetation and climate from London at sea-level to the highest peaks of the Himalayas. At much smaller scale, Emslie had also engraved all thirty-two of the maps for Reynolds’s Travelling Atlas of England, published in 1848. Emslie’s own Science Simplified, and its Elementary Principles Demonstrated by Two Hundred Diagrams, with Concise Explanations was published by Reynolds in 1856 – a small book with sixteen plates drawn and engraved by Emslie, arranged in pairs with multiple images on each plate, covering the laws of matter and motion,
mechanical powers, hydrostatics, hydraulics, pneumatics, optics, electricity, and magnetism. These are similar in style to some of the cards, but only a quarter of the size. Bound in cloth, the price for the book was just two shillings, with a cheaper version in boards also available at half that price. It would perhaps be wrong to place too much emphasis on the originality of Emslie’s work for Reynolds. Emslie’s diagrams have never had the academic reputation of the maps being made by Johnston in Scotland, but they were being made at exactly the same time and with their dramatic designs and cheap, bright and popular format, they were probably far better adapted to their specific educational purpose. They were also right up to date. Emslie and his publisher were right at the forefront of that powerful nineteenth-century drive to bring the liberating force of education to the people. Neither has so much as an entry in the Oxford Dictionary of National Biography, but they were among the most notable exponents of one of the greatest and most generous movements of its time and deserve rather greater recognition than history has so far accorded them.
As the numbers of diagrams grew, Reynolds began to issue catalogues for ease of ordering and by the early 1850s, perhaps earlier, they were also available in sets, usually of twelve. The diagrams were universally well received and applauded.
Malofiej 26 Book
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THE ANTEDILUVIAN WORLD Hand colored view. Shows reconstructions of extinct creatures in their established epocs prior to the creation of man, identified by a reference beneath the illustration.
TELESCOPIC APPEARANCE OF THE MOON Uncolored engraved diagram. Displaying magnified appearance of the Moon, “as seen by Lord Rosse’s great telescope”, and the text at the bottom includes a description of this view by William Scoresby (1789-1857), which concludes “The general appearance ... was like one vast ruin of nature.”
PANORAMIC PLAN OF THE PRINCIPAL RIVERS AND LAKES View of the comparative length of the world’s rivers and size of the lakes. Include: Danube, Rhine, Nile, and Amazon, are placed side by side so as to demonstrate their comparative lengths and are surrounded by lakes including the Dead Sea, the Caspian Sea, and Geneva and Michigan lakes.
COMPARATIVE VIEW OF THE PRINCIPAL BUILDINGS IN THE WORLD Hand colored engraved view. Showing famous landmarks and monuments from all over the world. Includes reference to the buildings name and heights, beneath the view.
PROPERTIES OF BODIES
Pictures David Rumsey Map Collection and Wellcome Collection
Physics: the decorative titlepage to a partwork on science, with pictures of scientific equipment. Coloured lithograph by J. Emslie, 1850, after himself.
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Summit
Line, color, area, symbol...
The History of Information Graphics, by Sandra Rendgen, will be released next May 2019. Other contributors: David Rumsey, Michael Friendly, Michael Stoll and Scott Klein. More information: www.taschen.com
1,200 years of transferring knowledge visually Text Sandra Rendgen
— “If I have seen further it is by standing on the shoulders of giants.” ISAAC NEWTON
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here do we stand today, if we look back on the history of information graphics? For many years we have seen how new possibilities for visually presenting information and fresh technical tools have continually emerged in this field. Designers, programmers, editors, and researchers develop ideas on a daily basis onv how information displays, big and small, could enrich our everyday lives in the future. Amidst this forward-looking enthusiasm our knowledge of the history of information graphics is but piecemeal. In introduction lectures or book chapters on the history of information visualisation, the names of individual forerunners are often mentioned, like William Playfair, Charles-Joseph Minard, or Florence Nightingale, yet the more far-reaching dynamics and achievements of historical information visualization remain in the shadows. Thus persists the idea that the evolution of information visualization has taken place only through digitalization. This assumption is however incorrect. Visually encoding and saving information, in order to make it easier to work with and to transmit it to others, is an age-old practice. It is hardly possible to identify the key moment in the history of visualization when it all began. We know examples from many ancient societies as well as from contemporary cultures around the world. Western archives are full of maps, diagrams, and other infographics of all kinds. But what is information visualisation – and what do we mean by “infographics”?
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THE BOOK TO COME
— “Science stands before two obstacles which impede its progress: firstly the incapacity of our senses for discovering truths and secondly the inadequacy of language to express the truths that we have acquired. The object of the scientific method is to eliminate these obstacles; ‘the graphic method’ attains this dual aim better than any other.”
Abraham Ortelius: Theatre, oft Toonneel des aerdtbodems, 1571 Antwerp.
ÉTIENNE-JULES MAREY The general term “information visualization” denotes a cultural tool—a functional technique for the production and dissemination of knowledge. This tool comprises all aspects of the preparation of information or data, the process of visually encoding it, and its preservation and dissemination in an image. Works of information visualization have long been disseminated in a variety of media right up to the present day. The term “information graphic” originally referred to works that were reproduced through the process of printing. Over centuries—from the end of the Middle Ages until the late 20th century—printed woodcuts, etchings, and lithographs were the dominant media in Western culture for works of information visualization. This preponderance of printed works may be the reason why the shortened word “infographic” is still used as the generic name for the many different kinds of static information visualizations. But even before the invention of the computer, graphic reproduction was not the only
William Playfair: The Statistical Breviary. shewing, on a principle entirely new, the resources of every state and kingdom in Europe, London 1801.
William Edward Burghardt Du Bois et al.: The Georgia Negro, 1900.
Summit
malofiej27 Abraham Ortelius: Theatre, oft Toonneel des aerdtbodems, 1571 Antwerp.
Understanding Humans and Machines Text Michael Stoll
I Computistical manuscript, ca. 1175, England.
conceivable medium for the production of a visualization. There are hand-drawn, painted, or carved maps and diagrams as well as three-dimensional objects, like anatomical or botanical models. The giant antique city map of Rome, known as the Forma Urbis Romae, was even sculpted out of marble and mounted on a temple wall. The field of information visualization thus comprises not just the spectrum of forms known today, it also includes the enormous variety of different representational techniques and formats passed down through history.
— “Based on rational imagery, graphics differs from both figurative representation and mathematics.” JACQUES BERTIN Visualization—that is, rendering information in visual forms—is a complex process in which concrete phenomena, and also theories, concepts, or ideas, are modeled and coded in such a way that they can be visually interpreted and understood. Through a series of steps this source material is converted into something visual. This is a transformative process: certain characteristics of the source material are emphasized and visually encoded, while others are disregarded. A whole set of various skills is necessary for this series of transformations. Information visualization is therefore particularly well-suited to collaborations. Where even after centuries no or only very few authors are known to us, we can, in many cases, assume that several experts—authors, designers, artists, scribes, or scientists— took part in the creation of a complex graphic. In the Middle Ages both knowledge and the way it was communicated were shaped by the culture of production and dissemination of manuscripts. Medieval
Athanasius Kircher: Ars Magna Lucis et Umbrae, Rome 1646. manuscripts were “made to order,” fit to individual purposes. Each time a manuscript was copied, adjustments to the original text were made; scribes edited down parts of the texts, combined them with other writings, or placed them in new layouts. Visualizations played an interesting role in this “on demand” production of books. Often diagrams and maps were standalone additions inserted at relevant places in the manuscript. Like the text, they were also often modified, newly embellished, or otherwise customized in the process of copying them. With the Early Modern age in E u r o p e , individual expertise was increasingly valued over the authority of traditional knowledge. Seen technically, the invention of printing around 1455 proved to be a central catalyst, which suddenly made knowledge available in seemingly unending diversity. At the same time, woodcuts and engravings were established as efficient reproduction techniques for graphics. Visual aids like maps, diagrams, or tableaus were part and parcel of printing culture, whether as individual sheets or bound into books. The most striking development in information visualization during this period happened in scientific cartography. In addition, the modern period also brought about a growing appreciation for empirical observation and data collection. This lead in the 18th century to the first attempts to visualize longrange series of measurements in diagrams. During the 19th century , there was tremendous growth in the use of information graphics, such that by the end of the century a natural proliferation of maps and diagrams can be noted across many areas of media culture. It is historically significant that it became a matter of course to collect and utilize empirical data as a basis for research in various disciplines, from sociology to economics to medicine. Many intellectuals and scientists were thus emboldened to experiment with the visualization of data. Overall these developments lead to the “graphic method,” as information visualization was called in France, slowly but surely being established over the
William Edward Burghardt Du Bois et al.: The Georgia Negro, 1900. 19th century as a legitimate method for analyzing and discussing subjects at a scientific level. From the start of the 20th century the popularization of information graphics continued just as had been observed in the decades prior to that. New contexts and uses for info graphics included illustrated magazines, popular science books, as well as wallsized charts in schools and visual aids in business communications. Today information graphics are ubiquitous: in newspapers, on websites, and in popular books of every kind. In addition, intensive research into visualization has taken shape in the computer sciences since the 1990s. Not only have new visual forms of representation been developed and tested, but questions of reception, perception, and readability of visualizations have also been studied. This is not just about the correct representation of facts and data, it is also about navigation and accessibility of large amounts of data, and supporting human-computer interaction. This process began in the late 20th century and has continued to expand in the present day. With the latest digital tools, information visualization has today achieved a completely new relevance—intellectual, aesthetic, and epistemological. The rich history of information graphics underscores that this cultural tool for the visual transmission of knowledge has long had claim to a central position—between the scholarly text on the one hand and the artistic image on the other—as an intellectual instrument of Western culture.
n searching out the broader themes of the infographic, a look back into history reveals three areas that consistently recur in varying contexts: humans, their technological achievements, and the clarifying of the relationship between them. First of all, very prominent is man’s critical encounter with himself—compelled by the desire, plan, or opportunity to understand one’s own existence. Such approaches are multifaceted, and they appear in many variants. Ranging from the search for human proportions; to the study of the “human system,” its parts, functions, and interdependencies; to its evolution over the course of a lifetime. Though the actual goal was often to make this knowledge useable in visual form, like in the Feldtbuch der Wundarzney by Hans von Gersdorff, published in 1517, https://bit.ly/2XL4Gx1 which includes the famous synoptic representation of all possible injuries. There is little that man is more proud of than the tools and machines he has invented. For good reason: they are both evidence and driving force of social progress. And here they are almost the “alter ego” of man himself. The 1822 illustration of the Reichenbach Water Machine in Dingler’s Polytechnical Journal is not just a functional engineering drawing for specialist use, its design and coloring allow the viewer to relate the individual drawings to each other and to decipher the machine’s functions along with its geographical position. Allowing the viewer to reach their own conclusions—this is, in addition to clarifying, explaining, and communicating, the real power of the infographic. And in the broader context, it is not only in historical infographics that the visualization of how machines work functions almost as media-enabled participation in social progress. Technical advancement is driven by experts. Tailoring these advancements to their users, making them understandable and usable, is a main focus of the infographics at the beginning of the 20th century. The key work testifying to this, in my view, is by Henry Dreyfuss from the year 1955: Designing for People—the title says it all. Joe, Josephine, and Joe Junior are, in the truest sense, “average Americans,” and their measurements helped architects, designers, and urban planners to design environments of optimal proportions. The power of the information graphic is not in clarifying, explaining, and conveying information alone, rather it is found where the infographic functions as a catalyst for consensus-oriented social progress through attractive user-oriented design. What is for designers of such graphics occasionally bitter and gratifying at the same time: the value of the infographic lies not in the object itself, but in its impact.
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Our collaborators
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Our new brand
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Our new brand
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alofiej isn’t a kid anymore. It’s 27 years old and it can sense the thirties on the horizon. It has a wealth of experience on its shoulders: many people, a great many media, a lot of talent. So many stories to tell! And, however, in all this time the Malofiej has continued on without an identifying brand image. It has never enjoyed a recognizable corporate identity. “We realized it this year. We thought that now is the time to have that identity. And so, we got to work on it,” says Javier Errea, President of the Spanish Chapter of the Society for News Design (SNDE) and coordinator since 2001 of the Malofiej Infographics Summit and Awards. The new Malofiej logo is a bowtie and it’s an M at the same time. The bowtie: an homage to the quality of a genre that in its time revolutionised -and continues today to revolutionise-journalism. The letter M: an homage to the unmistakable name of the world’s leading event in infographics. This Malofiej that some people pronounce Malolief and others Malojief; the Russian surna-
me of the Argentine cartographer, now deceased, Alejandro Malofiej, that continues to give us something to talk about. “Yes, it could be said that it is a double homage. But a restrained homage, the kind we like here. Sometimes we considered the option of giving up the name Malofiej, which is so unpronounceable. And look for another name that would be much easier to remember. But in the end, we always came back to the starting point: why, if everyone in the world already knows us precisely by this tongue twister of a name?” explains Errea. The process of conceptualisation and ideation of the new Malofiej logo took place during the end of 2018 and the first quarter of 2019. There were several lines of work still ahead and several proposals associated with each of them. After doing a weeding-out, all the options were reduced to two: one that was more iconographic and the other, more human. “We were committed to giving the Malofiej a human appearance because we believe that one of the keys to the success of the Summit, in addition to the talent, is the idea of community: the contact, the mingling, the conversations. We asked ourselves: if the Malofiej was a person, what would its face be like? How would it dress? What would it eat? Where would it travel? How would it speak and move? We wanted to avoid at all costs the logo of a snobbish designer; it should transmit warmth, even at the risk that the result is more imperfect,” adds the SNDE president.
Then, a moment later, he confronts the question of gender: man or woman? “We came up with a man, I don’t know why. But it couldn’t be one thing or the other. The infographics community is very sensitive about parity, it is active in the cause and will call us out if one year, for whatever reason, we fail to pay attention and have a programme that has more men than women.” So, concludes Javier Errea, the organising committee favoured a neutral logo. Pablo Errea, designer at the Errea Comunicación studio and author of the logo, explains the logo this way: “The brand expresses how the Malofiej is the point of contact in infographics. The logo is, in reality, two points that meet and create another distinct reality. I like the idea that something new is born from the meeting of two points that are found in the edges of two facing equilateral triangles. As they meet, they create something new: a bowtie, or, if you turn it, maybe an hourglass. Very simple, nothing literal. And, behind it, the M for Malofiej can be seen. This led us to eliminate the sides of the triangles and create even more forms.” The 27th edition of the Malofiej will be presented with a new graphic identity. The attendees at the Summit will see it applied to the signage, the carpeting and deliverables, and a wide range of merchandising materials (t-shirts, mugs, notebooks, pins) that will be on-sale. We trust that all of you will feel acknowledged and enjoy the event.
A brainstorming session at Errea Comunicación.
Sketch of a few Malofiej logo ideas.
HAVE YOUR SAY
What do you think of the new Malofiej logo? Do you like it? Be sure to send us your comments via Twitter using the hashtag #MalofiejNewBrand
Notebook A5 5€ Bloc 3€
Pins 1€
T shirt 10€
Cup 10€
Totebag
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Cinegraphics & Exhibition
Do you know which movie is being referred to?
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Cinegraphics & Exhibition
films in 5 seconds 9
It is possible to sum up a film in five seconds? Is it possible to do it without using words? What links does infographics have with cinema? Visit the Cinegraphics exhibition at the Palacio del Condestable in Pamplona and read the book by Matteo Civaschi.
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Matteo Civaschi
THE BOOK
Cinegráfics, la gran historia del cine, en síntesis (The epic history of cinema in brief) Matteo Civaschi and Matteo Pavesi. Flow Press, 2017. 21,95€ Available as an ebook in English https://amzn.to/2IVoTN0
THE EXHIBIT
The inner courtyard of the Palacio del Condestable, located on Mayor de Pamplona street, in the heart of the city’s old quarter, will be the site of the exhibition Cinegraphics from Wednesday 27 March. The exhibition, organised by the SNDE and based on the collaboration between Flow Press and Matteo Civaschi, is a selection of 54 films whose plots Civaschi has condensed into a single frame using only a few icons. One poster for each film. Life in Five Seconds, one of the first Shortolog y books, won a lion at the prestigious Cannes advertising awards festival. It was the seed of what in 2017 became the book Film in Five Seconds or Cinegráfics áf in its Spanish edition. So, is áfics it possible to explain a film in just five seconds and not do it with words but using only icons? The answer is yes. That horrific sequence in Alien left a permanent mark
on Civaschi the boy. Years later he felt the need to explain it using the language and narrative tools of his Shortology. Naturally, among the 101 films that comprise Cinegraphics, Aliens is there; it had to be. To summarize the film Civaschi needed only a few figurines, a cat, the Xenomorph, and the celebrated sequence he saw with his grandmother. Cinegraphics is an urgent graphic encyclopaedia of the seventh art. The technical evolution and the myths surrounding cinema are represented using minimal graphics. “It requires an enormous mental effort: it’s hard to throw away 95% and hang on to next to nothing. Also, it comes with a high responsibility. And I pitch up and out of the blue give the great filmmakers a poke,” Civaschi related to Koch last year. Matteo Pavesi, director general of the Cineteca Foundation of Milan, is co-author of the project. The book’s prologue was written by Isabel Coixet, one of Spain’s leading filmmakers and she asks: “Is this a book? An instrument? A treatment? An encyclopaedia? A bird? A plane?” The answer: Cinegraphics is 259 pages with a wealth of images and very few words. Civaschi and Pavesi chose 101 films by thinking of which “made a big impression and that matter in the history of film”. Among them are Casablanca, Psycho, American Beauty, and Terminator. And the Spanish edition includes the films Jamón, jamón and Ocho apellidos vascos (Spanish Affair). Each film is allotted no more than one page. The relation between this project and the Malofiej is unmistakable, and for this reason we have wanted to show a selection of the graphics from Cinegraphics in Pamplona on the occasion of the 27th edition of the Infographics World Summit, which annually converts Pamplona into the world’s capital of journalistic infographics.
ANSWERS 1 The Truman Show 2 Blade Runner 3 Once Upon a Time in America 4 Singin' in the Rain 5 The Big Lebowski 6 Psycho 7 The Blue Brothes 8 Les quatre cents coups 9 Star Wars: Episode IV - A New Hope 10 Alien 11 Dead Poets Society 12 The Wizard of Oz 13 The Silence of the Lambs 14 Fight Club 15 Fargo 16 Fellini 8½ 17 Matrix 18 Wild Tales (Relatos Salvajes) 19 Edward Scissorhands
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atteo Civaschi was just nine years old the first time he went to the movies. Although his grandmother went with him, he wasn’t able to handle it, and no wonder: the film was Ridley Scott’s Alien. “Five minutes in and I’m terrified and she’s in a cold sweat,” Civaschi recalled in conversation with Tommaso Koch. They were so frightened that when the monster burst from the stomach of one of the crew of the spaceship commanded by SigourneyWeaver, grandma hauled him out of the theatre. But that experience remained etched in the mind of the Italian designer. He is now owner and director of H-57 Creative Studio with offices in Milan, Italy. The career of Matteo Civaschi (Milan, 1971) began at the McCann Agency, where he worked for 16 years with a brief parenthesis at DLV BBDO. He has been at the helm of his own studio since 2004, creating such works as The Force of Typography for Lucasfilm. But he is best-known for having launched the Shortology collection. The idea came about in 2012. Civaschi had landed the assignment of creating a humorous retelling of the life of Michael Jackson, and he hit on the symbols used for indicating men’s and women’s lavatories: bingo! This was the result of his wordless story: four figures. The first one is black. Two are increasingly lighter and the last one is white and lying prostrate, dead. His work began circulating on the Internet and wound up catching the eye of a London publishing house. He has published 18 books since then, the last of which is Minimal Films. El universo del cine reinterpretado, which came out in 2018. The Italian author defines Shortology as “the world that was born when graphics met humour.” Civaschi adds that “Shortology is the method for explaining and relating biography, historical events, fictional stories, social phenomenon and anything else in the fastest and most enjoyable way possible, and only uses a few pictograms. From the life of Michael Jackson to The Lord of the Rings, from the dinosaurs to Barack Obama.”
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malofiejgraphics.com
@malofiej #Malofiej27