An animated infographic is a visually appealing depiction of data, facts, figures, and stats. They can cover any subject and, thanks to their ability to transform often boring figures into vivid, memorable experiences, are easily absorbable and informative for specialists and casual viewers alike. But, as the digital landscape becomes more and more cluttered with content, basic image infographics, though effective on their own, just aren’t cutting it like they used to. That’s where animation comes in! By enhancing your image with motion, it will naturally draw the attention of the human eye. So, for maximum engagement, you should get the audience interested with attractive animation and then keep them interested with surprising and informative content.
The 10 most common styles of animated infographic are:
Maps: For data intrinsically linked to a geographical location (or locations), using maps to visualise it is the most effective method.
Process or How-To: Directional cues take the viewer through a series of instructional steps.
Exploded View: Each component of a product is separated in the order of assembly to get to the core of how it works.
Comparisons: Two or more similar, or dissimilar, things are compared side by side to highlight their distinctions.
Interactive: The viewer can interact with the animated infographic by clicking on various components for a closer look or to influence the content in some way. Take a look at my interactive video guide for more info here.
Data Visualisation: In-depth information can be easily communicated with Venn diagrams, pie and bar charts, line graphs, etc.
Kinetic Typography: For infographic videos especially, animated moving text is a great way to convey more abstract information.
Timeline: A chronological visualisation of how something has changed or evolved over a certain time period.
Introduction into Drag
Drag began out of necessity, although that’s not to say its participants didn’t enjoy it. When Shakespearean theatre was shiny and new in the late 16th and early 17th centuries, the stage wasn’t just a place of entertainment. It had strong links to the church and with that came rules that only men could tread the boards. If that play you were in featured a few female roles, then it was up to a couple of the men in the cast to dress as members of the opposite sex so the story didn’t suffer.
The word ‘drag’ is believed to have theatrical origins too. The dresses men wore to play female characters would drag along the floor.
Actors playing female parts because there were no actresses around isn’t exactly in the spirit of what we call drag today - but it was a start. It soon became a way for men (often gay men, although plenty of heterosexual men wear drag as well) to express a different side of themselves, over-exaggerating feminine looks, style and body language to create a persona. As RuPaul himself says, there is more to drag than impersonating a woman: “I don't dress like a woman; I dress like a drag queen!” Drag kings, where female performers adopt an exaggerated male persona, are also popular. Christian Adore is an act that challenges gender norms and stereotypes through comedy, and appears regularly on the London circuit.
The Category Is Vaudeville
As time went on, drag became more about the individual and the queens built up their own fanbases. One of the biggest stars of the earliest 20th century was Julian Eltinge. Whereas many drag queens played on the fact they were men in women’s clothing, Eltinge (as she was often known) had many fans convinced she was not a character, but a genuine actress.
Eltinge emerged from the world of vaudeville, known as variety theatre in the UK, where cross-dressing was very popular. At the end of performances, he would remove his wig and reveal his gender to the crowd, often to cries of disbelief. Hugely popular, for more than 20 years, Eltinge’s career was very much on an upward trajectory, until variety acts fell out of favour in the 1930s. While there was a tolerance, even celebration of drag and LGBT people in the USA during the 1920s and early '30s (known as the 'pansy craze'), American society became more reactionary in the mid-1930s, amid fears surrounding sex crime, which had a negative impact on the way drag was perceived. After the Second World War, although homosexuality was still frowned upon by society as a whole - even illegal in some cases - there were still drag acts who broke through the negativity and had successful careers. These including Danny La Rue in the UK, who made his name in the 1950s, and Dame Edna Everage, the flamboyant creation of comedian Barry Humphries, who first appeared in the 1960s.
Elegant tip-toes into the mainstream The Stonewall Riot of 1969 saw drag queens, most notably Marsha P Johnson, protest against police raids on gay bars in New York City and led to the creation of the Gay Liberation Front. The fight for acceptance and equality grew in profile over the 1970s and 1980s, with Harvey Milk becoming the first openly gay man to be voted in to public office in San Francisco in 1977.
That positive representation gradually bled through into the mainstream. The famed Divine, who died in 1988, appeared in many movies by the director John Waters, which had crossover success (Divine played Edna Turnblad in the original version of Hairspray). And by the early 1990s, RuPaul was on the cusp of global fame, combining a drag persona with a recording career that included a duet with Elton John. In 2009, the first series of Drag Race aired. Its mix of challenges, costume creation, skits and impersonations has made it appointment television for a surprisingly diverse audience (Dame Judi Dench is a big fan) and has even influenced the language itself.
Symbols Associated with Drag
was starting to then think of symbols or objects that could easily represent a part or an aspect reflected to drag. I thought of things such as heels, makeup, bags and accessories. these gave me starting points to think of how I could use these in a representation to show the statistics in some good infographics.
Peter Grundy has done some great illustrative and unique ways of conveying perhaps 'boring' information into a way that's fun and easy to understand. I want to make my piece into a mixture of both photographical and symbolic infographics to fit the suited topic that I am doing which is about the topics and possible issues faced in the world of drag.
Aesthetics & Social media posting
Rupaul and the drag race community have this specific aesthetic that is undeniable and simply recognisable. it is always over the top and 'extra' and this needs to be embodied into my work and infographic to show consistency and that it belongs to the 'drag' family.
Here they had made a new campaign for their top four finalists this season. This gave me the inspiration to create pieces in the style of these with pastel colours, sparkle accents and bold graffiti like typography for each individuals names and felt like these stylistic qualities should be included alongside my infographics to bring it all together
Trial & error
here is my development work of making my infographics all by hand and seeing how it plays out by placing it onto screen and seeing how it goes before making any final decisions
After showcasing ideas on how I could see potential logos going. I have now decided to think of ways of tying the whole brand together and making a scheme that would be not only fitting for York but something that people of my age would be interested in and would want to be a part of. Because of the history between York and chocolate, we thought it would be fitting to involve something with chocolate in and based the rest of the things around the chocolate event that we were holding.
some thumbnails of some designs that I have created in mind of the scheme as fundraisers we would do to hold York as city of culture. Chocolate has a common theme and I think it would be a waste to.
Advertisement on Trains & Billboards
being appointed in the group as the person who is looking particularly at how we can showcase our brand and our identity for York on trains and billboards, this is where I needed to look at how we often associate advertising on trains and how they have to be effective for the 'pace' of travel.