School of Infographics: la Enciclopedia Ilustrada del diario Clarin

It was a bold, shiny, red volume in the desk of the director of the section, and it was also our resource to look-after in the rushing times of the daily edition; made of a comfortable blight beige light paper that makes its weight really portable. The editor, Luis CHumpitaz, has brought it from his travels to Argentina, where he met many of the professionals we look after for inspiration in that time.

And why? you would ask, and I will answer that it was there that we learn the order of an infographic, the hierarchies, the narrative of the visuals.
The first time I arrived at the section, it was located in a division made of wood-or plywood- in a corner of the building, just in front of the big patio where from night to night, groups of people put together the pages of the newspaper t midnight.
This was the backside of the building, while the third floor of the new construction was in development. Because of this, even the newsroom of the journal Correo was in such a situation, which will be later the dining room. at the back of the street. later we moved to the new part of the building, in a big space on the third floor. So usually I arrived by the stairs behind the more developed part of the building to arrive at the office.
Later, we were moved to the new area, in a middle space between the newsroom of Correo, Bocon and Aja, the other publications of the group. The Epensa building was made in a post brutalist tradition, grey and imposing in the middle of the small street at the Santa Catalina area, in the district of La Victoria. At that time part of the team were Liz Ramos Pardo, Victor Boggiano and Robinson Choquetaype. Later Ivan Palomino and I were joining the team.

Being of such clear importance to the execution of work, I took a lot of pictures of the graphics inside, which later will come at hand, to use as a guide for my daily work in the headquarters of the newspaper.

The graphics are developed all in a similar patter, divided mostly in horizontal levels, read from top to bottom. The header is very dense usually regarding the quantity of information. Usually, a big image is the axis of the page. The different fragments of the graphic are usually divided by letters or numbers, where timelines, locators and cutout diagrams are placed.

For me [prsonally this was a very useful resource because it offers a kind of template that is very dynamic while maintaining unity. As such is an exercise in information design.