Crevano › Templates › Infographics
Infographic Templates
44 drop-in pages for a document you have already started — the KPI band, the SWOT, the timeline, the org chart, the pricing tiers, the comparison table, the executive summary — plus charts that are real charts. All at 8.5 × 11 and 300 DPI, so they print into a report rather than only looking right on a screen.
| Trim size | 8.5 × 11 in |
|---|---|
| Bleed | 0.125 in |
| Resolution target | 300 DPI |
| Templates | 44 |
| Pages | 44 |
Infographic templates (44)
Black and Brass 8.5 × 11 in Against Target Chart Block8.5 × 11 inOne line against a flat dashed target, with the verdict said in words underneath rather than left for the reader to work out from the plot.
Black and Brass 8.5 × 11 in Team Grid Block8.5 × 11 inSix people as monogram discs rather than headshots, so the page is finished the moment you retype the names instead of waiting on a photographer.
Black and Brass 8.5 × 11 in Trend Against Plan Chart Block8.5 × 11 inTwo lines, actual against plan, with the plan dashed and a legend you can retype. The block a monthly pack needs and almost never has.
Black and White 8.5 × 11 in Chart Beside Table Block8.5 × 11 inThe plot at 55 per cent and the numbers it was drawn from at 45 per cent, because an audience that wants the figure and an audience that wants the shape are usually in the same room.
Black and White 8.5 × 11 in Comparison Table Block8.5 × 11 inThree options against seven criteria, with the recommended column banded so the answer is visible before the table is read.
Black and White 8.5 × 11 in Footnoted Chart Block8.5 × 11 inA plot with three numbered footnotes under it and the markers set beside the axis label, for the chart that has to survive being disagreed with.
Blush and Oat 8.5 × 11 in Stacked Plot Pair Block8.5 × 11 inTwo plots stacked on one shared set of months -- volume above, the rate that came out of it below -- so cause and effect sit in the same column of the page.
Blush and Oat 8.5 × 11 in Two Rings Comparison Block8.5 × 11 inThe same four-slice split drawn twice at 3.1 in, this year beside last, on one shared key -- the comparison a single ring cannot make.
Blush and Oat 8.5 × 11 in Vertical Timeline Block8.5 × 11 inSix dated entries down a spine, for a history, a case study or a project log where each step needs a sentence rather than a word.
Clay and Bone 8.5 × 11 in Chart with Callout Block8.5 × 11 inA plot with a solid callout box landing on its emptiest corner, placed by hand rather than centered, so it annotates the chart instead of covering it.
Clay and Bone 8.5 × 11 in Contact and Next Step Block8.5 × 11 inThe closing page: one instruction, the three ways to do it, and nothing else competing with them.
Clay and Bone 8.5 × 11 in Ring and Statistics Block8.5 × 11 inA ring at 3.9 in with three figures set beneath it that are read off the same data, so the page says the same thing twice in two registers.
Clay and Bone 8.5 × 11 in Table and Chart Block8.5 × 11 inA five-row figures table over a trend line of the same series, so the reader can check the shape against the numbers without turning the page.
Coral and Butter Checklist Block8.5 × 11 inSixteen checklist rows in two columns, as one repeat block. The box, the rule and the spacing come from the container, so adding a row does not mean re-spacing fifteen others.
Coral and Navy 8.5 × 11 in Before and After Block8.5 × 11 inTwo plots on one axis with a rule between them and the change stated on the rule. Built as two charts rather than one so either period can be replaced on its own.
Coral and Navy 8.5 × 11 in Chart and Callout Block8.5 × 11 inA chart with a dark callout panel beside it, so the number that matters is written out in words next to the picture of it. The most reused page in any board pack.
Coral and Navy 8.5 × 11 in Headline Figure Block8.5 × 11 inOne figure set at 96 pt with the plot that proves it underneath. Written so the number can be wrong and the page still works -- the chart is the argument, not decoration.
Coral and Navy 8.5 × 11 in Quote and Testimonial Block8.5 × 11 inOne large quote with attribution and a short pair of supporting quotes underneath, for a case study, a proposal or an about page.
Coral and Navy 8.5 × 11 in SWOT Analysis Block8.5 × 11 inFour quadrants with real room to write in them, on a grid that stays square when the text runs long.
Ochre and Ink 8.5 × 11 in Five Step Process Block8.5 × 11 inFive numbered steps in a column with rules between them, for a method, an onboarding page or a how-it-works section.
Ochre and Ink 8.5 × 11 in Ranked Bar Chart Block8.5 × 11 inEleven bars in rank order with one picked out in the second accent, and the sentence that says why it is picked out sitting directly under it.
Ochre and Ink 8.5 × 11 in Two Chart Summary Block8.5 × 11 inA bar chart and a donut side by side under one heading, for the summary page that has to answer how much and what share in the same look.
Ochre and Ink 8.5 × 11 in Two Series Chart Block8.5 × 11 inA grouped bar with the key drawn rather than implied and three notes under the axis. The block for the comparison that needs a sentence to survive.
Pink and Peach Agenda Block8.5 × 11 inNine agenda bands down the page, time on the left and the item beside it. One repeat block, so a nine-item morning becomes a six-item one by typing 6.
Plum and Amber 8.5 × 11 in Chart Cover Page Block8.5 × 11 inA section opener: the plot drawn quietly across the lower two thirds with the section title over it. The chart is the texture of the page rather than its subject.
Plum and Amber 8.5 × 11 in Donut and Legend Block8.5 × 11 inA ring at 3.5 in with the key set as a real list beside it, each row carrying its own swatch, label and figure, so a slice can be renamed without touching the ring.
Plum and Amber 8.5 × 11 in Pricing Tiers Block8.5 × 11 inThree price cards with the middle one raised, for a proposal, a rate card or a services page.
Plum and Amber 8.5 × 11 in Share Donut Chart Block8.5 × 11 inA donut with the labels outside on leaders, beside the same five figures as a ranked list. Two readings of one number, which is what makes a share page worth a whole page.
Sage and Bone 8.5 × 11 in Change Since Last Year Block8.5 × 11 inTwo series drawn as a grouped pair with the one category that actually moved picked out, and the movements listed under the plot in rank order.
Sage and Bone 8.5 × 11 in Six Small Multiples Block8.5 × 11 inSix plots on one axis convention, three across and two down. Four categories each, because a 2.2 in plot cannot carry more than six before the labels collide.
Sage and Bone 8.5 × 11 in Small Multiples Chart Block8.5 × 11 inFour small charts on one grid, each one a region, sharing a pinned axis so the four are actually comparable. The block that stops a report repeating one chart four times.
Sage and Bone 8.5 × 11 in Table of Contents Block8.5 × 11 inNumbered entries with dot leaders and a folio column, set so a long title wraps without breaking the leader.
Sky and Blush Client Logo Wall Block8.5 × 11 inTwelve client or partner slots in a 4 x 3 wall. Placeholder plates rather than photographs, so nothing has to be sourced before the page reads — drop a logo on any cell and the rest stay aligned.
Slate and Cream 8.5 × 11 in Bar Chart Comparison Block8.5 × 11 inOne full-width bar chart with the numbers printed on the bars and a single figure pulled out in accent. For the page where one comparison is the whole argument.
Slate and Cream 8.5 × 11 in Chart and Narrative Block8.5 × 11 inPlot in the left 4.15 in, a reading column in the right 2.6 in. The proportion is deliberate: a column narrower than 2.4 in at 11 pt drops under forty characters and stops reading as prose.
Slate and Cream 8.5 × 11 in Four Quarters Grid Block8.5 × 11 inFour plots in a 2 × 2 grid, one per quarter, each with its own heading and figure. The quarterly review page, built once.
Slate and Cream 8.5 × 11 in Organization Chart Block8.5 × 11 inOne over three over six, drawn with real connectors, at a size that survives being read on paper rather than only on a screen.
Teal and Gold 8.5 × 11 in Chart with Method Block8.5 × 11 inA plot with the four numbered steps that produced it set underneath, for the number somebody will ask about. The block that stops a chart being a claim.
Teal and Gold 8.5 × 11 in Executive Summary Block8.5 × 11 inA pull quote over two columns of real prose and three figures, which is the shape an executive summary has when somebody actually reads it.
Teal and Gold 8.5 × 11 in Full Page Chart Block8.5 × 11 inOne plot at 7.0 × 6.4 in with nothing competing with it: a title, the plot, one line of source. The block for the page in a pack that exists to show a single picture.
Teal and Gold 8.5 × 11 in Horizontal Timeline Block8.5 × 11 inFive milestones on one rule, with the dates above and the detail below, so the line stays readable at any length.
Teal and Gold 8.5 × 11 in KPI Band Over Chart Block8.5 × 11 inFour figures in a band across the top and the plot they come from underneath, so the band is sourced rather than asserted.
Teal and Gold 8.5 × 11 in KPI Band Report Block8.5 × 11 inFour headline numbers over a twelve-month trend line. The page a report needs on the spread after the summary, where the reader wants the shape of the year in one look.
Violet and Mint Feature Grid Block8.5 × 11 inSix features in a 3 x 2 grid, as one repeat block — change it to 4 x 2 or 2 x 3 with a single number instead of moving eighteen boxes. Each cell carries a numbered disc, a heading and two lines of body copy.These are pages, not posters
Most infographic templates are one very tall image meant to be scrolled. These are not. Each one is a letter page that drops into a document you are already writing — a report, a proposal, a board pack, a one-pager — and prints as part of it.
That is a different design problem and it has different rules. A page has to survive being printed in black and white by somebody in a hurry; it has to sit next to a page of body text without shouting; and it has to be readable in the hand rather than at arm's length. Everything on this page follows from those three.
If you actually want the tall scrolling kind, it is a poster, and the poster templates are the right starting point — set the document height to whatever you need in Page Setup.
The charts are real charts
The bar, line, pie and donut blocks are generated from numbers, not drawn as shapes. Change the values and the chart redraws — the bars re-scale, the axis re-labels, the donut re-segments. That matters for two reasons that only show up later: the numbers stay editable when a figure changes the day before the meeting, and the chart renders at the document's own resolution rather than being a screenshot pasted at 96 DPI.
A pasted screenshot of a chart is the single most common reason a good report prints badly. On screen it is fine. On paper it is a 96 DPI image being printed at 300, which means every label is soft while the type around it is sharp — and the contrast between the two is what makes it obvious.
Choosing the right block for the number you have
Most of the damage in a business document is done by using the wrong shape for the data, and it is usually one of four mistakes.
- A pie chart with more than about five slices is unreadable. The eye cannot compare angles well, and past five slices it cannot even find them. Use a bar chart; it is less decorative and it is legible.
- A bar chart with a truncated axis exaggerates. Starting the axis at 80 instead of 0 turns a 4% difference into a cliff. Sometimes that is genuinely the right call for a zoomed view — but label it, because a reader who spots it will discount everything else on the page.
- A line chart for categories that have no order is meaningless. Lines imply progression. Departments, products and regions do not progress into each other; they are bars.
- A table where a chart was needed, or a chart where a table was needed. If the reader will want the exact figure, give them the table. If they want the shape, give them the chart. If they want both, the table-and-chart block exists for exactly that.
Print it in black and white before you send it
This is the check almost nobody runs and it catches almost everything.
A large proportion of any printed business document is printed on a black-and-white office machine by somebody who does not think about it. If your chart distinguishes its series by color alone — teal against gold, coral against navy — those series become two nearly identical grays, and the page becomes decorative.
The fix is cheap. Distinguish by value (light versus dark), by pattern, or by direct labeling — putting the name at the end of the line rather than in a legend that has to be matched back by color. Direct labeling is better than a legend even in full color, because it removes a lookup the reader has to perform.
Margins and gutters, if these are going into a bound document
The blocks are laid out with 0.5 inch margins, which is right for a stapled or clipped document. If the report is being bound — spiral, comb, perfect-bound — the binding edge needs more, because part of it disappears into the fold or is punched through.
As a working number: 0.75 inch on the binding edge, and remember it swaps sides on facing pages if the document is printed double-sided. A comb or spiral punch needs a clear half inch of nothing at all, so no rule, no color band and no page number in that strip.
Bleed, and when a document does not need it
Most of these do not need bleed and are better without it. A report page with a white margin is a normal document; a report page with a color field running off all four edges is expensive to print, impossible to produce on an office machine, and does not read as more serious.
Where bleed does earn its place is a section divider or a cover page — one page with a full color field, printed at a shop, in an otherwise plain document. That contrast is worth the setup. Turn bleed on for those pages only, and export them separately if the rest is going through the office printer.
Questions
What size should an infographic be?
If it is going into a document or being printed, 8.5 × 11 at 300 DPI — which is what every template here is. If it is going on a web page to be scrolled, it is a tall image and there is no standard size; start from a poster document and set the height you want.
Can I edit the numbers in the charts?
Yes. The bar, line, pie and donut blocks are drawn from values you can change, not from an image of a chart. Edit the numbers and the chart redraws at the document's own resolution.
Why does my chart look blurry when I print it?
Almost always because it is a screenshot. A screen grab is around 96 DPI and is being printed at 300, so it is soft next to the sharp type around it. Use a chart block that renders at the document's resolution instead of pasting a picture of one.
Which chart should I use?
Bars for comparing categories, lines for change over time, pie or donut only for a small number of parts of one whole — five slices at the very most. If the reader needs the exact figure, use a table; if they need the shape, use a chart.
Will these print in black and white?
They will print, but check them first. Series distinguished only by color turn into similar grays. Distinguish by light and dark, by pattern, or by labeling the series directly instead of using a legend — that is better practice in color too.
What margins should a report page have?
Half an inch is right for a stapled document, which is what these use. If it is being bound or punched, give the binding edge three quarters of an inch and keep that strip completely clear — and remember it swaps sides on double-sided pages.
Do these need bleed?
Mostly no. A white margin is what a document is supposed to look like, and full-bleed color pages cannot be produced on an office printer. Use bleed for a section divider or a cover page that is being printed properly, and leave it off for the body.
Can I put these into a document I already have?
Yes — export the page as a PDF or an image at full size and drop it in. Because they are letter sized at 300 DPI they land at the right scale rather than needing to be resized, which is what usually softens an imported page.
Are these free to use at work?
Yes, including commercially, on the free plan, with no watermark, no royalty and no credit. That covers client work and anything internal.