How National Geographic’s Fernando Baptista Brings Science and History to Life
Fernando Baptista, Senior Graphic Editor at National Geographic, has built a career turning complex science, history, and archaeology into compelling visual stories. In this conversation with TK Sajeev, he shares how research, artistic vision, and journalistic accuracy come together to create some of the world's most admired infographics. How do you merge
Fernando Baptista, Senior Graphic Editor at National Geographic, has built a career turning complex science, history, and archaeology into compelling visual stories. In this conversation withTK Sajeev, he shares how research, artistic vision, and journalistic accuracy come together to create some of the world’s most admired infographics. How do you merge artistic expression with journalistic accuracy in your infographics?Fernando BaptistaOur first question is: do we know enough to create an infographic? Experts are the key element; they approve the general concept and provide the information. The graphic concept needs to have a solid scientific basis. We work with multiple experts, each specializing in speci c details. In every project, I work with a graphic researcher, and sometimes with two researchers if the project is particularly complex. In large projects, the research alone can take around 300 hours, as Patricia Healy did for the Sagrada Familia project. If needed,I also visit the site and meet with experts there, gathering visual references that are extremely helpful. Some of this video and photo material is also used for interactives or social media content. A Flip-Through of the Sagrada Família Project PagesWhat makes a historical reconstruction feel authentic and believable to viewers?I think a dynamic perspective, lighting, and atmosphere help create a general feeling of authenticity, and if you look more closely, you can see the details and activities we’re showing. A detailed cutaway reconstruction of a Viking longshipYour visuals often feel cinematic and immersive rather than informational. How do you achieve that e ect?I aimed to engage readers from the moment they rst see the graphic by creating an interesting illustration—a kind of wow e ect—that invites them to explore further. On a second look, they can discover di erent layers of information, organized in a clear and accessible way. A cross-sectional view revealing the anatomy and hunting adaptations of a tiger sharkHow do lighting, scale, and perspective contribute to emotional storytelling in your illustrations?The right viewpoint is essential for presenting information e ectively, while the use of light and texture helps create a realistic image that makes readers feel as though they are part of the scene. I’ve always loved the use of lighting in movie concept art, which has been a major inspiration for me. A visual reconstruction exploring how Easter Island’s iconic moai statues may have been transportedWhat role do texture and material detail play in creating realism within reconstructed scenes?Textures help create realism in illustrations, whether depicting a building, a person, or an animal. Although the textures may vary, they all share the same purpose. A scientific reconstruction revealing the anatomy and hunting strategy of the saber-toothed catHow do you guide the viewer’s eye through dense or layered information without overwhelming them?Usually, I design the graphic according to the reading ow. I use a central element in my graphics to present the main visual information, while panels or simple diagrams surrounding it provide additional layers of information. I also aim to preserve negative space, simplifying and re ning the graphic throughout the design process. A visual exploration of the world’s largest flying reptiles. Why are cross-sections, cutaways, and exploded views so e ective in visual storytelling?Usually, these types of views cannot be captured in photographs, and people are naturally curious about seeing the interiors of things—we make the invisible visible. My favorite books as a child were lled with cross-sectional illustrations. A good example is the graphic about the Amazon, which shows a cross-section of the rainforest. I spent a week in the Amazon with two experts, documenting species of trees and animals. Amazon supplementTrip to AmazonIn your opinion, why do visual narratives communicate complex ideas more e ectively than plain text alone?I think some visual stories are easier to understand and remember through graphics than through text. You can describe them with words,but readers may not be able to fully imagine all the activity and details that a graphic can reveal. Why do you often build physical models before moving to digital rendering?The models I created helped me determine the best viewpoint, develop realistic textures, and experiment easily with di erent lighting options. Building these models also gave me a deeper understanding of the topic, and I am able to create them relatively quickly, usually within one or two days. The Alhambra: From Model to MasterpieceHow does sketching help you structure and simplify complex information?Everything begins with pencil-and-paper sketches. I often create multiple sketches while considering how readers will engage with the graphic. Later, I select the strongest concept and re ne it in Illustrator. Notre Dame sketchesNotre DameWhat tools, materials, or software are most essential in your work ow today?My work combines both analog and digital techniques. For the analog process, I use paper and pencil for sketching, while for sculpture I typically work with Super Sculpey, aluminum wire, and dental tools to shape the clay. I also occasionally create custom sculpting tools for speci c needs. Usually, I take photos of the model for reference. I draw a pencil sketch, scan it, and then add color using a Wacom in Photoshop; sometimes I end up with more than 1,000 layers. For the animations, I started with the storyboard and built the sets using di erent materials. Then, our department worked together and, in some cases, collaborated with the video team to bring everything together. It’s a team e ort. The Making of an Octopus SculptureThe Painting Process of the OctopusOctopus GraphicsAnother example of animating an elephantHow do you balance scienti c or archaeological accuracy with artistic interpretation?The experts share their knowledge with us, and from that information I develop the graphic concept. We always strive for accuracy, and the experts review and approve all the content from beginning to end, ensuring that the nal illustration is attractive, informative, and precise. At what stage does storytelling become more important than technical precision?The primary goal of my graphics is storytelling: communicating a story visually. The second goal is developing the appropriate visual solution, whether simple or complex. In every case, the visuals should support and strengthen the storytelling. Beavers:Simple styleHow has digital technology changed the way you create infographics compared to earlier methods?I think, in my case, the Wacom was a big deal—it changed everything because it gave me the same feeling as drawing by hand. AfterE ects helps us improve our animations. For our stop-motion animations, the program Dragonframe is incredibly helpful. Office of Fernando Baptista at National Geographic HQ in Washington, DC. What is the most technically challenging infographic you have ever created, and why?Probably the Trajan Column project was one of the most complicated because it was massive. It included ten pages of graphics for print and, for the digital version, a stop-motion animation, a behind-the-scenes video of the animation process, and an interactive feature. Amanda Hobbs worked very hard on the research, and a large team collaborated on the animation and interactive elements. Fernando Baptista’s creative process—from initial sketches and a scale model to the finished National Geographic reconstruction of Trajan’s ColumnNat Geo’s Stop-Motion Team Animates HistoryWhat are the biggest challenges when visually reconstructing ancient civilizations or lost architecture?Get the information and visuals reference, the experts are essential to the process. For some of our graphics, we collaborated with a largenumber of specialists—for example, around 16 for Notre Dame and approximately 18 for Il Duomo. All the content is reviewed andapproved by them, and they are credited for their contributions. Notre Dame Cathedral: A Visual MasterpieceFernando Baptista traces the evolution of the world’s most iconic domes through a striking visual comparisonTo what extent can visual reconstructions shape public understanding of history?Sometimes remains alone are not enough to understand the culture discussed in our article. The story team works together to bring history to life through text, photos, maps, and graphics, sharing as much as experts know about it. What responsibilities do infographic artists have when presenting speculative historical scenes?I believe infographic artists should avoid creating speculative historical scenes and instead follow expert guidance to determine what can be shown accurately. How do you maintain credibility and transparency when parts of a reconstruction are hypothetical?Accuracy is the most important priority at National Geographic. By working with some of the best experts in the world and conducting hundreds of hours of research, we make our reconstructions as accurate as possible. Sometimes a small detail can require many hours of research, and if the experts do not approve it, we remove any controversial or speculative elements. For example, in the reconstruction of the Hittites temple, we worked with specialists who guided us on the activities to depict based on archaeological remains and texts more than 3,000 years old that describe life during that periodHow do you decide when a visual should inform objectively versus evoke emotion?I think, in general, my graphics are more about visual information—showing processes, technical details, and reconstructions. The photos and text, on the other hand, maybe can be more emotional. Which modern subjects or global issues would bene t most from your style of visualization?I like to think that any topic that can have a diagrammatic solution would bene t from my style. Sometimes complex ideas become much easier to understand when they are presented visually, such as in this story I proposed about animal lifespans. How do you think AI-generated visuals will in uence the future of infographic journalism?It’s an interesting question, and I don’t really know. I enjoy every part of the process of creating graphics and animations, and at the moment I’m not particularly interested in AI.